Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
“Going out in a blaze of glory” may be a hackneyed phrase but it was applicable to yesterday afternoon’s concert at Ambassador Auditorium that concluded the Pasadena Symphony’s 86th season. Guest conduct Jahja Ling (left) and the musicians ended the program with a scintillating and superbly played performance of Shostakovich’s Symphony No. 5 in D Minor.
And yet it wasn’t the brass blazing or percussion thundering in the final measures that was the highlight for this critic. Instead, it was the expansive “Largo” movement, a symphony for strings with occasional woodwind and harp interjections that Ling and the orchestra delivered sumptuously. Shostakovich divided each of the string sections into two components (three for the violins) and Ling expertly delineated each of the sections in a way that was unusually comprehensible to those in the auditorium.
Surrounding that languid third movement, Ling — who just completed his 10th season as music director of the San Diego Symphony — drove the opening and closing movements forward with relentless urgency and caught all of the sardonic, lurching humor in the “Allegretto” second movement.
The orchestra, which always seems to relish playing music by this 20th century composer, was in top form again in yesterday’s performance. Although Ling singled out many individuals in the winds and brass sections during the bows, he asked the strings to stand en masse, which was a pity because he might well have asked the split sections to take their own bows.
Pairing Shostakovich’s fifth symphony with Tchaikovsky’s Piano Concerto No. 1 turned out to be an excess of bombast. There were, of course, dangers of over-exposure. If Tchaikovsky’s first isn’t the most-played concerto ever written, it’s No. 1A to George Gershwin's Rhapsody in Blue, especially in Southern California where, because of outdoor and indoor concerts, we hear several performances of each most years. Nonetheless, the combination proved to be a savy marketing move. Yesterday afternoon’s audience appeared to easily be the largest this season and the evening concert was nearly sold out.
The soloist yesterday was 38-year-old Israeli-born pianist Shai Wosner, who has made quite a good reputation recently playing Schubert and Mozart, but has come very late to this famous work, which he was performing in public for just the third time. In his preconcert Q&A yesterday, Wosner admitted candidly, “I’m still unwrapping this work and trying to get my mind around it. Perhaps by the 150th time I will fully understand it.”
His inexperience showed. Wosner delivered an ultra-cautious performance that had only the minimum amount of dazzle, although his decision to focus on sensitive nuance at the expense of bravura had its compensations. In the end, however, at least this listener wished he had elected to program a Mozart concerto instead for his PSO debut.
• In that preconcert session, Wosner — who studied at The Juilliard School with Emmanuel Ax — said that famous mentor taught him that “what you hear onstage may be different that what they [the audience] hear. The best performances are when those two views come together.”
• This was the last concert of a four-year-run to be led by guest conductors. PSO management said that ticket sales for the 2013-2014 season exceeded goals by 30%.
• Beginning Nov. 1, the 2014-2015 season will have either Music Director David Lockington or Principal Guest Conductor Nicholas McGegan on the podium. My preview is HERE.
• Joseph and Elizabeth Kahn’s program notes yesterday called the first piano concerto and violin concerto “Tchaikovsky’s two most popular works,” a questionably sweeping statement that tosses aside the 1812 Overture, the Nutcracker, and the composer’s fourth, fifth and sixth symphonies.
• The PSO takes a four-week break before reincarnating as the Pasadena Pops, which performs a five-concert summer series at the Los Angeles County Arboretum under the baton, keyboard and vocals of Principal Conductor Michael Feinstein. Info: www.pasadenasymphony-pops.org
(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.