Review: Oregon Symphony and Danzmayr deliver intense Beethoven and Andres

 

Beethoven’s “Fifth Symphony” is such a well-known, iconic work – one of the few classical works that pervades even popular culture – that it seems impossible to make it fresh and appealing – especially to a jaded music critic. But the Oregon Symphony under David Danzmayr did just that at the Arlene Schnitzer Concert Hall (February 12). Those famous first four notes were played with stirring intensity and focus – as if almost to grab listeners by the throat or at least the ears and say “listen to this!” The music that followed in the first movement had an insistent, incessant drive, bordering almost on the neurotic.

Then came the second movement with its grand majestic phrases. They decayed and decayed into delicate pianissimos that allowed listeners to hear the bassoons. It was truly magical. The third movement offered glowing horns and murky, mysterious lower strings, the blitzing fugal passage – it all surged and then dwindled down to almost nothing before gathering steam and tension and finally bursting into the gloriously triumphant fourth movement – with fireworks coming from all corners of the orchestra.

The taut orchestral sound resonated throughout entire piece. Every musician seemed to be on fire. Danzmayr, referring occasionally to a tiny score that was placed on his music stand at such a low position you would think that he would need binoculars to see the notes, urged the orchestra with spot-on gestures, and he got all sorts of stunning results – some lines, for example, had enticing crescendos and decrescendos built into them. The overall effect of the Fifth was awesome, and the audience rewarded the performance with thunderous acclamation and cheers – during which Danzmayr recognized the outstanding contributions from each section.

The main work on the first half of the concert was “The Blind Banister,” by Brooklyn-based composer Timo Andres. This piano concerto, which was a Pulitzer Prize finalist in 2016, featured Andres as the soloist, and it will be released as a CD with Andres and the Metropolis Ensemble on Nonesuch Records later this year. The piece was inspired by a poem, ‘Schubertiana,” by Swedish poet Tomas Tranströmer, who won the Nobel Prize for literature in 2011.

Consisting of three movements that flow as one, “The Blind Banister” started out with a tremolo-like passage for the right-hand at the keyboard. Then with his left-hand, Andres created a series of notes that cascaded down the scale. A forceful entry by the orchestra seemed to offer emotional support to the pianist who continued to explore the downward trend in various guises. After a while, both pianist and orchestra created the feeling of someone who is trying to find his/her/their way through a lot of murkiness. Slashing sounds from the orchestra, gnawing sounds, in particular, from the violins – the piece seemed to slow down and break down into a cacophony, then the piano emerges from it all, and in a refreshing upswing, dashes off with the orchestra accompanying with a fanfare of hope.

Like a lot of new works, the piece appeared to be very tricky, but the orchestra made it look easy peasy and Andres made a strong statement with his solo. Danzmayr singled out Concertmaster Sarah Kwak, Principal Trumpeter Jeffrey Work, Assistant Principal Timpanist Sergio Carreno, and the percussion section for their stellar contributions.

The concert program began with Beethoven’s “Egmont” Overture. Led decisively by Danzmayr, it received a totally committed performance by the orchestra – very dynamic with penetrating blasts that contrasted wonderfully with the plaintive passages. The horns also excelled with brilliant staccatos, driving the piece to its heroic end.

Another overture or sorts, “Fate Now Conquers” by Carlos Simon, began the second half of the concert. This brief piece packed a punch with a two-note opening statement. Busy strings and a pulsating rhythm topped off by trumpet calls gave the music a lot of energy. A short melodic line from Principal Cellist Nancy Ives dissolved into the busy maelstrom of the strings, plus interjections from the trumpets. The piece concluded with a fanfare-ish ending. Given the title, I wonder if it could follow Beethoven’s Fifth Symphony, because it has been associated with the idea of fate knocking at the door. So “Fate Now Conquers” would be the follow-up. Right?

In any case, readers should know that Simon has been appointed to the inaugural composer chair with the Boston Symphony. According to the press release, it is the first time that such a position has been created for the orchestra in its 143-year history.