The regular concert series
of the Orchestre National de France began September 19 and 20, with
Kurt Masur inaugurating his first season as Music Director. The program
started with a familiar work in his repertory, the suite from Prokofiev's
ballet "Romeo and Juliet." It was followed by the contemporary Russian
composer Sofia Gubaidulina's Viola Concerto with viola virtuoso Yuri
Bashmet and, after the intermission, there was an interesting pairing
of Paul Dukas' "The Sorcerer's Apprentice" and Richard Strauss’ tone
poem, "Till Eulenspiegel." The Orchestre National de France, the first
of the orchestras of Radio France, was somewhat neglected in recent
years by its previous musical director, Charles Dutoit, and hopes are
high for this new alliance.
There was a new flexibility
of phrasing and a broadness of musical expression noticeable in the
Prokofiev. This was in contrast with a more reserved approach Masur
took when I heard him perform this work in New York. Time will tell
if the new expressiveness was a feature of opening night excitement
or if it signals a new, freer interpretative direction for the 76 year-old
conductor. The Gubaidulina concerto was masterfully played by the reigning
violist of the day, the Ukrainian Yuri Bashmet. His long hair and gaunt
features, say his publicists, suggest a rock star but his demeanor suggested
a rather more sinister apparition. His is clearly a master of his instrument
and his soulful intensity made a considerable impact along with the
involving, mournful concerto.
The second half of the
concert put together two pieces with probable deliberate intent. The
"Sorcerer's Apprentice" is a work that many will always associate with
the Walt Disney epic, evoking images of Mickey in his outsized magician's
cap. As a result, this work would, for example, never appear in a regular
concert program in America but would always be relegated to the "pops"
summer concerts, if it were played at all. Masur is, I think, suggesting
that it deserves a place in the regular repertory as a splendid example
of Dukas' talent. His interpretation was serious of purpose and underscored
the inherent grandeur and brilliant orchestration of this work. The
final work, the flashy Strauss tone poem, "Till Eulenspiegel's Merry
Pranks," is another old favorite of Masur and was conducted with brio.
It had the unfortunate effect of exposing weaknesses in the woodwinds,
and particularly the brass, which shows that Kurt Masur has not inherited
a world-class ensemble. At least not yet.
The first seasonal appearance
by the orchestra and Maestro Masur, on September 18 at the studios of
Radio France was for a largely invited audience and was broadcast live
nationally. An odd assemblage of music, it attempted to establish the
newcomer's credentials in the interpretation of French music and as
well as to show off his strengths in his traditional repertory. The
opening piece, a last-minute addition to the program, was in memory
of the composer Yves Daniel-Lesur. His death on July 2 at the age of
93 was little noted in the press here but his brilliantly crafted and
compelling 1946 symphonic poem "Andrea del Sarto" underlined the loss
to the musical patrimony of France. This was followed by a dynamic reading
of Bartok's "Divertimento for String Orchestra" that showed off the
virtuoso strings of the orchestra to full effect. Before the intermission
the violin concerto from 1985, "L'Arbre des songes" by Henri Dutilleux,
was given a polished, if somewhat superficial, performance by violinist
Luc HÈry. During the intermission, fans jostled for an autograph
of the 86 year old composer, present in the audience, as if he were
a film star. The concert ended with one of Haydn's Paris symphonies,
No. 85, which bears the title "The Queen of France" and was said to
be a favorite of Marie-Antoinette, hence the title. Here, Masur seemed
most at home and conducted with high spirits, broad tempos and his usual
rhythmic propulsion.
Frank Cadenhead
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