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In 1986, Leonard Bernstein directed his latest tour with the New York Philharmonic as an orchestral conductor, a title deservedly deserved by one of the most revered musicians in the United States.
This excursion brings the Philharmonic Orchestra to the Ravinia Festival. The night began its Bernstein centennial symphony celebration with a revival of this historic program with the Chicago Symphony Orchestra.
I can affirm that the opening show of Marin Alsop's season under the direction of Marin Alsop and the New York Philharmonic could produce tonight in August. For despite Bernstein's exhortations, the Philharmonic Orchestra – which was not particularly well repaired at the time – "showed persistent difficulties of synchronicity, balance, interaction and intonation, "I wrote of this performance
. heard a much more convincing interpretation of Bernstein's Serenade (after Plato's Symposium), as well as a technically agile and dramatically radical narrative of Tchaikovsky's Symphony No. 6. No wonder, perhaps, considering Alsop's affinity for Bernstein's music "
The Bernstein Serenade equates to a violin concerto of any kind, and that would be a euphemism for anybody. observe that soloist Joshua Bell eclipsed the indefinite version offered. a few years ago by the violinist Glenn Dicterow, then the first violin of the Philharmonic. Where Dicterow's performance has turned out to be musical but bland, fluid but indifferent to the underlying jazz of the finale of the work, Bell's narrative was radiant, deeply lyrical and of an intensity incredible emotion.
We expected so much from Bell, one of the most overtly expressive. concert violinists of today, but this performance of the "Serenade" also had other virtues. For starters, Alsop happens to be a like-minded musician, more interested in the warmth of the timbre and line bow than by technical bravery or showmanship as such. One could not therefore confuse the current discourse between Bell's long lyrical sentences and the comparable orchestral responses, quite appropriate for a work freely based on Plato's dialogue "The Symposium"
. the third movement of the scherzo ("Eryximachus"), which some violinists exploit for velocity and visceral impact. Instead, Bell has formed bird-like figurations to bring out the melodic forms underlying the fireworks, with Alsop providing a flexible orchestral cushion. In the end, this reading focused on the outline and content rather than the hypervirtuosity of the Paganini type
For those who consider Bernstein to be above all populist, consider the depths of the fourth movement ("Agathon") and the first section of the fifth ("Socrates: Alcibiades"). Here are some of the most penetrating pbadages ever written by Bernstein, the melodic progress of the work at once surprising and inevitable. Even in the pianissimo pbadage high in his instrument, Bell emphasized the beauty of the tone and legato silk line. Alsop pulled from the orchestra a slow but inexorable crescendo that finally receded to a whisper.
In the final move, Bell and CSO principal cellist John Sharp lined up with each other with comparable fervor. In this performance, Bernstein has not failed to love jazz syncope and rhythmic propulsion.
Alsop attaches great importance to the clarity of the textures and the primitive musical structure, revealing his interpretation of Tchaikovsky's last symphony, Pathetique. the distinctions between the instrumental sections and the lucidity of the voice were undoubtedly apparent. If the third movement in the form of a march could benefit from a more sustained tempo, one could at least understand what pursued Alsop: majesty rather than mania.
His best work appeared in the last movement. Not being afraid of a deliberate tempo and insisting on the ardent phrasing of the strings, Alsop delved deeper into the meanings of the music than one could reasonably expect in a set. outside.
Altogether, a great start for Alsop's CSO / Ravinia concerts
Ravinia note: Christine Taylor Conda, director of Reach Teach Play's educational programs in Ravinia, was appointed chair of the board of directors El Sistema USA's administration for a one-year term. El Sistema USA supports educational efforts inspired by El Sistema, a program native to Venezuela that allows children to learn music.
Howard Reich is a critic of the Tribune.
Twitter @howardreich
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