Martin Fröst has successfully forged a career path as both clarinet soloist and orchestral conductor; evidently the Berlin Philharmonic's principal clarinettist Andreas Ottensamer aspires to follow in his footsteps. Ottensamer was in Montreal to guest conduct the Orchestre Métropolitain, where he was to have been featured as both soloist and conductor, but a health issue precluded his assuming the soloist's role.
Pierre Genisson, a clarinettist with extensive experience as a soloist and chamber musician, stepped in for Darto Butorac's transcription of Brahms' F minor Clarinet Sonata which has strings assuming the piano's role. Genisson was too often buried by the strings; with a more powerful orchestral clarinettist, such as Ottensamer, the balance would likely have been less of an issue. Nonetheless, in the more tranquil sections, some exquisite moments were achieved, such as at the close of the opening movement as well as the statement of the initial theme in the Andante. The degree of give and take between Genisson, Ottensamer and the OM strings (particularly leader Yukari Cousineau) was consistently meritorious. This musical symbiosis peaked in the gentle Allegretto, which constituted the high point of the entire evening.
Another Brahms composition, the Tragic Overture, had launched the program. It was evident that Ottensamer had won over the OM players, as they played with uniform commitment. Unfortunately at this venue, all the tutti passages at louder dynamic levels were muddied.
The evening also featured music by Augusta Holmès, a Parisian born 14 years after Brahms. La Nuit et l'amour was intended to bridge the gap between French salon and symphonic music. Nonetheless this lyrical gem is reminiscent of Fascination, a popular salon song that Filippo Marchetti composed some 15 years later. Holmès' work played to the OM's strengths, but despite some sublime moments in the woodwinds, this account was marred by a lack of rhythmic cohesion.
It's unseasonal to program Robert Schumann's “Spring” Symphony in October, but this mainstay is a perennial crowd-pleaser. Throughout, Ottensamer impressively sculpted an array of interpretive arcs. In the laudably executed trombone trio of the opening movement, we could have heard a little more of the middle voice. In the Scherzo, the cross-rhythms could have been better finessed. Both the horn duet and subsequent flute cadenza in the finale were executed with aplomb. Orchestra and audience members alike seemed genuinely pleased by this rendition.
This event afforded an opportunity to observe Ottensamer as conductor rather than instrumentalist. On the podium, he displayed an exemplary command, both technically and interpretatively, of the scores he conducted. However, his baton did not seem to amplify his intentions as to when – or how – his charges should play; perhaps he may well consider joining the ranks of "batonless" maestros, such as Valery Gergiev and Herbert Blomstedt. Increased attention to inner voices in particular would have elevated this conductor's impact. To his credit, Ottensamer's rounded gestures elicited lush, full-bodied sounds, particularly from the strings. Most importantly, he had obviously earned the respect of the OM musicians.
