Danzmayr rescues Oregon Symphony program and Bronfman stars in Rachmaninoff concerto

Oregon Symphony’s new maestro, David Danzmayr, saved the day in last weekend’s series of concerts. The scheduled conductor, Jun Märkl, experienced visa problems and could not make it to this side of the pond. Danzmayr, who happened to be in town, stepped up and showed a lot of savvy on the podium at the Arlene Schnitzer Concert Hall on November 6, teaming up with Yefim Bronfman to dazzle the audience with Rachmaninoff’s Concerto No. 3. Danzmayr and the orchestra topped that with finely honed interpretations of works by Modest Mussorgsky, Anna Clyne, and Richard Strauss

Rachmaninoff’s Third Piano Concerto is considered one of the most difficult in the repertoire with very few pauses for the soloist. Bronfman started the piece quietly and shaped each phrase with care, which invited the listeners into the fantastic soundworld of the composer. His articulation, even while racing up and down the keyboard, was amazing. He demonstrated terrific control, especially exposed in the cadenzas, where he could accelerate into bravura, splashier passages and then shift effortlessly into slow and gentle ones that were as delicate as a daisy.

The orchestra supported Bronfman’s playing deftly. The brief, muted horns in the first movement were just perfect. Kudos to all of the musicians for making the concerto a hit. The patrons in the hall cheered with gusto after the grand finale, calling Bronfman back to the stage several times. He calmed things down by offering a tender Chopin nocturne as an encore. That was wonderful.

The program opened with the Introduction (“Dawn on the Moskva River”) to Mussorgsky’s opera “Khovantchina.” Evoking the tranquility of a morning along the water’s edge, the orchestra created hushed and lovely hues that included bell-like chords from the horns and a touching sense of longing from the flute and clarinet solos.

Anna Clyne’s “This Midnight Hour” opened with a furious, rhythmic rush from the lower strings that seesawed to the brass and back to the lower strings – setting the stage for more sonic turbulence that spread into every section of the orchestra, developing into a chaotic swirl. From this point, a melodic line emerged, and gradually a sense of relaxed order settled in – with two trumpets, stationed in the choir loft behind the orchestra, playing repetitive descending lines that differed slightly. Everything quieted down to a pianissimo until a very loud strike from the timpani marked the end of the piece.

Clyne’s piece seemed to suggest the state of someone who was dealing with a mental episode. In any case, it was an appropriate segue to Strauss’ “Til Eulenspiegel’s Merry Pranks,” which received a splendid performance from the orchestra. Principal French horn, Jeff Garza led the way in creating the jocular tune of the legendary prankster. The musicians expertly conveyed his shenanigans all the way to the gallows.

It was terrific to see Danzmayr rescue the program with top-notch conducting. The orchestra is in good hands.