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| Composer Dieter Ammann (photo: BSO) |
Faure's
Pavane, Opus 50 has been described as stately, gorgeous, and
familiar, with its composer's calm, naturalness, restraint and
optimism (as noted by none other than Aaron Copland). It was first
written in the 1880's for solo piano, then recomposed in 1887 for a
full orchestra (with possible chorus and dancers). It is a Renaissance
court dance, or processional, which is delicate and seductive, with a
mood like Debussy's Claire de lune, with visions of Arcadia.
It begins with the most famous music with a supple flute solo by
flautist Elizabeth Rowe, continues with the brass section featured,
and finally its opening theme returns. It was well and subtlety
performed under Malkki's caring baton.
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| Pianist Andreas Haefliger (photo: BSO) |
The
first half of the concert ended with the American premiere of
Ammann's The Piano Concerto (Gran Toccata), actually
originally written for Haefliger, with both jazz
and modern elements. It was an impressive performance by all, with a
great deal of vitality and verve, which the audience seemed to
support, though time will tell whether the work earns any future with
orchestras around the world. It should be noted that Ammann titled it
The piano concerto since he doesn't intend to compose another;
in point of fact, he wrote as though he were composing for two
orchestras (one being the piano itself) rather than the more
traditional format with piano solos. Once again, Malkki was superbly
in charge of what could easily be, in less capable hands, an
uncontrolled train wreck. It makes all the more surprising the fact
that she hasn't conducted at Symphony Hall in about a decade. Glass
ceilings, anyone?
The
second half of the program began with Messiaen's 1932 Alleluiah on
the Trumpet, Alleluiah on the Cymbal from his L'Ascension,
(its third movement), a piece with definite Debussy influences,
which led naturally to the final work, which was, fittingly,
Debussy's La Mer (which was given its American premiere in
1907 by the BSO), with its three movements portraying changing states
of the sea over the course of a day, three “Symphonic Sketches”:
From Dawn to Noon on the Sea, Play of the Waves and
Dialogue of the Wind and the Sea. It was a fine
antidote to the almost frenzied Ammann work, a perfect segue out into
the lovely crisp autumn day.
The
program is to be repeated tonight, Saturday October 26th.
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