Houston Symphony Orchestra– 12/03/23

The Sunday afternoon concert at Jones Hall was the third and final concert featuring violin soloist Augustin Hadelich and former music director Andrés Orozco-Estrada. The all-Shostakovich program included Violin Concerto No. 1 and Symphony No. 11 (The Year 1905). Both works have a Houston connection. Houston’s own Fredell Lack recorded the violin concerto in 1984. In 1958, Leopold Stokowski conducted the Houston Symphony in the US premiere, less than a year after it was written. They also made the first commercially available recording.

Augustin Hadelich is one of the foremost violinists in the world today, with a wide array of musical expression and flawless technique. His softer dynamics are especially beautiful, but his louder moments were sometimes covered by the orchestra. That was also the case when he last played Prokofiev’s first violin concerto with the HSO. Balance issues this time were compounded by a lack of communication on Orozco-Estrada’s part, who almost never looked at Hadelich or use his left hand to indicate softer. Even so, the orchestra, especially the strings, gave rapt attention and were totally committed to supporting the soloist. From the very first hushed notes in cellos and basses it was clear this would be a special performance. Throughout the first movement, the musicians looked and sounded as one. They possessed a compelling sensitivity. Pairs of flutes and English horn added expressive playing. Hadelich challenged the orchestra with both blazing fast and exquisitely soft notes. He captured the inner drama of the extensive solo Passacaglia, which leads to the rousing Burlesca finale. Extensive applause resulted in an unidentified encore, which was either his own original composition, an adaption of Scott Joplin, or both. Stylistically, it was diametrically opposite to the Shostakovich. Fiddle-style glissandos were met with knowing chuckles, and an audience member called it “delightful.” It served as a brief reprieve from monolithic Shostakovich bookends.

After a two year hiatus, conductor Orozco-Estrada returned to a newly refurbished Jones Hall and an improved Houston Symphony. He still has many fans in Houston and clearly enjoyed talking to the audience before the symphony. Shostakovich is in Andrés’ wheelhouse. This symphony is very cinematic in concept, which allowed Andrés to apply his theatrical conducting style. The orchestra embraced the freedom and played with stunning dynamics, ranging from barely audible to ear-throbbing fortissimos unmatched before the renovation. There were great contributions, with too many to mention. Principal trumpet Mark Hughes opened the symphony with precision, was joined by other trumpets in duets, and closed the symphony with laser-like power. Substituting for Covid-impaired William VerMeulen, Associate principal French horn Robert Johnson played to perfection. Guest English horn Russell DeLuna gave several singing soulful solos. The violas were prominent in several sections. Lower register notes were warm and unified– higher notes on the A-string were positively glorious. I can’t recall them sounding better. The ending has multiple percussion instruments adding to the furious finale. Great concert! The Houston Symphony is sounding better than ever.