Houston Symphony Orchestra– 03/11/23

This evening was the second of three performances at Jones Hall by the Houston Symphony. Titled “Brahms Piano Concerto 1 & Dvořák 8” the concert featured piano soloist Sir Stephen Hough, conductor Jonathon Heyward, and a newer work by composer Carlos Simon. A well-attended pre-concert chamber music program featured clarinet Mark Nuccio, cello Christopher French, and piano Scott Holshouser in a beautiful performance of Brahms’ Clarinet Trio.

The program bio for Sir Stephen Hough reads he ‘has a distinguished career and a longstanding international following as a pianist, composer, and writer.’ The program bio for Jonathon Heyward says he ‘is forging a career as one of the most exciting conductors on the international scene.’ Program notes from an early performance of Carlos Simons’ “Fate Now Conquers” stated ‘the work represented a life-changing fate, launching Simon's in-demand career and destiny to reshape the American symphonic landscape.’ I was left wondering if the title for this concert should have been “Hough and Puff.”

The concert opener, “Fate Now Conquers” was commissioned by the Philadelphia Orchestra. It is one of three new works written to respond to three Beethoven symphonies. This one loosely references the second movement of Beethoven’s Seventh. The title comes from an entry in Beethoven’s notebook that quotes the Iliad. Now just three years old, it has been performed coast to coast. Stylistically, it resembles so many other contemporary orchestral works, incorporating often obscure string figures, wind and brass punctuations, mixed meter rhythms, and the absence of melody. The only exception is a short cello solo beautifully played by Brinton Smith. Unlike most other new works, the only percussion is well-utilized timpani, perhaps because Beethoven used only that in his symphony. The 5-minute piece is well-constructed, energetic, and engaging. It ends with a loud unison pedal C. Heyward conducted with energy and precision, with the HSO playing quite well. Whether or not Simon will reshape the American symphonic landscape remains to be seen. He is definitely one to watch.

Brahms’ First Piano Concerto is an early work, and one of several attempts to write a first symphony. Heyward set a stately tempo for the long Maestoso exposition, during which the soloist paid him rapt attention. The conductor showed a generally high and shallow beat pattern, with a great deal of symmetric motion in both arms (except when turning pages). The musicians gave scrupulous attention to dynamics and balance, regardless of visual input. Heyward navigated tempo changes quite well. Pianist Hough brought power, finesse, and musical maturity to the Jones Hall stage. He made his understated solo entrance seamless, immediately showing his own attention to dynamics and voicing. An eighteen measure solo introducing the lyrical second theme was a masterclass in subtle timing and expression. Other parts were thunderous without being harsh. First and third French horns traded plush, chocolatey solos with Viennese-styled accents. The tender second movement was followed by a jaunty Hungarian-styled Rondo featuring syncopated rhythms. Throughout, soloist and orchestra shared in virtuosic and expressive playing. In a nod to the symphony that was to follow, Hough played Dvořák’s familiar “Humoresque” as an encore. His use of rubato and unique tone colors infused this often maligned piece with regal elegance and subtle humor.

Dvořák’s Eight Symphony is not the musical equal of his Seventh or Ninth symphonies. While quite tuneful and pleasant to hear, it is not often compelling. Heyward and the HSO made as strong a case as possible. Conducting sans score, Heyward was more comfortable with this than the Brahms, but certain conducting techniques betrayed a lack of experience. To begin a movement, Heyward uses more preparatory beats than necessary. He tends to point the tip of his baton upwards, making his wrist the bottom of the beat. This potentially confusing gesture did not effect the precise orchestral ensemble. Of note was the stellar playing of the first violins, who played the generally high-pitched part with unanimity of dynamics and pitch. The cellos were lush and lovely in their many section solos. Woodwinds singly and in pairs added expressive color. The French horns, often featured by Dvořák, were outstanding. Timpani, and brass led by first trumpet Mark Hughes, provided fanfare and volume. The basses were a firm and balanced foundation whether by bow or by pluck.

The Houston Symphony is playing at a consistently high level, regardless of who is occupying the podium before them. This can only come from pride and artistic integrity. Bravo to all!