Review: CSO Brings Great Joy to Geffen Hall

When I'm sitting down to listen to a piece I can name my top 5 favorite recordings of in order with detailed reasons of why they're ranked as such, it's hard to not have certain expectations. It's even difficult to hear something executed brilliantly and accept it as brilliance if you "want" to hear it a certain way. This performance proved to me even a piece that has been performed for 140 years (and has been a staple of classical rep for all 140 of those years) can still sound fresh and surprise you when presented by wonderfully thoughtful and gifted artists.

Once I got my inner giggles out watching the almost cartoonish theatrical physicality of Alexander Gavrylyuk sitting at the massive Steinway on the David Geffen Hall stage, playing one of the most iconic openings in the history of classical music, I started to realize how honest his mannerisms were. It only took a couple short minutes before I saw his profound understanding of the piece, his deep love for it, and suddenly my perspective of the joy and tragedy Tchaikovsky wears on his sleeve with this piece turned slightly on its axis for me to appreciate it, once again (for the 100th time), in a whole new light. Every note had been pondered with great care. There was never a dull line played on that piano tonight. Even the very etude-like passages that often become devoid of expression because of their need for clarity to sync with an orchestra had life in them and were filled with energy around every curve. In the second movement (Andantino semplice), the scherzo section was exciting in every instant. I've never heard so much dynamic variation & clear phrasing and playfulness in a performance of this extremely difficult section.

In general, maestro Langrée, Gavrylyuk, and the entire orchestra were serving Tchaikovsky and one another with great care and artistry. Energy was never lacking, and the climaxes were invigorating.

"Fate & Faith"

5th Symphony

The first movement, resonant of Beethoven's great 5th in tone, theme, and dynamic, is commonly regarded as stemming from some of the same motivation from both composers as well. In Tchaikovsky's notebook, before writing the piece, he outlines a program for the first movement: "Intr[oduction]. Total submission before Fate, or, which is the same thing, the inscrutable design of Providence." And we feel it! We take a 50-minute journey through feelings of dire inevitability, tragic submission, and joyous triumph out of an abyss of seemingly impossible odds!

The most beautiful moment of the evening was a result of the collaboration of the principle clarinetist and the maestro. In the final measures of the second movement (Andante cantabile con lacuna licenza) they sculpted a paralyzingly beautiful cadence with a final note no one in the hall could breath during - sonic mastery. My brain whispered "bravo". And on that note, the French maestro makes us easily forgive some rhythmic imprecision with his clear and resounding gifts elsewhere. His ability to keep his orchestra engaged and looking for his guidance every second is evident. His theatrics are motivated and lovely to watch, especially his fluid dancing during the waltz sections of this "three-waltz symphony" - thoughts of how Tchaikovsky almost seduces fate through dance in this symphony. And the maestro's most joyous dance of the night was in the CSO's delightful encore, "Waltz of the Flowers" from The Nutcracker.

Langrée's restraint (with an orchestra that packs a big punch when they want to), waiting & suppressing until the most important moments, is admirable, while never making the orchestra sound restricted or overly controlled. The concert master was the glue and wonderful to watch, and though sometimes the bass trombone was shooting from the hip a little too often for my taste (though undeniably exciting in some way), distorting the pure sound of a nicely refined and well oiled brass section, I feel the Cincinnati Symphony Orchestra was exemplary and world class! Bravo!

Photo Credit: Richard Termine