Houston Symphony Orchestra– 11/10/23

At Jones Hall Friday evening, music director Juraj Valčuha led the Houston Symphony in a program of works by Gabriela Ortiz, Sergei Prokofiev, and Sergei Rachmaninoff. Behzod Abduraimov was soloist in Prokofiev’s Second Piano Concerto.

The concert began with “Kauyumari” (meaning “blue deer”) by Ortiz. Written in 2021, the work depicts the symbolic “hunt” for the blue deer by the Huichol people of Mexico. This is enabled through the use of the hallucinogenic cactus called peyote, and allows them to communicate with their ancestors. (While the use of drugs can be considered controversial, it should be noted that Hector Berlioz’s Symphony Fantastique, written 193 years ago, describes a bad trip brought on by opium.) The seven minute work is well constructed and orchestrated. “Kauyumari” incorporates repeated rhythmic patterns and harmonies that sound familiar enough to be non-threatening. It begins with offstage and onstage trumpets and makes extensive use of percussion. Valčuha led a rhythmically taut and dynamically controlled performance.

Uzbek pianist Behzod Abduraimov electrified the newly renovated Jones Hall stage with a powerhouse performance of Prokofiev’s Piano Concerto No. 2, which has more notes per square inch than almost any other piano concerto. These were played with clarity and precision by the young pianist, who took advantage of the refreshed acoustics to display a huge range of dynamics, coupled with both fiery and tender emotions. He has established himself through several performances of the second and third concertos by Prokofiev and Rachmaninoff. Ten years ago, he recorded Prokofiev’s Third Piano Concerto with Valčuha (a fact curiously missing from his HSO program bio). Being well-matched musically, Valčuha and the orchestra provided a stellar accompaniment, reflecting the full range of dynamics and emotions. We Americans are generally ignorant when it comes to the countries of Central Asia and the Turkic peoples who populate them, such as Uzbekistan. As shown this evening, the universal language of music can be received and understood anywhere, and the talent to express it knows no boundaries.

Rachmaninoff’s Symphonic Dances is the last piece he composed. Dedicated to Eugene Ormandy and the Philadelphia Orchestra, it requires a full orchestra plus several less common instruments– English horn, bass clarinet, alto saxophone, contra bassoon, and percussion requiring five musicians round out the score. The three movements were originally named “Noon,” “Twilight,” and “Midnight.” It is richly orchestrated and rhythmically detailed, requiring a high level of concentration from both conductor and orchestra. That was achieved in this stellar performance. This is Valčuha’s third subscription concert in the “new” hall, and there are already significant signs of his learning how to take advantage of the warm but clear sound stage. Dynamics ranged from the almost inaudible (pppp) to forte fortissimo (fff). He appeared to give special attention to the first violins, whose parts are most exposed. Balance between and within sections has improved. The brass section sounded unified, with better balance with the timpani. The excellent woodwinds sounded a bit more colorful, with clearly defined timbres, but with a few highly unusual pitch discrepancies. The first movement had an uncommonly nuanced and tonally beautiful alto saxophone solo. Concertmaster Yoonshin Song was immaculate in her second movement solo. Flutes and piccolo showed glistening virtuosic flourishes in the third movement. Led by newly-appointed principal viola Joan DerHovsepian, the violas played their many solo parts with energy and confidence.

Valčuha is placing more demands on the orchestra regarding dynamics and precision, resulting in generally higher levels of performance than in the preceding two dozen years. As the now established trust and confidence grows, this listener hopes to see a bit more musical warmth as a natural byproduct.