Oregon Symphony and Märkl explore memory with works by Dutilleux, Ravel, and Prokofiev

The Oregon Symphony, led by principal guest conductor Jun Märkl, presented a program (November 21) at the Arlene Schnitzer Concert Hall based at least in part on music as a response to a cataclysmic event in the past. Henri Dutilleux’s “The Shadows of Time” was a reaction to WWII and Maurice Ravel’s “Le Tombeu de Couperin” to WWI. Ravel’s “Le Valse” looked back at fin de siècle Vienna when the waltz reigned supreme. Sergei Prokofiev’s First Violin Concerto, which featured concertmaster Sarah Kwak, was not shaped by a past event, but the composer did have to wait five years before it was premiered because of the Russian Revolution in 1917.

Dutilleux’s “The Shadows of Time” painted a somber sonic collage that explored a sense of loss and remorse over deportation of Jewish children to Nazi concentration camps. Consisting of five movements that flowed without interruption, “The Shadows of Time” struck an eerie and defiant statement against an injustice. It had periodic shrieks and blasts, some passages sank into a foggy blur, and others were strident. Three girls from the Pacific Youth Choir probingly sang “Why us?” Growling double basses and contra bassoon meshed with the timpani in a disturbing way. Sounds continued to shift, sometimes sighing, sometimes swirling. The total effect of “The Shadows of Time” was arresting and thought-provoking – sort of a ying-yang of emotional and intellectual moods. The piece ended quietly, and, it seemed, in regret over humanity’s inhumanity.

Kwak delivered a lithe and incisive performance of Prokofiev’s “Violin Concerto No. 1.” In the first movement, Kwak elicited creamy, elegant lines that had an ethereal quality. One section was highlighted with Kwak’s lovely sound accompanied by flutist Zachariah Galatis and an underlayment of tremolo strings. In the second movement, Kwak generated a playful mood that became propulsive and edgy before breaking into a faster, more exuberant pace and a spot-on, quick ending. The third movement featured lyrical themes that, at one point, was augmented by the evocative playing of principal tuba, JáTtik Clark. Kwak masterfully commanded the high register to fashion refined, swirling trills that brought the piece to a whispery close.

Ravel dedicated “Le Tombeau de Couperin” to four friends who were victims of the First World War, but he decided to make the piece uplifting rather than solemn. One of the best things about this concert was hearing this music with Märkl, a terrific master of French music, on the podium. He had a magical way of shaping the piece and bringing all of its dancing colors to the foreground. The energetic Prélude was spirited. The Forlane felt as if it floated effortlessly. The Menuet had a tinge of mystery, and the Rigaudon hopped about joyfully. The woodwinds played impeccably and with verve. Steller playing by principal oboe Martin Hébert highlighted each movement.

To wrap things up with a cataclysmic whirl, Märkl and the orchestra expressed Ravel’s “Le Valse” with panache – starting super quietly, letting the graceful waltz themes emerge, teasing the audience with an ebb and flow in the pace and dynamics, then becoming herky jerky as if everything were flying out of control, and finally smashing all over the place. It was a terrific way to let go of the past.