Severance
Hall
December
5
A living symbol of the Szell era and overcoming adversity. |
It
would be hard to imagine a moment more freighted with history than
Leon Fleisherʼs entrance onstage at Severance Hall on Thursday
night. The musicians acknowledged it immediately, tapping their bows
and applauding Fleisher as he was making his way to the podium,
lauding him before he had conducted a single note.
The
Cleveland Orchestra has special relationships with many musicians,
but none with the longevity of Fleisher, a keyboard wunderkind who
gave his first performance with the orchestra in October 1946. George
Szell was conducting and over the next two decades adopted Fleisher
as his go-to pianist, making a series of recordings with him that
include definitive versions of the Brahms and Beethoven piano
concertos.
Fleisherʼs
career seemed over in 1965, when two fingers on his right hand froze.
Undaunted, he started treatment while developing a left-handed
performance repertoire and a second career as a conductor. When he
had recovered enough to play two-handed again, his first performance
was with the Cleveland Orchestra at Severance Hall (Mozartʼs Piano
Concerto No. 12 in A major, Christoph von Dohnányi
conducting, April 1995).
So
Fleisher embodied both an institutional legend and personal triumph
over adversity when he took the stage. He was scheduled to conduct
another virtuoso pianist, Mitsuko Uchida, in two Beethoven concertos.
But Uchida is nursing a thumb injury, so she was replaced by Jonathan
Biss, 33, who studied with Fleisher at the Curtis Institute and has
built a successful career as both a concert pianist and recital
artist.
The
program opened with Mendelssohnʼs Hebrides overture, which
gave Fleisher a chance to show that he knows how to run an orchestra.
He pulled off some smooth technical moves and gave the piece
character, emphasizing tonal and textural contrasts and putting some
pop in the familiar melody. Fleisher seemed to linger a bit in the
sole mournful passage, perhaps reflecting his opening dedication of
the concert to Nelson Mandela.
In
replacing Uchida, Biss took on a Herculean load – Beethovenʼs
Piano Concerto No 2 before intermission, and Piano Concerto
No. 3 after. The formidable program highlighted both his
strengths and weaknesses.
Stronger solo. |
Biss
is an exceptionally fluid player who can glide through impossibly
complicated passages, then shift into slow motion to craft elegant,
achingly beautiful solo lines. Those were his strongest moments of
the night – when he played alone and was free (especially in the
No. 2 cadenzas) to shape the sound and drop single notes like
flower petals, breathtakingly soft and sensitive. In the classic
style of a recitalist, he seemed to go into another world during his
solos, following a muse that only he can
hear.
This
works fine in recital, but less well in orchestral performances,
where the soloist and orchestra are supposed to be in dialogue. Or at
least listening to each other. In No. 2, Biss was so focused
on ending each of his solo passages with a fortissimo bang, his
timing was off. Instead of being seamless, the handoffs overlapped,
literally bumping into each other. At times, it seemed like Biss and
the orchestra were playing separate pieces – not in how they
sounded, but in his complete detachment.
That
was surprising, given the circumstances. A substitute soloist would
normally defer to the orchestra, especially with his mentor
conducting it. Biss is gifted enough to get away with a different
approach, but it lacks the transcendence that a player like Uchida
achieves by working with the orchestra – indeed, conducting it
herself from the keyboard in some performances to achieve pinpoint
precision and present a unified voice.
However,
this orchestra could play Beethoven in its sleep, and in Fleisher's
hands the music had a commanding, authoritative tone, reminiscent of
Szell. It was probably unrealistic to hope for a reprise of the magic
that Szell and Fleisher were able to create together, but this
certainly could have been a stronger collaboration. As a pianist in
the audience noted after Biss bowed and left without an encore, “If
he had played an unaccompanied solo, that would have been redundant.”
For
more on Leon Fleisher:
http://www.bosssounds.com/index.php?option=com_content&view=article&id=46&Itemid=57
For
more on Jonathan Biss: http://www.jonathanbiss.com/
No comments:
Post a Comment