SEEN AND HEARD INTERNATIONAL

Orpheus Chamber Orchestra
Ryu Goto, violin

Stravinsky: Octet (1923, rev. 1952)

Bruch: Concerto No. 1 in G minor for Violin and Orchestra, Op. 26 (1868)

Beethoven: Symphony No. 2 in D major, Op. 36 (1802)

 

 

Given that Stravinsky’s Octet came to him in a dream, perhaps it was no coincidence that in this reading by Orpheus at Carnegie Hall, the piece radiated a dreamlike tranquility. Even when the tempi increased, there was still a sense of internal composure, right through to the fleet runs in the finale. The eight musicians exuded a sense of barely contained joy, perhaps tempered with some impish glances.

 

That sense of propriety evaporated somewhat when violinist Ryu Goto (Midori’s younger brother) came onstage to a rock star’s welcome. When the noisy audience quieted down, Goto and the musicians gave a warm, lyrical account of Bruch’s First Violin Concerto. Goto wore the suave demeanor of someone who knows his talent, knows his Bruch, and knows how to work with a democratic-minded group like this one. Technically assured, he has a big sound that works well in this piece: sweet when needed, but able to negotiate some of the fearsome climaxes that the composer throws in just to make sure everyone is paying attention. A few wobbly moments in the final movement did nothing to dampen audience enthusiasm, and as an encore, he offered a hot-blooded account of Nathan Milstein’s Paganiniana

 

But Orpheus perhaps saved the best for last: a gripping reading of Beethoven’s Second Symphony. From the first bars, the group seemed to double in size, offering propulsive energy while maintaining transparency. During the second movement, just when one might have thought “too civilized,” the group donned battle armor and threw out explosive climaxes. Quiet moments had alluring warmth, and some ingratiating flute work brought the movement to a gentle close. In the scherzo, the group handled its tricky, off-kilter rhythms with enormous ease, given that there was no conductor to help, and the finale again showed the ensemble shepherding the tiniest details.

 

Bruce Hodges