Music Review: Strauss and Stravinsky dominate TSO Classics Concert

Typically, the symphony or the concerto is the big piece on a concert program. Not so Thursday night when Tucson Symphony performed the second of its Classics Concerts this season. The Strauss and Stravinsky took the honors over the Mendelssohn Piano Concerto.

Richard Strauss probably should have titled his tone poem “LIFE, Death and Transfiguration,” for it spends most of its time on the hero’s life. Death is a solitary event. After all, the psalmist wrote “Lo, though ‘I’ walk…” not “we.”

Strauss, who despite his nominal references to Germanic mythological heroes, was mostly writing about himself, envisioning his own expiration more like the gods ascending to Valhalla than a lonely walk through the valley of the shadow of death. He actually opined to his daughter, as the grim reaper appeared, that it was just as he envisioned it in “Death and Transfiguration.” Ach der lieber!

All of Strauss’ ego aside, he left us with several majestic tone poems, not the least of which was performed with power and beauty by TSO. Hanson’s interpretation made so clear and brought so vividly to the audience the astounding orchestrations of Strauss - the sonorous brass choir, the solid strings with the spice of the harp.

Someone once wrote that Strauss should have composed the tone poems and then quit. Audiences suffering through some of the operas - “Der Rosenkavalier” the notable exception — might well agree.

“Death and Transfiguration” is magnificent, and the orchestra did it and Strauss proud Thursday night. The “Transfiguration” section was particularly evocative. This part contains what Mr. Hanson described in his pre-concert remarks as “the most beautiful melody Strauss ever wrote.” You can take his word for it.

Similarly, Stravinsky’s “Suite from the Firebird” was sensitively conducted and played, giving total satisfaction. One does not have to have seen “The Firebird” danced in its original ballet form to appreciate the music. It is totally unlike Tchaikovsky’s “Nutcracker,” for instance; without the dancing, that music comes off as quotidian and schmaltzy. Again the orchestration is incredible - shimmering strings, brass irruptions - all beautiful and great fun, full of the melodious romanticism that was Stravinsky at age 28. Everyone loves Firebird, and for cause.

Musical Director George Hanson has a flair for pieces like the Strauss and the Stravinsky, making the most of the subtle, quiet passages as well as the startling drama of announcements by the brasses and tympani. Firebird was a fitting conclusion to the program, and the audience loved it all.

Mendelssohn’s Piano Concerto No. 1 featured soloist Povilas Stravinsky. He gave a technically competent performance with some brilliant runs in the allegro and presto movements taken at break-neck speed. His reading, literally with the score before him on the stage, unfortunately lacked the emotion needed for the sweetness of the andante passages. The lightness of his touch might have helped, but there the orchestra was too much for him and the effect never materialized. It all had an intellectual feel - from the mind but not the heart.

The concert opened with Aaron Jay Kernis’ “Musica celestis.” It is all about angels. Since no one knows what angels sound like anyway, Kernis’ ideas are as good as anybody’s, even given that much of the score is pitched near the top of the human auditory range. Hanson is to be applauded for bringing to nearly every program at least a nod to 21st century sounds.

This composer, at 48, should be around for a long time, so we may expect to hear more of him as TSO’s Musical Director continues his efforts to educate and intrigue his audiences.

Nathan Olson, participant in the Cleveland Institute of Music’s Concertmaster Academy, was the first of the guest concertmasters Thursday and played a recital on Friday. The orchestra is auditioning violinists to fill the position vacated shortly before the season opened.

The Classics Series continues at the Music Hall, Tucson Convention Center on Nov. 20, 21 and 23 with Copland’s “Our Town,” the Samuel Barber violin concerto and Brahms Symphony #1. Tickets at 882-8585 and http://tickets.tucsonsymphony.org/.

Donald.behnke@yahoo.com