Review: Kwak brings out the best of Bruch - Oregon Symphony excels with Brahms and Nielsen under Kluxen

Sarah Kwak, Christian Kluxen, and the Oregon Symphony | from OSO's FB page

Exquisite playing by violinist Sarah Kwak and top-notch directing from guest conductor Christian Kluxen highlighted the Oregon Symphony concert (February 8) at the Arlene Schnitzer Concert Hall. It was a well-balanced concert that accented the highlands of Scottland in Max Bruch’s “Scottish Fantasy for Violin and Orchestra,” the stormy shores of Denmark in Carl Nielsen’s “Symphony No. 2,” and the Brahms’ throwback to the classical style in his “Variations on a Theme by Joseph Haydn.” Danish conductor Christian Kluxen led the program with great style and poetic verve.

Kwak, who is in her thirteenth season as the concertmaster of the orchestra, gave an exquisite performance of the Bruch. Its graceful melodies and playful dances were conveyed by Kwak with beautiful phrasing – as if her violin were singing. Kwak also played the fast and technically challenging passages of the final movement impeccably and with elan.

The orchestra, guided expertly by Kluxen supported her perfectly. The harp, centered just behind the strings and played by Matthew Trusky, sounded heavenly.

Receiving its first-ever performance by the orchestra, Nielsen’s “Symphony No. 2” (“The Four Temperaments”) offered quite an array of sonic diversity. Based on the ancient theory that each human’s personality comes from four different bodily fluids, Nielsen’s symphony expressed the Choleric (impetuous and angry), the Phlegmatic (calm and carefree), the Melancholic (wistful and sad), and the Sanguine (cheerful and positive).

The orchestra delved into each fluid/movement with gusto. The first exhibited stormy bursts, sharp attacks, sforzandos, fanfares, and a crisp ending. The second slowed the pace a bit and bordered on contemplative with a couple of lovely passages before ending quietly. The third slowed down further, exhibiting a dark, sorrowful quality that was heightened with a lovely plaintive solo by Assistant Principal oboist Karen Wagner. The fourth featured expansive sounds from the horns, ponderous brass, and playfully vigorous passages from the entire ensemble

Kluxen shaped the piece very artistically with evocative gestures that elicited a superb performance from the orchestra. Sometimes he dropped his arms to his side and used his face and shoulders to get what he wanted. It was a consummate performance that exuded warmth and made the Nielsen shine.

The “Variations on a Theme by Joseph Haydn” opened the concert with Brahms appealing inventiveness. The eight variations were expressed with dynamic nuances that kept each one fresh so that the piece sparkled with verve. My favorite is Variation IV: Grazioso, which has gently lilting melodic line that is filled with summery, bucolic vibrations. What impressed me a lot was how the musicians listened to each other while playing – as if they were an intimate chamber ensemble.

The only downside to the concert was that it was poorly attended. Lots of folks missed an outstanding concert that featured the artistic wizardry of Kwak and terrific conducting by Kluxen. There didn’t seem to be a particular reason for the smaller crowd. Weather and the Super Bowl (scheduled for the next day) didn’t factor into the equation. Perhaps it was just a general malaise that afflicted Portlanders. Whatever the case, it would behoove my fellow residents to get to the Schnitz to hear this fantastic hometown band.