Kansas City Symphony: Brahms and Bartok

"Can they bring a dog in here? What if she starts to howl??" The lady asked to whomever was listening as she noted a patron with his guide dog. I didn't respond directly, but whispered to my friend that the dog would likely be more quiet than many of the human patrons. Indeed, the only "howls" I heard were the bravos and cheers accorded to the performance of the Kansas City Symphony last evening.

This was a concert where everything "clicked". Great orchestral playing, sterling leadership, outstanding solo performance and wonderful repertoire. Opening was Brahms' autumnal Piano Concerto # 2 with Marc-Andre Hamelin. The concert concluded with the Bartok Concerto for Orchestra.

The Late Kurt Vonnegut quipped that a friend complained that a long, slow moving novel "felt like it was written by someone named Philboyd Studge." Too many performances of Brahms' compositions elicit that response for me. There was certainly no evidence of Philboyd in this performance. Hamelin and Stern brought the music to life in a refreshing, frequently muscular but always lyrical and satisfying performance.

Plenty of detail and amazing but never self serving technique from Hamelin illuminated but never thwarted the force-of-nature-like forward movement of the long first movement. The opening horn solo was spot on, well intoned and utterly beautiful, showcasing how Stern's orchestra building program is progressing. A few seasons ago, that solo would likely have caused the dog to howl, or get up and leave.

The demanding scherzo was always energetic, never frenzied yet passionate. Here Hamelin's incredible technique served the music well as his tone and power were well balanced with the orchestral forces. The slow movement was nothing but transcendent, a prayerful offering, well paced and never dragging. The opening cello melody was appropriately reflective and singing. Superb.

I have always felt the last movement was somewhat of a let-down. Strangely out of place and just not satisfying as a finale to this mammoth work. Again a more muscular and powerful reading with the piano part more staccato than I am used to; but it worked. Instead of another scherzo movement, we got an impeccably controlled, satisfying conclusion.

Stern's attention to detail and orchestral color and the Symphony's complete engagement in the score and response to his demands combined for a most satisfying performance of Bartok's masterpiece. A beautifully turned reading of the first movement, with the brass well balanced and polished in their fugue (remember when I always cringed when I mentioned the KCS Brass)and a powerful coda, revealed that we were in for a special performance that could hold its own to any.

In the second movement, all of the various duos came off splendidly; a true "Game of Pairs". The dark Elegy reminded us that this work was written in a time of great despair for both the world and for Bartok personally. One felt the loneliness of exile and the anguish of a world in flames, while the music never bogged down in the process. The interruption of the Intermezzo was appropriately raucous with a sneering clarinet and highlighted by some wonderfully juicy trombone glissandos. The transition back to the soft, paprika tinged, main theme was well handled and natural.

Stern took the finale at a brisk tempo, yet the attention to detail never let the many fugal entries or contrapuntal lines be swallowed by the tempo. This performance offered masterful musicianship and that seldom seen spark of passion from players who know they are participating in something special.

To watch the orchestra reach new heights, to not fear the repertoire but rejoice in it has brought new acclaim and fortune to the orchestra. We here are reveling in it.

See you next season.