Pittsburgh Symphony Orchestra concert tips the scales
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An orchestra might just be the most scalable of all arts organizations. From a chamber group to a stage packed with musicians, from a dainty Mozart concerto to a mammoth Mahler symphony, ensembles such as the Pittsburgh Symphony Orchestra don't relinquish any precision as the numbers grow.
That was front and center in a concert Friday night at Heinz Hall. Under music director Manfred Honeck, the first half consisted of two works that actually revolve around musical scales. In his Symphony No. 1, Beethoven has fun with that most tedious of tasks -- practicing scales. Mr. Honeck is wont to take the PSO back to, if not basics, then the context of the music. That was classicism for Beethoven, who had not yet cast decorum aside. The strings played uncommonly light and polished in the Viennese style.
Mozart's Piano Concerto No. 16 has fun with the soloist as well. Lars Vogt begins with runs and scales galore before jumping into that pristine lake that is Mozart's keyboard concerti. Barring a slip-up at the very end of the work, the German virtuoso was a marvel of integration. Large-scale conception and sonic immediacy existed simultaneously. Whether crossing hands in a cadenza or suddenly playing as if he had donned velvet gloves, this was an exquisite solo.
The scales tipped after intermission, with two of Respighi's vivid "Rome" works. "Fountains of Rome" came first. It's not a work that resonates with me, despite the fact that viewing the Trevi Fountain at night is utterly spectacular. Maybe the problem is that Respighi writes about it at midday. In any case, that movement of the four was almost garishly performed, a bit out of character for Mr. Honeck.
But what followed, "Pines of Rome," engaged the conductor both musically and creatively. He captured the playful, folkish nature of the children's song in the "Pines of Villa Borghese" and the dark atmosphere of the "Pines Near a Catacomb." The latter sent excellent trumpeter George Vosburgh backstage for an eerie chant-like wail. Clarinetist Michael Rusinek followed that in "The Pines of the Janiculum" with delicate playing of sweet night music ending with taped bird call.
But for the finale's reminiscence of Roman power, "Pines of the Appian Way," Mr. Honeck put four trombones and two trumpets on the balcony for a climax of sound that wrapped around the audience.
Program repeats Sunday at 2:30 p.m.
Citing "slow ticket sales," the PSO on Friday canceled violinist Pinchas Zukerman's recital scheduled for March 3 at Heinz Hall. Call 412-392-4900 for refunds.
First Published February 11, 2012 12:00 am
