By Márcio Bezerra
The Cleveland Orchestra returned to the Kravis Center on Feb. 1 in a program that displayed its uncompromising technical and musical standards. Under the baton of Music Director Franz Welser-Möst, the esteemed ensemble performed two very different symphonies with equally astounding results.
The first half consisted of Wolfgang Amadeus Mozart’s final work in the genre, his Symphony No. 41 (in C major, K. 551). The so-called “Jupiter” Symphony displays the composer’s maturity in handling the symphonic form. His miraculous churning out of melodic motives one after another is now combined with the most intricate counterpoint; the result is a true crowning achievement.
Welser-Möst’s discreet style of conducting emphasized the dramatic aspects that so much permeate Mozart’s symphonies. His attention to detail resulted in crisp articulations by all sections, particularly the woodwinds, giving the work a light, elegant quality.
The second half of the program could not be more contrasting to the gallantry of Mozart. The Symphony No. 11 (in G Minor, Op. 103) by Dmitri Shostakovich depicts the massacre of innocent civilians by czarist forces in 1905.
Whether one hears the symphony as a protest against all forms of tyranny (according to the late cellist and conductor Mstislav Rostropovich) or a masterful piece of musical propaganda, the work’s cinematic nature demands superb musicianship from players and director alike.
There was no question about that here. The Clevelanders tackled the work with a sense of continuity that clearly displayed the overall architectural arch of this (67 minutes long) extensive symphony. Once again, articulations were incredibly precise, and the lower strings were particularly noteworthy.
Unfortunately, the constant ringing of cellphones during the concert spoiled a bit what would be a once-in-a-lifetime experience. As the Kravis Center has switched to paid parking and is now employing people just to remind patrons of paying the parking, the same employees could be reminding people to turn off their cellphones once inside the hall.
In any case, Welser-Möst seemed undisturbed by the distractions, delivering a most memorable reading of this seminal work.
The Cleveland Orchestra is clearly one of the world’s top orchestras. It should not be too difficult for the audience to behave in a more appreciative manner by turning off their cellphones once the music starts.