by Joseph Hartman
October 6, 2006, Charlotte, NC: The Charlotte Symphony Orchestra continued
its 75th anniversary season at the Blumenthal Performing Arts Center with a program
entitled “Hungarian Rhapsody.” A more appropriate name would have
been the “French Connection,” as all of the composers featured were
in some way tied to France, whereas only two had anything to do with Hungary.
Franz Liszt was born in Hungary but spent a great deal of time in Paris and never
even learned to speak Hungarian. Camille Saint-Saëns and Olivier Messiaen
were obviously proud Frenchmen, and Zoltan Kodály, the only true Hungarian
on the program, had a deep appreciation for French music, especially that of
Claude Debussy. Questionable appellation aside, the evening promised to bring
what Conductor Gregory Vajda called a “tossed salad” of musical
styles and cultures.
The program opened with Liszt’s Symphonic Poem, “Les Preludes.” Based
on the poetry of French poet Alphonse de Lamartine (yet another Frenchman) it
is a work of sizable proportion and typical Lisztian fire. The orchestra was
in good form after a rocky introduction in which there were balance problems
and the tempo scampered along a little too quickly. The group
had been rehearsing with Vajda for a few weeks by this time and seemed to
be comfortable with his demeanor and style. He liked to pull at inner voices,
which was at once refreshing and annoying. While one could hear new elements
in an oft-heard score, the themes which one recognizes and looks for were sometimes
obscured. Nevertheless, the performance was fiery and well received by the near
capacity crowd.
Jean-Yves Thibaudet (I don’t suppose I need to tell you his nationality)
joined the CSO for a stirring performance of Camille Saint-Saëns’ Piano
Concerto in G minor, Op. 22 No. 2. Thibaudet is lauded the world over for his
performances of the French masters as well as his diverse style including a recording
of the music of jazz pianist Duke Ellington. He shone brightly in this warhorse
concerto by demonstrating effortless virtuosity and panache. This piece is not
Beethoven or Mozart where long orchestral passages make one forget that it is,
in fact, a piano concerto. It is quite the opposite, but, even still, the CSO
played such a muted role that it almost sounded like a solo piano sonata. Whereas
Thibaudet’s playing was breathtaking, the relationship to the orchestra
was non-existent causing a lackluster appearance of the whole. After long applause,
the pianist treated the crowd to an encore, Chopin’s Nocturne in E-flat,
Op. 9 No. 2. This piece is overplayed and over sentimentalized, but I love it
and was not disappointed; sweet sugary nectar dripped from the piano.
After intermission Vajda and the CSO performed Messiaen’s “Un Sourire” (A
Smile). Written in 1989 as homage to Mozart, it is composed in Messiaen’s
inimitable style, including block chords and birdcalls. Most audiences still
are not ready for this composer and this was the case in this concert. The masses
are much more polite than they were a hundred years ago, but when they don’t
like a piece there are still telltale signs. Two minutes into the piece the same
people who would rupture a blood vessel to avoid coughing during Beethoven start
hacking freely. After four minutes passed everyone joined; it becomes a symphony
of coughs. Then come the whispers, first about the music, then about dinner tonight.
Finally, loud whispers everywhere and some light bantering. Even though it wasn’t
hard to tell this was not a crowd pleaser, the CSO did a fine job, especially
the percussion section with the task of imitating various birdcalls.
Finally, the Hungarian: Zoltàn Kodály’s Variations on a Hungarian
Folksong, “The Peacock,” is perhaps the composer’s best known
work. Consisting of a theme, sixteen variations and a finale, the piece was so
controversial when written (1939) that it was banned by the Nazi regime in Germany.
Vajda was at home in this work, not only because he is Hungarian, but also because
his conciseness fits the structure of the work. His penchant for inner voices
was put to good use and it yielded a vibrant, lush tonal experience. The gypsy
dances were particularly appealing and the finale brought the house to its feet
closing this exciting, albeit nationalistically confusing, evening.
