ARCHIVE: HSO (September 2013)

Originally published 9/21/2013

Went to the Houston Symphony last night. Lawrence Foster (former Music Director of the Houston Symphony) conducted, with Joshua Bell, violin soloist. The program began with the seldom heard Dance of the Persian Maidens from Khovanshchina by Mussorgsky. The piece earned solo bows for Adam Dinitz, English horn, and harpist Paula Page. Continuing the first half’s Russian mode was Tchaikovsky’s violin concerto. Joshua Bell is the classical music equivalent of a rock star. This is largely due to his intense and personal performance persona, coupled with boyish good looks, which makes him popular with the general public. What may not be immediately apparent is the consummate skill he utilizes when overcoming the challenges and potential pitfalls of major concerti such as the Tchaikovsky. Bell seamlessly travels across the fingerboard and changes strings with such apparent ease that this extraordinarily difficult concerto (once called unplayable) sounds technically effortless.

His music making is quite another matter, as not one note sounded unimportant or uninvolved. He has that unique quality that makes you feel that the music is being created as you listen, not simply reproduced. Phrases were not given the expected or routine shape, and notes not normally given emphasis were brought out. His interaction with the orchestra inspired and propelled the performance. Being acutely aware of the orchestra parts, he adjusted tempi as needed, eschewing the “follow me” soloist mentality. Slight delays from orchestral parts farther away were expertly and unnoticeably compensated, so the combined soloist/orchestra performance appeared and sounded flawless. The HSO and Foster gave Bell an excellent accompaniment, supporting but never covering Bell’s silky smooth tone. It was clear that the orchestra members enjoyed playing with Bell and were impressed by the incredible playing. The audience gave a standing ovation after the first movement and again at the end.

The second half of the program included a pair of English pieces, beginning with the Fantasia on Greensleeves by Ralph Vaughn Williams. This piece is “easy” enough to be performed by a decent high school orchestra. What Friday’s audience was given was a master-class in orchestral beauty of sound and balance. Aralee Dourough’s opening flute solo wafted exquisitely and effortlessly through the hall, setting the stage for the sumptuous performance that followed. Divisi violas and celli, then winds and brass perfectly blended octaves and sound to produce radiant colors. To achieve greater depth of balance, Foster astutely encouraged more tone from the basses, resulting in a renewed appreciation for Jones Hall. I was left to wonder what an additional bass player would bring to the texture.

Elgar’s Enigma Variations is a monument to British romanticism. It is easily marred by faulty ensemble and/or careless playing. Foster’s handling of the overall structure and pacing, down to the smallest details, showed what an accomplished professional he is. For its part, the Houston Symphony gave a performance memorable for its technical brilliance and, again, beauty of sound. There were numerous outstanding ensemble and solo passages throughout, including gorgeous viola and cello solos and finely shaped wind solos. In the seventh variation the violins displayed virtuosic playing in lightning-fast and precise scale passages. The beginning of the famous Nimrod variation was hair-raising. I felt the entire string section was committed to creating the deepest expression within the music. This grew as more instruments were blended in, reaching a climax that is among the greatest in all of music. The Symphony’s heart-felt and unified playing elicited a strong emotional response and a memorable moment. This concert had many such memorable moments, which is the very reason people attend concerts. There is simply no substitute for live music performed by outstanding conductors, soloists, and musicians in concert with an audience sharing the creative experience. That is where the future of classical music can be assured.