Anderson, Martinů, and Tchaikovsky at Severance

This weekend’s Cleveland Orchestra concerts at Severance Hall combined a US premiere, a local premiere, and a repertoire favorite for a most satisfying program.  The guest conductor was Semyon Bychkov.

The US Premiere was the Symphony No. 2, titled “Prague Panoramas,” by British composer Julian Anderson.  The work was not so much inspired by the city itself, which the composer didn’t visit until after the symphony was completed, but by a series of panoramic photographs taken by Josef Sudek.  The photos are of remarkable clarity, and so is Anderson’s comprehensive orchestration, which featured extensive percussion including a tuned Thai gong, ocean drum, vibraphone, marimba, and numerous types of bells – the latter a poignant reminder that during their occupation of Prague, the Nazis stripped the city of every bell they could find and sent them to Germany to be melted down for ammunition.  The work is more a series of textures and sonorities than a development of themes, and the composer’s approach is too cosmopolitan to confine the work’s inspiration to one city or nation.  It bears further hearing, particularly the central movement in which a desolate sensuality pervaded.  Bychkov, who premiered the symphony in London last year, led an assured, polished performance.  I've never seen Bychkov conduct before; it was a pleasure to observe how he conducted the orchestra and not the audience. 

Josef Sudek's panorama of Prague's Charles Bridge.

The Severance stage, 

showing the extensive orchestration for Anderson's Symphony.

Following intermission, conductor and orchestra were joined by duo pianists Katia and Marielle Labèque – the latter of whom is Bychkov’s wife – for Martinů’s Concerto for Two Pianos.  The work is dissimilar to other works in the genre.  Instead of contrasting passagework, the opening movement features the pianists doubling each other – a considerable challenge in coordination.  The central movement begins with some arresting runs on the pianos before settling into a narcoleptic spell – the sense of disorientation is enhanced by the fact that much of the piano part is written without bar lines.  The finale has an upbeat appeal, and the performance elicited an enthusiastic audience response.  The pianists offered an encore: a new rag-like work by Phillip Glass.

The Labèque sisters following the concerto.

What struck this listener most about Bychkov’s rendition of Tchaikovsky’s Romeo and Juliet Overture Fantasy was its musicality.  The conductor paid unusual attention to the lower levels of dynamics at the beginning – the little crescendos and decrescendos that bring music to life.  This was doubly effective as the fortissimos further into the piece seemed truly shocking.  Juliet’s theme was given an expansive, yet non-schmaltzy treatment.  Tchaikovsky revised the work over a decade’s time until he was satisfied with it.  It was a rare pleasure to hear the work played not as a well-worn warhorse, but as music worthy of respect.