Houston Symphony Orchestra– 01/12/24

Friday evening was the first of three performances at Jones Hall with the Houston Symphony conducted by music director Juraj Valčuha. HSO Concertmaster Yoonshin Song was soloist in Bartók’s Violin Concerto No. 2. The program included Felix Mendelssohn’s “Scottish” Symphony No. 3 and “Colors” by British-American composer Anna Clyne.

Before the concert, Debussy’s Sonata for Flute, Viola, and Harp was performed by the Symphony’s Kathryn Ladner (flute), Wei Jiang (viola), and Allegra Lilly (harp). Ladner first spoke of Debussy’s use of tone color, which includes ponticello (playing near the bridge- literally, small sounding point) in the viola and combinations of two instruments creating a new third color. It was a splendid performance, with exceptional ensemble, balance, and intonation. Given it’s inherently delicate and intimate nature, it would have been better if the doors to the lobby were kept closed and if the ushers would not allow audience members to enter while the music is being played. One couple came in late and sat in the center of the second row– then moved! Please, it’s not a movie but live music.

The color theme continued with “Colors” by A. Clyne. A highly successful and eclectic composer, Clyne begins many of her creations with her own visual art and works of others– in this case Mark Rothko’s Orange, Red, Yellow. Her own work presents these color images in reverse order. Each movement is quite different, and each is compelling in its own right. Valčuha led an almost inaudible opening that on its own showed part of the success of the Jones hall renovation. The stratified opening chords spanned across the entire orchestra from bottom to top, perfectly balanced, to great effect. Melodies gradually emerged, beginning with the basses. The second movement (or part) was strikingly different, with stronger dynamics and pronounced rhythms. The third part synthesized elements of the first two. This was the work of a very creative mind executed by means of deft orchestration. I would love to hear more from her.

As HSO Concertmaster, Yoonshin Song has made an audible impact on the first violin section, and by extension the whole orchestra. Her visual leadership and consistency of execution has served to enhance precision of ensemble and intonation. That exceptionally high level of playing was given full revelation in her stellar performance of Bartók’s second violin concerto. Played entirely from memory, the solo part was afforded virtually flawless realization. This level of playing is comparable to many of the soloists who appear with the orchestra and is a testament to her accomplished playing. Valčuha provided a supportive accompaniment but without the firm hand shown in the Mendelssohn.

Mendelssohn’s Symphony No. 3, the “Scottish,” is an example of Mendelssohn’s ability to incorporate virtuosic and lyrically expressive elements. The score features a Classical period orchestra with pairs of woodwinds, trumpets, 4 French horns, timpani and strings. As with “Colors,” the initial inspiration was visual. While touring Scotland, Mendelssohn visited the ruined remains of an ancient abbey and wrote down the opening theme. This theme is played by the oboes and divisi violas. Being divided, the violas were not as prominent as required to balance the French horns. As led by Valčuha, the violins weaved finely shaped and dynamically nuanced lines with clarity and precision. Agitato and Vivace sections were taken at brisk tempi, with Valčuha holding the reins tightly while spurring the orchestra on. Ensemble was immaculate throughout, if somewhat breathless. The four movements are played without breaks, adding to this effect. A lively clarinet solo was colorfully played by Mark Nuccio and repeated by flutes and oboes. Bassoon and French horn solos were expressive, with the strings consistently brilliant. Bass pizzicatos were resonant and buoyant, another improvement from renovation of the hall.

However, in a concert featuring color, that aspect was sometimes neglected by Valčuha. His musical talent and sincerity are beyond reproach, and his raising the level of performance is without question. Too often the priorities seem placed on precision and attention to detail. It is akin to standing too close to a French pointillistic painting where the image is lost due to perspective. Early on, I commented that the orchestra needed to trust what Valčuha was doing. He now has that trust, but needs to trust himself. Tonight, when he did and relaxed a bit, the expressive tone color emerged. I would hope for more of that.