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Beethoven: Valentina Lisitsa (piano), Chicago Symphony Orchestra, James Gaffigan, Symphony Center, Chicago 14.3.2009 (JLZ)

Beethoven: Piano Concerto No.5 in E flat, Emperor, op.73
Symphony No.5 in C minor, op.67


As familiar as audiences are with Beethoven’s Piano Concerto No.5 in E-flat Major, op.73 (“Emperor”) and the Symphony No.5 in C Minor, op.67, the works remain engaging, and the recent performances of these works by the Chicago Symphony Orchestra brought some exciting interpretations to Chicago audiences. Called in to replace Hélène Grimaud, Valentina Lisitsa performed the “Emperor” Concerto with élan. Her knowledge of the score emerged in the fine pacing of the solo passages, and her seamless integration with the Chicago Symphony was facilitated by James Gaffigan’s fine leadership.

The first movement was masterfully balanced, with the solo passages executed cleanly and without affectation. Without invoking the early-music style associated with conductors like John Eliot Gardiner, Gaffigan’s interpretation evoked the intimacy found in such performances, and with the smaller forces required by the score, evident on stage, Gaffigan used quicker tempos, which also reflected sensitivity to the ensemble and the resulting timbres. This approach allowed Gaffigan to shape the phrases clearly and to respond to the soloist effectively. At times the colors found in the score took shape, as with some of the passages in which the clarinet is prominent. In other places, the brass timbres balanced nicely with the rich string sound that was everywhere present in the movement. The first movement was remarkable as a satisfying and elegant piece of music, and the second movement followed in continuing in this manner.

With its sometimes more transparent textures, the slow movement stood in contrast to that of the first. As it continued, Lisitsa demonstrated her own, clear approach to the work, with the passages for the solo piano shaped masterfully. The structure of the second movement was as apparent as that of the first, with the final passages intersecting well with the sound of the full ensemble. The third movement took its cue from the final cadence, as the familiar theme for the Finale received lithe and natural expression. In fact, the varied return of the rondo theme brought out details in the score that are sometimes missed on recordings, yet were present in this finely paced, and wonderfully balanced, performance. As the soloist Lisitsa made the work seem effortless, and her engaging presence was evident both in her stage presence and tireless playing.

The other half of the program was devoted to Beethoven’s Fifth Symphony, a work which remains an almost iconic part of the composer’s legacies. The challenge for modern conductors is to make the work seem fresh and engaging, from the perhaps overly familiar four-note theme that opens the work to the triumphant motif with which it concludes. The brisk tempo which Gaffigan took for the first movement seemed at first a bit impetuous, yet the ensemble met the challenges it posed. The various motifs needed to fit well into the larger phrase structure that Gaffigan indicated, and this resulted in some fine ensemble playing, especially in the horns. The taut development section was also welcome, as the rhythmic tension underscored the tonal shifts that propelled the movement to its conclusion.

In this context the slow movement seemed to have more weight, and the more fluid tempos Gaffigan took brought out the rich textures that contrast the starker ones found in the first movement. Through his emphasis on the thematic structure of the second movement, Gaffigan allowed it to serve as a welcome foil to the first. The warm and resonant cello sound with which the second movement opened set the tone for the piece, and the entire string section worked well together in giving full voice to Beethoven’s evocative scorings. While still moving the music along, Gaffigan achieved a fine pacing in this movement, which led logically to the ensuing Scherzo. As familiar as the Scherzo is, the even articulations contributed to the character of the movement. With its inherent flexibility, Gaffigan’s interpretation took on some colors that remain strong in memory, especially in the clear articulations of the low strings, which the upper strings matched in fluency. Yet the seamless transition to the Finale was equally impressive for the way in which Gaffigan keenly shifted character. In this movement, too, the interplay of dynamic levels was audible, and enhanced the ultimate resolution of the triumphant Finale theme. At the same time, Gaffigan’s urgent pace worked well in giving shape to the famous coda of the movement. The audience responded warmly to this performance, and the extended applause was well deserved.  The fresh and exciting interpretation of Beethoven’s Fifth Symphony together with the fine execution of the “Emperor” Concerto made this concert one of the memorable ones of the season.

James L Zychowicz


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