Music review: Sarasota Orchestra Masterworks 4

Sandwiching “Strata,” the Symphony Number 6 of contemporary Estonian composer, Erkki-Sven Tüür, between two of the most beloved and well-known works of 19th century Russian composer Piotr Ilyich Tchaikovsky was a stroke of magic on the part of the Sarasota Orchestra and Music Director Anu Tali. First of all, the Tüür added a freshness and difference that’s necessary in concert halls these days. It also showed us how much can happen musically in just over a century. And, believe me, it’s a lot. And it gave the Orchestra and Tali a chance to present the Symphony in its United States premiere.

Mr. Tüür was in attendance at the concert at the Van Wezel Sunday afternoon  and he spoke to us briefly and eloquently before any of the music began. He invited us to enter what he called his “sound world,” and to use our differences to interpret his world.

A few days before the series of four concerts (all well attended or sold out), I had the opportunity to speak with the composer and one of the things he described was the landscape of his home and studio on the coast of Estonia. He described walking with the forest on one side and the ocean on the other so my imagination was already primed to hear “Strata” (Layers), as if I were walking with him.

“Strata” is, indeed a world of sounds: forest murmurs, crunching leaves, winds rustling bare, cold tree limbs, waves crashing against the shore, someone being chased through the woods. How does Tüür achieve these sounds? He uses a full orchestral contingent with heavy brass, strings playing ponticello (the bow is right on top of the bridge making an eerie, whistling sound) and a percussion section that runs the gamut from bongos and chimes to vibraphone and xylophone.

Music is unified, organized sound and “Strata” certainly is organized. It’s fascinating in that it held my attention and, at times, moved me. It has no program attached; no story. It’s up to us to add our own imaginations. The question is, well written as it is, is its intellect in overdrive, washing out what we think of as Music? I’ll leave that up to the listeners. For me, it was interesting but I was so glad my old friend, Tchaikovsky, was also in attendance.

The program opened with a four minute gem, the “Melodie” from “Souvenir d’un lieu cher,” written by Tchaikovsky during a respite from a particularly trying year in the composer’s life. Originally for violin and piano, Alexander Glazunov arranged it for orchestra and violin and the soloist at this series was Sarasota Orchestra concertmaster, Daniel Jordan. Jordan has a sweet, beautiful sound and the “Melodie” is a sweet, beautiful piece. It was almost as if they were made for each other.

Following the Tüür and intermission, we settled in for a real old friend, Tchaikovsky’s Piano Concerto Number 1 in B-flat minor, the work we all associate with Van Cliburn’s triumph in Moscow all those many years ago. When the Orchestra and their soloist, Simon Trpčeski, began the work, I swear I heard a sigh of recognition and relief pour out of the audience.

Trpčeski is a pianist of power, passion and spontaneity. There are many transitions from orchestra to piano and there were many times Tali had the ensemble in one tempo and the pianist picked up the speed and the group had to scramble a bit to change gears. But no notes were lost and, fortunately, Tali is an excellent accompanist. She and Trpčeski seemed to have a great sense of each other so it was exciting to hear them make music together.

The Concerto was beautifully sculpted and, except for a rough start in the brass and some intonation problems in the winds, it was a gorgeous performance with a luscious little duet between first cello and first oboe in the second movement and some wonderfully colorful playing from the soloist.

The encore, a Waltz by Chopin, dedicated to the Sarasota Orchestra by the pianist, was the perfect ending to a varied and interesting concert.