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Mariss Jansons and the Bavarian Radio Symphony Orchestra in New York (III): Gil Shaham (violin), Mariss Jansons (conductor), Bavarian Radio Symphony Orchestra, Carnegie Halll, New York City, 15.3.2009 (BH)

Shchedrin: Beethoven's Heiligenstädter Testament (2008, US Premiere)
Prokofiev: Violin Concerto No. 1 in D Major, Op. 19 (1917)
Brahms: Symphony No. 1 in C Minor, Op. 68 (1876)


In 1802 Beethoven wrote his two brothers a despairing letter, describing his struggles to overcome physical problems and allow his creativity to flourish, but the letter was set aside, never mailed, and only discovered in 1827, after the composer's death.  In the second of two premieres by the Bavarian Radio Symphony Orchestra, Mariss Jansons wowed the Carnegie Hall audience with Beethoven's Heiligenstädter Testament, Rodion Shchedrin's take on this unique document.  Grinding brass anchors complex chords, motion accelerates into Mahlerian climaxes, sometimes with Brucknerian density and throughout, glimpses of Beethoven peek through.  Afterward, the friend with me was marveling at some of the effects: "Wow, piccolo as feedback!" he exclaimed.  That high-pitched drone was one of Shchedrin's more interesting effects, in another work designed to acknowledge Beethoven's indomitable influence.

Gil Shaham, substituting for an indisposed Julia Fischer, played the scheduled Prokofiev First Violin Concerto with impeccable intonation, and especially in the first movement, fast passages taken at a clip some violinists would avoid.  The second Scherzo (marked "vivacissimo") fairly burst into flame.  And as is his bent, Shaham commanded a wide space next to the podium, at times appearing to be looking almost questioningly into Jansons's face.  But by the ending, as laconic as the earlier movements were brittle, it was clear that Shaham needed advice from no one.

The same friend who made me chuckle with the piccolo comment described Brahms's First Symphony as a "spiritual washing machine."  (No comment was offered on the state of his own metaphysical hygiene.)  As had been the case all three nights, the timpanist emerged as one of the heroes, and in the first movement, the oboist could be seen hoisting his instrument in joy.  Jansons's unflagging attention in the Andante made one realize yet again that warhorses survive by not being taken for granted.  More brilliant oboe work and a luscious solo from the concertmaster pretty much defined the unanimity and concentration of the entire ensemble.

In the third movement the astonishingly accurate pizzicato interludes were the most audible cues to the luxe playing, with enormous dynamic range.  By the time the Finale rolled around the orchestral purring was just delicious, the sound never constricted.  And then that timpanist returned.  Encores were inevitable, and we got two: Brahms's Hungarian Dance No. 5 in G Minor, and a rowdy polka, Ohne Sorgen! (Without Cares), by Josef Strauss, each done with swirling virtuosity.

Bruce Hodges


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