The Indianapolis Symphony opened its regular season last weekend in a hearty program that leaned on audience-appealing repertoire: Brahms’ final orchestral work which spotlighted two of the ISO’s principals, and Mussorgsky’s Pictures at an Exhibition in Ravel’s familiar orchestration. In a new initiative, the concert was broadcast live through the speaker system outside the venue throughout Monument Circle, allowing the music to reach ears beyond the confines of the theater.
Conductor Peter Oundijan opened the program with Glinka’s Overture to Ruslan and Lyudmila, given with punchy brilliance and effervescing with the requisite operatic drama, occasionally countered by more graceful material in the cellos. Especially for an autumnal, valedictory work, one was struck by the youthfulness of the soloists in Brahms’ Double Concerto – concertmaster Kevin Lin and principal cellist Austin Huntington (the latter appointed to his current position in 2015 at the age of 20). Brooding opening material quickly gave way to the resonant cello, making a solo statement without further ado. The violin entered as a higher foil, the two soloists in taut communication. There was equality amongst cellist and violinist, as well as with the orchestra itself – this isn’t a concerto where the limelight lies only on the soloist. Still, one wanted a bit more dramatic tension – without the right spark, an extended Brahms movement can sound rather ponderous.
In the central Andante, the violin and cello sounded in unison, operating as one, emerging as something of an amalgam of the two. The orchestra supported with plaintive, chorale-like textures, though a gentler tone would have better suited. The closing movement evoked a Hungarian flair, as Brahms was oft to do in finales, perhaps also a nod to dedicatee Joseph Joachim. The work was brought to an energetic close by way of an insouciant rhythmic vitality. As an encore, the duo offered the Handel-Halvorsen Passacaglia, a display of blistering virtuosity – quite the contrast after the understated demands of the Brahms.
Mirroring the structure of the first half, the balance of the program also opened with a brief but kinetic work in Carlos Simon’s Fate Now Conquers, a work premiered by the Philadelphia Orchestra in October 2020. Taking the Allegretto of Beethoven’s Seventh Symphony as inspiration, Fate Now Conquers purveyed a wound-up energy, ever in Beethoven’s shadow in both gesture and temperament as it imitated the harmonic movement of the source material. Muted trumpets and a lyrical cello passage were highlights of the orchestration that ultimately led to a forceful ending on bare fifths in the low strings.
Ravel’s scintillating take on Pictures at an Exhibition functions almost as a concerto for orchestra, showcasing virtually every instrument. The recurring Promenade opened in clarion brass, marshaled by principal trumpet Conrad Jones. The striking use of alto saxophone in Il vecchio castello was finely played by one of the ISO’s bassoonists. Tuileries provided some levity, contrasted by the weight of Bydło – a rare moment in the spotlight for the tuba. I suppose in light of current events, The Great Gate of Kiev has added poignancy. Oundijan took matters at a measured, solemn tempo, a concluding selection that certainly appeals to the emotions in its no holds barred use of brass and percussion.
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