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Seen and Heard International
Concert Review
Schumann: Konzertstück in F major for Four Horns and Orchestra, Op. 86 (1849) Melinda Wagner: Concerto for Trombone and Orchestra (2006; World Premiere) Gershwin: An American in Paris (1928)
Robert Langevin, Flute Nancy Allen, Harp Philip Myers, Horn R. Allen Spanjer, Horn Erik Ralske, Horn Howard Wall, Horn Joseph Alessi, Trombone
A few minutes before eight o’clock, as the harp was being wheeled into place next to the podium, I finally discovered a thread linking these four works: one sample from each century. If the evening’s construction seemed puzzling, there was much to enjoy in four vastly different approaches to sound. Mozart’s Concerto in C major for Flute and Harp opens with a rhythmic figure in octaves that seems almost like the shy younger sibling of Eine Kleine Nachtmusik, and is a delightful confection, rare but not so rare (last heard here in 1991). The opening Allegro has a cadenza (by Karl Herrmann Pillney) that seemed almost a mini-concerto in itself, followed by a wistful Andantino, and a final Rondeau: Allegro that is bubbly fun. The expert soloists were almost over-qualified for this pleasant dessert, but if you’re going to hear it, you should ask for Nancy Allen and Robert Langevin in lyrical, liquid tandem.
I’m not quite convinced that the even rarer Schumann Konzertstück (not done since 1974) shows off the four horns at their absolute best no matter who is playing, with passages in the instrument’s extreme upper range, and scampering rhythms. But the four mellow players – Philip Myers, R. Allen Spanjer, Erik Ralske, and Howard Wall – made the most of this odd bird. The initial movement could have been lifted from Strauss’ Alpine Symphony, and there is a bright fanfare that heralds the last movement (“very lively”) all played without pause. In both this and the Mozart, conductor Lorin Maazel paid scrupulous attention to the orchestral accompaniment, encouraging the orchestra to hold some sound in reserve and let the soloists come through clearly.
After intermission came Melinda Wagner’s new Trombone Concerto, written for, and magnificently played by Joseph Alessi, plus a huge orchestra barely squeezed onto the Avery Fisher Hall stage. (Wagner uses over two dozen percussion instruments.) The concerto seethes and throbs, with the composer exulting in the power available in a large ensemble. In “Satyr,” after a mournful harp and trombone phrase over rumblings in the orchestra, the group gallops off with the soloist in rhythmic pursuit (or the other way around). The second part, “Elemental Things,” opens with high piano notes leading to clustered chords, before the trombone enters with a bit of crazy virtuosity, as if Mr. Alessi were standing outside the back door of a jazz club, one in which you can still hear the main act, the big band inside. After an interlude (“Litany”) the final movement, “Catch,” has powerful orchestral writing with big-boned climaxes, with appropriate difficulties for the soloist. Ms. Wagner came out for bow, greeting a cheering audience, which might have been just a tiny bit surprising since sometimes these occasions are havens for the fidgety. (I am happy to report otherwise.)
In my notes I had re-titled the Gershwin as An American (Rushing About) in Paris, acknowledging reports of Maazel’s mad dash of a tempo on the first night. But here, it seemed brisk, energetic but not at all rushed, and the friend with me said he had never heard it played so well. Indeed, the score’s pulsating syncopations and sudden mood shifts leaped into the air thanks to the Philharmonic musicians’ precision, including strong solos from associate concertmaster Sheryl Staples and Alan Baer on tuba. Sometimes this score can seem a bit cloying, but with Maazel’s volcanic approach it seemed much closer to The Rite of Spring.
Bruce Hodges
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