Dvorak’s New World
City Halls, Glasgow, 16/5/24
BBC Scottish Symphony Orchestra, Michael Sanderling (conductor), Ethan Loch (piano)
“Escape into Optimism and Adventure”: the cover graphics of the programme left us in no doubt that the ‘optimism’ and ‘adventure’ of the tagline referred to the American Dream and, while some might consider viewing America’s place in the modern world with any degree of optimism at present as being indeed purest escapism, the programme opened and closed with two optimistic works, as monumental as the Statue of Liberty itself, Copland’s brief ‘Fanfare for the Common Man’ and Dvořák’s masterpiece, his ‘New World Symphony’. Brilliant expressive romanticism, in the form of Chopin’s delicious Piano Concerto No.2 with Ethan Loch as soloist, formed the filling in this sandwich. This basket of goodies was directed by German guest conductor Michael Sanderling. In a break with ‘tradition’, though the programme was being broadcast live on Radio 3, there was no sign of Kate Molleson. The concert was very well attended, even the choir balcony behind the orchestra being full to capacity.
Copland’s 1943 fanfare, whether as a standalone piece or in its slightly later reincarnation as the introduction to the finale of the Third Symphony, is always a visceral thrill, not just hearing but feeling the timpani, bass drum and tam-tam. The trumpets, trombones, horns and percussion of the orchestra were on top form and ‘in the zone’. Michael Sanderling brought out the stoic nobility, heroism and gritty determination of the music and it was thoroughly marvellous.
Blind since his birth in Scotland in 2004, Ethan Loch was led to the City Halls’ Steinway by Michael. As he folded his cane and sat at the piano, his demeanour became visibly transformed to that of an artist in his element. This concerto was the one he played in the grand finale of BBC Young Musician in 2022, having won the keyboard final. The orchestral introduction had a freshness and openness of texture which brought out Schumannesque elements of harmony and scoring which I had never noticed before, while reminding me how much I love Michael’s interpretations of Schumann on CD. This freshness, together with a colourful masculinity and flashes of Lisztian passion, was matched by Ethan’s playing, in a performance where exquisite phrasing drew the listener into a narrative of the soul. Dynamic balance was flawless. The same character inhabited the slow movement, an elegantly ornamented major key lovesong in the form of a nocturne, with an impassioned anxious recitativo minor key central section, superbly-judged rubato holding the rapt audience in a trance. In a concerto with limited scope for the BBCSSO’s legendary skill in ‘conversation’ with soloists, the love duet near the end of the movement between Ethan and principal bassoonist Graeme Brown was breathtakingly beautiful. The playful mazurka finale danced, full of joy despite the minor key, full of brilliance and whimsy. Guest principal hornist Nicholas Korth played the delightful, echoed horn call that launches the sparkling major key coda beautifully (though I’m not sure whose interpretative decision it was to speed up the ‘echo’ – I’m not a fan). The auditorium erupted in well-merited enthusiastic Glaswegian appreciative applause, calling the soloist back on the arm of the conductor until an encore became inevitable. We got two. The first, “for all you romantics out there” was introduced by Ethan as a ‘Melody of Gratitude’, a solo excerpt from his own Third Piano Concerto. He is definitely a Romantic composer. The second, “an improvisation” was in stormy, passionate Late Romantic style, Rachmaninov with hints of Chopin and Liszt. Fabulous. Glasgow said “yes, please”.
Dvořák’s 1893 Symphony No.9, ‘From the New World’ is the diary of a Czech composer, prestigiously appointed Director of a new conservatory in New York, stunned by the bold, confident thrust and bustle of a modern industrial democracy, enthralled by the rich heritage of African-American and Native American music, yet profoundly homesick for his native Bohemia. All of these and other conflicting emotions find the fullest expression in an expertly-crafted symphonic masterpiece which many consider his finest (though I prefer the Eighth as a truer personal document and consider the Seventh to be more compelling example of his craft). In the right hands, though, it can blow the others out of the water. Michael Sanderling’s hands are definitely the right hands. The exquisite shaping of phrases and the subtle differences when they are repeated, the bold use of rubato and pauses to tease the last ounce of expressiveness from the melodies, the flawless dynamic balance from the boldest tutti to the most delicate pianissimo throughout, without ever losing an iota of the cogency of the musical argument, and, of course, the total commitment of the players, delivered a top quality performance. The first movement was bold and uncompromising, yet there were also tender moments, including lovely solos from principal flute Matthew Higham. The stoic melancholy of the cor anglais solo from James Horan was unforgettable in the slow movement, but the anxious minor key melodic interlude and the faster spring dance interlude were allowed to express their unique individual character. The rhythmic scherzo seemed to fuse Czech and American ideas, while the sunny trio, with its emulation of the cooing of pigeons the composer saw during an extended restful sojourn in the Czech community in Spillville, Iowa, was utterly charming. The main theme of the first movement, returning to be quoted throughout the symphony, faces a final showdown with the thrusting theme of the finale. Even though I know the piece inside out, Michael Sanderling allowed me to wonder which theme would win this time. Even though the finale theme wins in the major key, the diminuendo on the final chord shows us it is bittersweet. Dvořák lets us see how much he loves America, but how desperately he misses Bohemia. A great, compelling performance of a masterwork, much to the delight of the Glasgow audience. Full marks from me.
The podcast of the concert will remain online on BBC Sounds for four weeks.