Thursday April 28, 2011

Viennese Finale: Orchestra London's Cathedral Series; April 2011

John Morris Russell Conducting

by Brian Hay

The show began with a performance of the Third Symphony by Karl Ditters von Dittersdorf (whose real name was 'Ditters' with the rest being Titles according the excellent notes supplies by Jeffrey Wall). After a brief (and hilarious) introduction by Conductor John Morris Russell (which related the story of 'Actaeon') the piece began with some stately playing that placed the emphasis on lyricism and restraint. This was most noticeable during the second movement which yielded some lovely solo work on the flute by Principal Annelie Metrakos. The tone changed abruptly when a huge amount of tension was injected into the playing of the Fourth Movement. It was intense, vibrant, and also, very brief. Apparently it doesn't hounds long to rip a stag apart.

Joseph Phillips revealed a completely different side of the double bass when he performed the Concerto for Double Bass and Orchestra by Johann Baptiste Vanhal. Beginning with the Allegro Moderato (moderately fast and bright) that opened the piece and then especially through the Adagio (slow and stately) he established the character of an instrument that has a mind of its own. It sings beautifully, and can do so well, but it also likes to serve up reminders that it has a growl. Several times it was easy to see Phillips apply a little extra pressure (to 'warm it up' as Shawn Spicer explained) and then back off a touch once he'd found the tone he was seeking. It was as much a communal act between man and instrument as it was a dialogue between soloist and orchestra. He coaxed out some beautifully lyrical passages which the instrument itself seemed to enjoy as much as he did but also allowed it to growl jubilantly after it had done so.

Vanhal obviously had a phenomenal understanding of the character of the instrument (or enjoyed torturing bass players depending on the perspective of the musician) because the work explores its character thoroughly while allowing it revel in its own voice enough that the right player can seduce it into cooperating. Joseph Phillips didn't use a sheet of music to perform the work. He clearly enjoyed playing it but his awareness of how readily his instrument would trip everything up was visible too. It was something to watch and the audience realized it. The standing ovation they gave proved that. According to Sigmar Martin, hearing this piece performed this way, is a rarity. It was played on a five string bass as opposed to a four stringed instrument and the instrument was tuned a semi-tone higher in accordance with performance practices from that time period.

John Morris Russell's affinity for Joseph Haydn's music came to the fore when the second half opened with the 'Overture to Armida'. The piece began in a stately manner that was emphasized by some deliciously lyrical playing before literally exploding into the 'Sturm und Drang' (storm and stress) that characterized many of the man's works from that period. It was a thrilling, if short piece to watch performed. In a conversation on WRCJ Radio Russell himself referred to his own Windsor Symphony Orchestra as an 'excellent Haydn Orchestra'. After seeing this it looks as if it's a bond they share. The musicians of Orchestra London certainly seemed to pick up on it.

The orchestra captured the tension of the transition from Adagio to Allegro (slow to fast) that opens Mozart's Thirty-ninth Symphony beautifully. This segment revealed a plethora of intense emotions boiling their way to the surface. The transitions within the second movement were even more intense. The first was violently abrupt. But slowly, and inconspicuously, it eased its way back into a state of grace. Then suddenly, the music was back into a state of pathos. The second time however, rather than having those emotions leap forward, the listeners simply found themselves in the midst of them. It was a demonstration of Mozart's ability to turn musical corners on the head of a pin functioning at it's finest and this ensemble captured it brilliantly. The more conventional (for the time) Third and Fourth Movements were played with radiant beauty. The ovation after the finale was richly deserved.

John Morris Russell's interpretations were characterized by lyricism, classical restraint and flourishes of unbridled passion. He brought the orchestra's playing near to a frenzied level several times. That was most obvious during the fourth movement of the Dittersdorf Symphony, segments of the Haydn piece and in the first two movements of the Mozart symphony. At most times he kept a tight rein on the proceedings. Throughout the work by Vanhal he held the orchestra in check and allowed the bass to do the singing.

This program was one to learn from. It revealed a level of emotional depth that many don't associate with music from the pre-romantic period. The intensity in the finale of the Dittersdorf symphony and the storm and stress from Haydn's work are both great examples of that. The emotional spectrum in the first two movements of the Mozart work could easily have influenced many 19th Century composers. The program also illustrated more of how much Mozart was influenced by the work of people he respected. The structure of the Vanhal concerto is reflected in almost all of his concerto work from that period. The intense emotional content of the works by Dittersdorf and Haydn were an obvious influence on his mature output. As said before, this doesn't diminish Mozart. It simply makes studying those who influenced him all the more important.

This was a great finale for this year's 'Cathedral Series'. If it's an example of things to come then next season is one to look forward to.

This show took place at St. Paul's Cathedral in London Ontario on Wednesday April 27, 2011. This write up was done to convey an impression of what it was like to be there

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