Last-minute conductor Andrew Grams elevates Stravinsky ballet and Ehnes delivers impeccable Mozart at Oregon Symphony concert

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.

Hilary Hahn, OSO dazzle with the Nielsen Violin Concerto

On Monday night, March 10, Portland music lovers got a chance to hear some fantastic fiddling by the virtuoso Hilary Hahn playing the Carl Nielsen violin concerto, and the OSO played some old favorites by Grieg and Richard Strauss. Guest conductor Andrew Grams took the helm for the evening.

The famous Suite No. 1 From Peer Gynt was the evening's appetizer. As the Morning Mood began, the especially warm and lush oboe was soon hidden behind over-eager strings and winds that were a bit clipped...it felt as though Grams were hurrying things along, whether to get to the less 'trite' middle movements or through fear of being thought overly sentimental who knows; in any case the strings were restrained later but by then it was a bit late to savor this mood.  The middle parts were much more judicious; the Death of Aase began like a somber requiem, the tenderest lacrimosa fading toward a barely-heard final cadence. The intense dynamics of the dance were fiercely separated, like two differing characters navigating the bipolar modality of the piece. The Hall of the Mountain King again lacked balance; the all-important ostinato was understated and at times not even heard, swallowed in the end by the cacophony.

Danish composer Carl Nielsen's Concerto for Violin was a special treat. The composition itself lacked most of the usual fireworks expected in a concerto. Hahn's playing was perfectly suited to this work. Beginning with a marvelous cantabile, she demonstrated throughout a most remarkable deftness, a clarity of diction and an evenness of form; one runs out of superlatives trying to describe playing of this kind. Poise and self-assurance were the watchwords; her blistering cadenza was yet wholly in keeping with the restrained feeling of the work.  To use the diction metaphor again, her iterations came forth purely and clearly, like a current of ideas running directly into one's understanding; an incredible sensation came across that both Hahn's and Nielsen's voices were speaking simultaneously and yet with perfect comprehensibility. Technically she was brilliant as well; in the run-up to the final cadence her chordal figurings featured difficult twittering trills that were executed with seeming ease. It was truly satisfying to watch the mind and fingers of a genius at work; this was undoubtedly some of the finest playing I have ever heard.

The second half was comprised of Richard Strauss' Aus Italien, a programmatic work describing scenes from the young composer's trip through this ancient land that has inspired poets and artists for so long. In the Country was broad and pastoral yet Grams and the OSO did not meander unsuitably; there was purpose here. The journey took us through the ruins of Rome, and one could almost see tumbled walls and the timeless dust of the ages. A shore scene was evocative and somnolent, and the piece closed with a quotation of Funiculi Funicula as a representation of Neapolitan folk life. This was OSO's premiere performance, and the decision to program this work was well-done indeed.