May 30, 2009
Thursday at Trinity Church conductor Dorrit Matson led the pioneering New York Scandia Symphony through a characteristically enlightening and exciting performance that left no doubt that the Scandinavian composers of the early classical era were just as substantial – and could be sometimes just as schlocky – as their counterparts a little further south. This program featured a trio of compositions drawing on Viennese School influences, and as is the custom with the Scandia, one piece was a US premiere and the other, C.E.F. Weyse’s Symphony No. 6, was making its New York debut, two hundred years after it was written.
They opened with Kuhlau’s Robbers Castle Overture. This one you know even if you think you don’t – it’s the kind of piece WQXR plays right before the top of the hour. A blazing, heroic theme, it’s essentially a series of codas, one on top of the other, leaving barely room to breathe. But breathing room is what Matson gave it, enhancing the cleverness of what’s essentially a single, long crescendo. The US premiere, Gunnar Berg’s 1950 composition Hymnos (”That little violin piece,” as a member of the ensemble sardonically characterized it afterward) was a revelation. In the same vein as Rachmaninoff’s Isle of the Dead, it’s a tone poem, striking, static and still, the orchestra bringing out every bit of unrelenting tension in its stark, Stravinskian ambience.
Johan Halvorsen’s Suite Ancienne works off a typical 19th century trope. With a few exceptions (notably Respighi’s Ancient Airs and Dances), lush orchestrations of old folk tunes often leave an uninspired impression, but not the way the Scandia opened this one, careening with a reckless, beery abandon that proved impossible to resist. The second and third segment are somewhat annoyingly jiggy in places, but to the orchestra’s credit, the boisterous cheer never let up and this paid off in the end when finally some wary intensity arrived in the form of a brief, recurring turnaround, stark in its contrast with the endless celebration all around. The Weyse was the closing number, working a simple, extremely straightforward and considerably effective chordal series building to a heroic theme with some striking textural appositions, horns against the strings. The Largo, which followed, was anything but, only backing off slightly from the majesty that would return with gusto as a big dance number in the third movement and conclude with lively exuberance and echoes of Vivaldi in the fourth. It’s the kind of piece that could easily open a Schubertiade bill.
Fans of brilliant obscurities (the Scandia dedicates itself to premiering works both old and new) are in for a treat, with members of the orchestra playing a series of free outdoor shows at Ft. Tryon Park in Washington Heights this June.