For the second time this season, the conductor scheduled to lead the Oregon Symphony concert could not enter the United States because of visa problems. Just a few weeks ago David Danzmayr stepped in for Jun Märkl to inspire the orchestra. This time around, Andrew Grams replaced Jonathon Heyward, who also could not enter the United States from Europe where he is the Chief Conductor of the Nordwestdeutsche Philharmonie. But Grams really saved the evening (November 20) at the Arlene Schnitzer Concert Hall because the program included Stravinsky’s “Agon,” a rarely performed ballet that could have been disastrous with a less-gifted director. In fact, Grams and the orchestra made the Stravinsky a highlight of the evening, rivaling the impeccable playing by James Ehnes of Mozart’s Fourth Violin Concerto. To top that off, Grams led the musicians in stirring performances of Kareem Roustom’s “Dabke” and Tchaikovsky’s “Romeo and Juliet Fantasy Overture.”
Stravinsky wrote “Agon” in the 12-tone technique, which can sound abstract, dissonant, and dry to the ears. But in Grams’ hands, “Agon” had shape and emotion that made its eccentricity fun to hear. It turns out that Grams, in his earlier career as a violinist, has played this piece numerous times. He elicited an exciting interpretation that skillfully accented the many quirky ensemble combinations, such as timpani, flutes, xylophone, trombones, and concertmaster Sarah Kwak playing in one of the movements. Another featured harp, mandolin, piano, timpani, flutes, basses, and cello. At times, the piece seemed to have an ancient, fragmentary allure, and that made me wonder how dancers would interpret it. It all flowed together so well that the audience rewarded it with sustained applause.
Ehnes, a frequent guest artist with the Oregon Symphony, delivered an elegant and inspired interpretation of Mozart’s Concerto No. 4 for violin and orchestra. Playing with impeccable clarity and control, Ehnes also gave each phrase just the right dash of salt and pepper to make the piece fresh and invigorating. It was a mesmerizing performance by a great artist who makes it all look so effortless. Enthusiastic applause and loud bravos brought Ehnes back to center stage several times, and I think that some folks wanted an encore, but they will have to wait for another engagement from the stellar Canadian virtuoso.
Digging into the rhythmic propulsion of “Dabke” by Syrian-American composer Kareem Roustom, the strings created terrific sonic textures with a Middle Eastern temperament. The violas and basses had a couple of flings with thrumming, thematic lines that jolted the piece forward. I loved the quick, sliding sounds and the intense pizzicato passages. Kwak and the principal strings deftly showed their expertise in several exposed sections, and the piece came across in stunning fashion, resulting in vigorous and loud acclaim from all corners of the hall.
The concert closed with a superb performance of Tchaikovsky’s “Romeo and Juliet Fantasy Overture.” Highlights included the swirling, chaotic sounds of the fight scene, and the lush, romantic melody that soared with passion before descending into sadness – with the cellos and basses and finally the last heartbeats from the timpani signaling the lovers’ deaths. It was breathtaking to hear and concertgoers again responded with heartfelt acclamation.
Unsung hero
For his work behind the scenes, Charles Calmer, the orchestra’s vice president for artistic planning, deserves high praise. With only a four-day notice to find a conductor to replace Heyward, Calmer fortunately contacted Grams, who knew the Stravinsky piece forwards and backwards and led the hometown band in another exceptional concert. But with the pandemic still causing problems in Europe, it looks like Calmer will have to be at the ready in the New Year for more last-minute replacements. Hmmm.... maybe we will see Grams, who was until recently the music director of the Elgin Symphony, in the very near future.
No comments:
Post a Comment