Beethoven & Mendelssohn with Blomstedt at Severance

Herbert Blomstedt returned to Severance Hall to conduct the Cleveland Orchestra this weekend.  Everything that was missing from the previous weekend’s concerts under Harry Bicket (which I did not bother to review), was gloriously present.  The program neatly paired two works focused on nature: Beethoven’s Pastoral Symphony and Mendelssohn’s Scottish Symphony.

Beethoven in the country. 

The scores for both Symphonies were present on the conductor’s podium.  But Blomstedt, now a sprightly 91, never opened either of them and conducted both works from memory and without baton.  The opening movement of Beethoven’s Pastoral featured brisk tempi that never sounded rushed, with each passage growing organically into the next – a portrait of a Beethoven who was eager to return to his beloved countryside.  The scene by the brook was a beautiful study in subtle dynamics and transparent texturing, with the woodwind birdcalls were beautifully proportioned rather than garishly highlighted.  The gathering of country folk featured a dance that was colorful in its rusticity, contrasted by a storm that never sacrificed balance in favor of volume.  The symphony concluded with a Shepherd’s Song that was more than beautifully conveyed – it was heartfelt.  On a personal note, after a difficult few days, my soul felt refreshed and cleansed.    

The program for Mendelssohn’s Scottish Symphony is less explicit and more implied than Beethoven’s.  After the work’s Andante introduction, Blomstedt launched into the agitated movement proper, emphasizing the work’s conflict.  The second movement, which is reminiscent of a Scottish folk dance, moved along lithely with various sections tossing the primary theme back and forth - which Blomstedt made sure never got lost in the action.  Despite being labeled as an Adagio, the symphony really has no slow movement - with plucking strings ensuring a sense of motion.  This proceeded directly into the sturm & drang of the finale which, apologies to Otto Klemperer, featured a coda that was just fine as written.