Chin, Rachmaninoff, and Bartók at Severance

Music of the 20^th and 21^st Centuries was on the program at tonight’s Cleveland Orchestra concert, featuring guest conductor David Afkham and pianist Beatrice Rana. 

The concert began with Unsuk Chin’s subito con forza, composed in 2020 and receiving its first Cleveland performances this weekend.  Creatively orchestrated, it’s a sort of brief fantasia on motifs by Beethoven, with references to the opening bars of that composer’s Coriolan Overture, as well as the dot-dot-dot-dash motif that featured in his Fifth Symphony, Fourth Piano Concerto, and “Appassionata” Sonata.

Rachmaninoff’s Piano Concerto No. 2 in C minor, Op. 18 followed.  This oft performed and recorded work is open to a variety of interpretations.  Rana’s approach took me back to an earlier era; one of luxuriant tone, reflective pace, and elastic tempi.  In some ways, her playing reminded me of Cliburn and Moiseiwitsch in their primes, yet her interpretation was her own.  Afkham was an ideal accompanist, coaxing an old-school romantic sonority from the orchestra but never letting them overshadow the soloist.  Wonderful to hear.  Rana earned an ovation and rewarded the audience with an encore in the form of a wonderfully pointed and witty rendition of Debussy’s Etude for Eight Fingers without Thumbs.

Following intermission Afkham returned to lead the orchestra in Bartok’s Concerto for Orchestra.  Afhkam’ conducting style, sans baton, is unobtrusive.  He brought to the work’s opening measures a sense of quiet mystery before leaping into the movement proper.  The second movement’s Game of Pairs perfectly highlighted each pair of instruments without allowing them to become garish – which is a problem with some recordings, while the third movement’s Elegy sang with eloquence.  The Interrupted Intermezzo’s highlight was the effortless segue between the Hungarian melody and the parody of the jingoistic tune from Shostakovich’s Seventh Symphony.  Afhkam then plunged headlong into the work’s finale, and whirlwind of orchestral tapestry.  Throughout the proceedings, no matter how loud the orchestra’s forte, every strand of music was kept in proportion.  In short, a marvelous performance from beginning to end.

There has been considerable discussion over the past several months as music director Franz Welser-Möst announced that he would not be renewing his contract with the orchestra in 2027.  Klaus Mäkelä was briefly speculated on as a possible successor.  He subsequently signed on to lead the Chicago Symphony Orchestra and, frankly, I think Chicago is a better fit for Mäkelä than Cleveland.  But Afkham should be considered by the board.  He has the qualities that would benefit our orchestra.