Houston Symphony Orchestra– 04/23/23

Sunday afternoon was the third of three Houston Symphony concerts at Jones Hall with guest conductor Jukka-Pekka Saraste and violinist Elina Vähälä. On the program was the Violin Concerto by Jaakko Kuusisto and Gustav Mahler’s Symphony No. 1. Both the conductor and soloist are Finnish, as well as the composer of the concerto. All told, the stage had more Finns than a ’60 Cadillac Eldorado. This was Saraste’s Houston Symphony debut. Vähälä last appeared in 2017 performing John Corigliano’s Violin Concerto.

Kuusisto composed his violin concerto for Vähälä, and it was first performed with the composer conducting in 2012. They were scheduled to perform it together in Houston in 2020, but the pandemic made that impossible. It was rescheduled for this season, but the composer tragically died from a brain tumor last year. An accomplished violinist, Kuusisto was a finalist in several violin competitions and served as concertmaster of the Lahti Symphony Orchestra. Drawing on his expertise as a violinist, as well as his experience as a composer and conductor, he composed a concerto of exceptional virtuosity and colorful orchestration. The piece begins with an extended violin cadenza of increasing complexity evolving from a three-note DNA– G, F#, and E-flat. Vähälä was forthright and secure, using ever increasing bow strokes throughout until the orchestra loudly interrupts, grounding the previous flight of imagination. The movement proceeds with a varied array of characters, all finely translated by Vähälä. Kuusisto’s orchestration had balance with the soloist in mind, except where louder brass passages somewhat cover the violin by design. This conveyed the feeling we may have when external forces out of our control overwhelm us. The second movement features oboe, clarinet and trumpet solos, as well as an interesting rhythmic use of the harp. The struggle between musical forces continues, with the violin presenting the softer, more vulnerable side of the conversation. A ticking wood block at the beginning of the Finale serves as a reminder of time, and the violin reacts with running fast notes. Suggesting the need to work faster to complete one’s work, the notes speed up. Then, after the orchestra suddenly stops, the violin calmly plays three notes, with one major change– they are now the more resolute G, F#, and D. The orchestra provides a speedy ending. Vähälä literally owns this piece. Her stellar playing provides an advocate for the composer’s creation. Conductor Saraste gave an adequate if somewhat perfunctory leading of the accompaniment. The Houston Symphony musicians were more than attentive, fully supporting the soloist. In an uncommon gesture, every one of them applauded Vähälä during her bows.

Mahler’s Symphony No. 1 (1887-1896) is arguably the greatest first symphony ever written. All four movements have colorful orchestrations that draw from Humperdinck and foreshadow Puccini. It has one of the most freely formed first movements from that time period, causing it at first to be called a symphonic poem. Mahler indicated numerous changes of tempo for themes of contrasting moods, and incorporated musical idioms from his childhood. The overall effect makes the piece sound more like opera than a classical symphony. Ultimately, it is a heroic symphony in the vein of Beethoven’s Fifth.

The performance at hand was spectacular, featuring a wide range of dynamics and colors, linked by commitment and virtuosity. Even so, this did not appear to be generated from the podium. Saraste was so cool in his approach that his pulse may not have risen. Certainly, he did not break a sweat. Tossing off cues without bended knee or back, one could imagine a royal riding in a horse drawn coach waving a handkerchief at the crowd. The performance was served and saved by the musicians on stage. In the first movement, principal clarinet Mark Nuccio was an expressive cuckoo, and principal oboe Jonathan Fischer played with uncommon color. The trumpets had an offstage fanfare that was perfectly played. Led by Mark Hughes, the trumpets were brilliant throughout the symphony. The French horns were accurate and powerful. William VerMeulen’s numerous horn solos were nonpareil. The cellos sighed expressively and danced elegantly. The second movement Ländler bounced joyfully, and the Trio had shimmering first violins. Curiously, the third movement bass solo was played by the whole section. While beautifully played, lost in this conductor’s choice was the heart-wrenching Frére Jacques tune played in a minor key by a single lonely voice. The Finale exploded with virtuosic playing across the board. The tenderly expressive middle section was touchingly played until interrupted by an impetuous and well-executed viola line. The glorious ending was heroic, but the real heroes were playing the notes.