If there is a silver lining to Riccardo Muti’s cancellations, it has been the caliber of substitutes the administration has been able to book on short notice – be it a newcomer making a memorable debut or a welcome return of a favorite guest conductor. This week fell into the latter category with the Pittsburgh Symphony's music director Manfred Honeck on the podium. Honeck’s appearances in recent years have consistently been season highlights, and the people of Pittsburgh can certainly count themselves fortunate to have such a major talent. The program was neatly divided between two composers with a pair of works by Respighi presaging Tchaikovsky’s dramatic Sixth Symphony.
Respighi’s Fountains of Rome is the earliest of his enduringly popular Roman trilogy, as well as the most subdued. Cast in four interconnected sections, this tone poem draws a vivid picture of four of Rome’s iconic fountains at different times of the day. The coloristic opening “Fountain of Valle Giulia at Dawn” was marked by an especially strong wind section with Stephen Williamson’s clarinet a particular standout. The peaceful atmosphere of dawn was abruptly broken by sunrise over Bernini’s Triton Fountain with a shining brass ensemble painting a rich tapestry. In the ensuing depiction of the Trevi Fountain, the Victory of Neptune is celebrated with a solemnity to match that of a mighty Roman statue. Finally, we end the day at the fountain of the Villa Medici with touches of harp and flute from guest Christina Smith of the Atlanta Symphony creating a wonderfully atmospheric and seductive portrayal of an evening in Rome.
This was the second consecutive week to feature a CSO principal as concerto soloist and it is always a welcome opportunity to hear the musicians of this ensemble in this capacity. Venerable concertmaster Robert Chen took the spotlight in the same composer’s rarely heard Concerto gregoriano. Chen’s concerto appearance is an annual affair, and he is to be commended for exploring the less-traveled byways of the repertoire. Respighi was first introduced to Gregorian Chant by his wife Elsa, and this had a profound influence on him and marked a major stylistic shift, although he certainly had a penchant for appropriating the music of Italy’s past as crystallized by the Ancient Airs and Dances. Whereas Berlioz and Rachmaninov vividly used the Dies irae in an unmistakable manner, in Respighi the chant melodies and gestures are much more subtly absorbed into the work through a seamless osmosis.