The Toronto Symphony Orchestra (TSO) heralded the new year with two audience favourites: Mozart’s Clarinet Concerto in A Major, K. 622 and Dvořák’s Symphony No. 9 in E minor, op. 95 (“From the New World”).
On Jan. 12, the concert opens with the usual choice of a rarely-performed modern piece. Most Toronto audiences, myself included, are unfamiliar with Grażyna Bacewicz, even though she was one of Poland’s most well-regarded composers of the mid-20th century. Her “Concerto for String Orchestra” is her best-known and most-performed piece, and considered a prime example of Polish neoclassicism, showcasing Bacewicz’s style of blending traditional and modern elements.
TSO at Roy Thomson Hall. Photo: Jae Yang
The technically-difficult piece employs extensive use of counterpoint. Although to a first-timer it might sound dissonant for the most part, German conductor Anja Bihlmaier—making an impressive TSO debut—made it interesting with her energetic interpretation. It also helps that the rich acoustics of George Weston Recital Hall infused the piece with a warmth that would have been lacking at the TSO’s usual venue, Roy Thomson Hall.
In stark contrast to the opening piece, the Mozart Clarinet Concerto is the embodiment of all things sweet and lyrical. Written in 1791 just months before the composer’s death, the piece’s sunny disposition has hints of melancholy that offer a few clues about his failing health and inner turmoil. True to the composer’s original vision, the concerto is played by TSO Principal Clarinet Eric Abramovitz on the basset clarinet which has an extended lower range compared to the standard clarinet.
Eric Abramovitz (basset clarinet) with TSO conducted by Anja Bihlmaier. Photo: Jae Yang
This cornerstone of the clarinet repertoire has simple, flowing melodies that require intricate interplay between clean strings from the orchestra and virtuosic lines from the solo clarinet. The joyful first movement has a pastoral feel. The second movement contains some of the most achingly beautiful and contemplative melodies Mozart ever wrote. Here, conductor Bihlmaier gave Abramovitz plenty of room to express the sentimentality. The spirited Rondo of the final movement is a lively dialogue between the soloist and the orchestra. From the deep bass to the ethereal treble notes, Abramovitz made his instrument sing with a polished technique and engaging presence.
Abramovitz then stole the show with an encore of “Mozart In The Shtetl”, a klezmer-style re-arrangement of the clarinet concerto in a minor key. Although he was too humble to acknowledge that this was his own composition, he joked to roaring laughter that this is “what the Mozart piece would have sounded like if he was Jewish.”
Eric Abramovitz (basset clarinet) with TSO at Roy Thomson Hall. Photo: Jae Yang
It is easy to see why Dvořák’s Symphony No. 9 in E minor, “From New World” remains one of the most beloved symphonies of all times. It is like a good book you cannot put down, a novel with memorable characters represented by recognizable themes along with exciting climaxes. Composed in 1893 during Dvořák’s time in the United States, it reflects his impressions of American music and landscapes. The first movement features themes reminiscent of both Czech folk music and African-American spirituals. A hint of ominous undertone perhaps signals his uncertainties about the new country.
The second movement Largo is defined by the famous, hauntingly beautiful English horn theme of “Going Home.” There is an unmistakable sense of nostalgia and longing for his homeland, yet also a feeling of hope for the future in the new world. The vivacious third movement again recalls Dvořák’s Bohemian roots with two contrasting, dance-like themes. Even though the horns and trumpets were far too loud when played at this venue, this did not dim the excitement and urgency of the majestic final movement. Whether one is hearing this work for the first or hundredth time, watching a live performance of this timeless piece is an experience of unparalleled excitement.
TSO at Roy Thomson Hall. Photo: Jae Yang
Throughout the concert, Bihlmaier captivated with her expressive and graceful conducting, and the orchestra responded to her sweeping, dance-like gestures with exuberant playing and good dynamic contrast. There was undeniable chemistry between her and the orchestra. This concert was another example of the TSO at its best. Another successful collaboration with Bihlmaier in the near future would be most welcome.
Find upcoming TSO concerts here.
