In Prokofiev's ConcertoNo. 3 Lang was tasteful to a fault, though his fans in the hall cheered himheartily. The critic who once called him “Bang Bang” would not have recognizedthis playing, characterized by fluidity, evenness and limpid lyricism. Thoughbeautiful on its own terms, the poetically phrased and restrained performanceoften sounded underplayed in balance with the orchestra, and had aself-conscious air about it. I wanted more bite and assertiveness. A mushyrendition of a Chopin Etude as encore brought the same concerns.
This one-night specialconcert also included a dramatically urgent Overtureto Coriolan by Beethoven, conducted by Edo de Waart, and a BeethovenSymphony No. 6 (“Pastorale”) that paled in comparison to the MSO performance ofa few weeks ago, possibly the peak of the season.
De Waart was back on thepodium for the weekend subscription concert. A late change in programmingbrought principal cellist Joseph Johnson out front for Saint-Saëns' ConcertoNo. 1. One of our best musicians, he is always good, but this performanceblossomed to new heights, with rich, consistent tone and sure-footed, heartfeltphrasing.
Though he has less thanone complete season here under his belt, de Waart has made me expectant abouteven the most standard repertory. Tchaikovsky's Symphony No. 6 (“Pathétique”)on last Friday morning's concert was quite simply a great performance. The warmtone of the MSO of the Delfs years is still there, but tightened up andastutely refined. De Waart has the master's touch of bringing both disciplineand drama to romantic music. I was caught off guard with tears in my eyes inthe final movement. With de Waart's extended contract through 2016, I wonder ifthe city realizes the extraordinary artistic possibilities ahead.
