United States Benjamin, R. Schumann, Dvořák: Kirill Gerstein (piano), Cleveland Orchestra / Edward Gardner (conductor). Mandel Concert Hall at Severance Music Center, Cleveland, 27.10.2022. (MSJ)
Benjamin – Ringed by the Flat Horizon
R. Schumann – Piano Concerto in A minor, Op.54
Dvořák – Symphony No.7 in D minor, Op.70
In concept, it sounds simple: determine what makes the music work, discover ways to play it that manner, and keep in mind to place some coronary heart into it. When utilized virtually to the music of Robert Schumann, it turns into such an enormous job that almost all musicians don’t trouble making the hundreds of choices per web page it takes to make his music come to life. I do know of no nice composer extra poorly served in fashionable performances than Schumann.
Some of that’s, certainly, Schumann’s fault. Yes, as his defenders level out, his orchestrations do, in reality, sound higher on interval devices than on beefier sounding fashionable devices, however a look at his scores exhibits the obsessive tendencies of a composer who suffered from insecurity and instability. Schumann is way from being the one nice composer who overstuffed his scores due to doubt: greats like Wagner, Brahms and even Richard Strauss have their moments of bloat. But Schumann wants considerate sorting, editorial selections on which notes ought to obtain delicate emphasis with a view to harmonically steer his works.
Kirill Gerstein is the type of pianist prepared to do the work, however he’s additionally in a position to put that mind in service of the music’s emotion in efficiency. Schumann’s acquainted piano concerto is usually given a heat, genial rendition with every part blurred by nice swaths of sustaining pedal. It leaves a considerably imprecise however heat feeling, and that’s typically sufficient to allure an viewers.
Gerstein’s efficiency with the Cleveland Orchestra was one thing else once more. I suppose it may not be everybody’s cup of tea (or, for individuals who want a whole lot of sustaining pedal, tub of gravy). But I discovered it revelatory. Every phrase had been weighted to find out which notes in chords and passages have been those that moved the coherent argument of the music ahead, and Gerstein achieved that cautious stability with a watch on the long-term progress, ebb and circulate of the music. That, in itself, may very well be illuminating sufficient. But he then went the additional distance to make use of his sensible evaluation to energy the emotional surge of this music.
Instead of blurring every part, Gerstein barely used the pedal in any respect, blowing away fog and cobwebs with a tone that at instances used a flinty edge to make it clear that Schumann really was struck by genius on this music. The harmonies have been adventurous and vigorous, the sense of rhythm frivolously sprung. The first motion was alternately stormy and introspective, however Gerstein saved it unified as one flowing arc, supported by the lively participation of conductor Edward Gardner, who refused to only beat time passively. The Cleveland Orchestra was energized by the insightful pianist and engaged conductor, delivering a wonderful efficiency. The sluggish motion was poised, with Gerstein typically turning to interact personally with the gamers. The third motion mixed virtuosity with stirring surge. I’ve heard this concerto stay, carried out by such luminaries as Radu Lupu, Leif Ove Andsnes and David Fray amongst others. Simply put, this was higher. To show his approach, Gerstein provided Chopin’s ‘Grande Valse’ in A-flat as an encore.
The perfection of the Schumann mustn’t eclipse a robust Cleveland debut by British conductor Edward Gardner. He opened the live performance by making a couple of well-focused feedback on George Benjamin’s Ringed by the Flat Horizon, the orchestral work which launched the composer’s profession in 1980. While Benjamin himself has performed the Cleveland Orchestra, this was the primary time his genesis work was carried out right here, and Gardner helpfully identified the piece’s relationship to Messiaen and Sibelius. He guided the orchestra by way of the sometimes-thorny tone poem meditatively depicting the strategy and passing of a desert thunderstorm. The orchestra tore into it with dedication, some string gamers having to tear damaged hairs from their bows as a result of depth of assault. Principal cello Mark Kosower provided lyrical solos between stormy bursts. Particularly vivid was the col legno (performed with the wooden of the bow) hailstorm depicted by the low strings close to the top. Throughout, Gardner saved a watch out for the woodwinds, ensuring they by no means bought misplaced within the wealthy textures.
Gardner led Dvořák’s Seventh from reminiscence, persevering with his consideration to the winds, sorting textures for readability, whereas encouraging heat and weight from the strings in acceptable locations. His basic tempo for the primary motion was broad, with delicate accelerations as turbulence grew. His time beating was clear and huge, designed for practicality not flash. The sluggish motion successfully countered surge and spark, although I felt Gardner did circulate slightly too easily previous the harmonically unusual chords which twice convey up unanswerable questions. One can clearly sufficient level out that these chords are an imitation of comparable ones within the sluggish motion of Brahms’s Third, however that doesn’t change the truth that they want some sort of emphasis or consideration. Their spooky strangeness appears to foreshadow Dvořák’s later folkloric tone poems, an vital however not often heard succession to his symphonies.
The Scherzo was poised and fleet, with well-sprung rhythms carrying it ahead, although extra might have been carried out with the cross-rhythms typical of the Czech furiant dance. Gardner selected to not mark the syncopations strongly, utilizing momentum over interruption, a legitimate alternative, although not the one one. The Finale constructed up head of steam regardless of slowing down for the genial second theme on each of its appearances. Those with lengthy recollections in Cleveland might recall the way in which former music director Christoph von Dohnányi charged by way of this motion, a person on a mission to not launch rigidity till the ultimate chord. Gardner didn’t push as aggressively, although his slowing within the coda was efficient. He appeared to show extra chemistry with the orchestra than Iván Fischer did on this work, which was the latest time I heard it stay in Cleveland, fairly a couple of years again.
It might show worthwhile for the Cleveland Orchestra to construct a relationship with Gardner. Not a flashy, headline-grabbing conductor, he nonetheless might but show to be the type of gifted however severe and devoted musician who grows into greatness because the years go by whereas the flashy stars burn out.
Mark Sebastian Jordan