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SEEN AND HEARD INTERNATIONAL
CONCERT REVIEW
An unruly bunch, this gang from St. Petersburg. Under the apparently
benign direction of conductor Yuri Temirkanov, this most Russian
of orchestras blew into San Francisco with a sound that was the
antithesis of the mellow roundness of most European symphony
orchestras. Lacking the precision of the best American bands,
either, the musicians simply geared up their individuality and
tore into the music Sunday evening in the first of two concerts
presented by the San Francisco Symphony's Great Performers series.
Rimsky-Korsakov's Russian Easter Overture opened the
program, the orchestra shaking off cobwebs until gathering itself
into a cohesive machine for the final pages. A rip-snorting
rendition of the Shostakovich Cello Concerto No. 1 followed, the
dazzling American Alisa Weilerstein as soloist. The evening
concluded with Brahms' Symphony No. 4, which sounded almost as
Russian as the first half did.
The highlight was the concerto, which this orchestra, then known
as the Leningrad Philharmonic, debuted in 1960 with Mstislav
Rostropovich as soloist and Evgeny Mravinsky on the podium.
Judging by the many gray heads among the musicians, it wouldn't
surprise me in the least to learn that some of them played in that
concert. It certainly sounded as if they had a deep familiarity
with the music.
Weilerstein whipped her end of the music into a frenzy of angst
and anger, a stunning reflection of exactly what Shostakovich
certainly had in mind. Her intensity and drive set the nervous
first movement in motion from the first notes, building to
ferocious climaxes. Yet she lacked nothing in technical clarity,
every note articulated with bang-on intonation (which is more than
can be said for the orchestra) even the high harmonics in the slow
movement. Her sound in the lyric passages was warm and inviting.
The finale, which ramps up the intensity even further, built up
tremendous momentum before snapping a string with about two
minutes to go in the piece. The musicians managed to pick things
up from where they left off, but it lost some of its power on the
finish. Still, this was an incendiary performance of this music,
as riveting as any cellist and orchestra I have ever heard.
The overture, full of individual moments, managed to showcase
virtually all of the first chairs in the orchestra. Concert master
Lev Klychkov, with his mane of long gray hair, took his moment in
the spotlight with bravado. A percussionist must have thought he
was playing a cymbal concerto in the final measures, but the flute
and oboe solos were rich and supple. The brass, especially the
trombone section, made stentorian sounds.
Anyone expecting traditionally ripe, round sound in the Brahms
symphony might have been infuriated. But there is something to be
said for applying a different approach to familiar notes to see
what comes out. It started with the very first note, which
Temirkanov conducted to let hang in the air an extra beat, like an
opera singer milking a favorite pitch. Normally, as a pickup note
on the fourth beat, it gets its true value and no more, leading as
it does to the downbeat. That little fillip signaled that this was
going to be a very individual approach. Throughout, Temirkanov
manipulated tempos, applied unexpected rubatos and accented
different notes than one is accustomed to hearing in Brahms.
The growling sound coming from the brass, the edgy intonation from
the woodwinds and the sharply delineated bowing from the strings
lent an entirely Russian cast to the music. At times the opening
movement sounded like a young Shostakovich might have gotten his
hands on it. The horn soloist in the second movement played the
mellow melody as if it were a hunting fanfare, which made the
nostalgic sadness inherent in the music come off as sheer
grumpiness. The finale could have been some blend of the
complexity in Tchaikovsky and the gruff power of Mussorgsky. Was
it Brahms? Well, the notes were. Was it exciting? It kept my
attention, although I doubt if I would want to make this rendition
my Platonic ideal.
An encore, a gorgeous if somewhat speedy performance of the
"Nimrod" movement from Elgar's Enigma Variations, poured
balm over the proceedings.
Harvey Steiman