In last weekend’s San Francisco Symphony program, Esa-Pekka Salonen and Sayaka Shoji remained in close dialogue throughout the Shostakovich’s First Violin Concerto, beginning with dark strings followed by the plaintive opening of the violin. As the flute entered, followed by twin harps in pianissimo, Shoji continued to climb into the upper reaches, the whole time sustaining an introspective gaze. The second movement Scherzo jolted us out of that mood. Suddenly, bassoon and violin sent us into a rhythmic dance. Was it Klezmer? Or a danse macabre? The hall became electrified. Salonen brought this phantasmagoria into the Passacaglia’s magisterial stateliness. Beginning with deep percussion, lower strings and brass, through its descending chords, plain elegance took over. Shoji played with increased lyricism that was punctuated with crisp articulation.
Shoji’s remarkable cadenza, an oasis of sorts, followed, sustaining distinct and precise notes, increased intensity through varying tempi and contrasting timbres, with motifs from the second movement reappearing. The orchestra entered into the fourth movement Burlesque without pause as Shoji demonstrated exceptional dexterity and high energy. A wide variety of instrumental syncopation heightened the excitement, resulting in the audience erupting with pleasure.
In the first movement of Brahms’ Fourth Symphony, Salonen established its big and romantic sound. He conducted with thoughtful eloquence, his art so meticulous, yet concealed. But his approach wasn’t monolithic. Multiple motifs sounded. It was as if he wanted to be sure to keep something brewing below and between fragments. Horns and strings created a quasi-rocking motion. In the second movement, Salonen created a larger and multi-dimensional sweep. Quick tempo changes and unexpected appearances of melody increased liveliness. Then a slowing down, out of which a fuller expansion of the melody emerged, amply rounded out the movement.
The third movement began with full strings and a brocade of descending and ascending scales, creating suspense out of the multiple motifs. In the Passacaglia finale, woodwinds expanded the melody, and the strings opened wide, Salonen making sure we felt the symphony’s full grandeur.
