Herbert Blomstedt, esteemed former Music Director of the San Francisco Symphony and Conductor Laureate ever since his departure from Davies Symphony Hall two decades ago, is currently at the halfway mark of his latest annual return visit. The fortnights he usually spends here have become comfortably predictable, and a programming pattern has emerged, with selections often chosen from the greatest hits he created during his treasurable and orchestra-building tenure.
Unsurprisingly, the American-born conductor raised and educated in Sweden has a fairly definitive grasp of the Nordic repertoire and an international reputation for his clear and unfussy (composer-intentions-friendly) approach to the core European catalogue of classics. Blomstedt is renowned for his leadership of Sibelius and Carl Nielsen symphonies, many recorded on award-winning discs with the SFS, and he is supremely admired for his interpretations of Bruckner and Beethoven.
Last week's concerts at DSH featured soloist Peter Serkin (he made his own debut here in 1971!) performing Mozart's Piano Concerto No. 19 in F Major, with the second half of the bill given to a spacious and exalted rendition of the Sibelius Symphony No. 2 in D Major.
The packed house last Saturday night, Valentine's Day, received the maestro and his guest artist affectionately. For those too young to remember Blomstedt's original career in the Bay Area, it afforded a chance to encounter old-school musical tradition at its best. Serkin continued to exhibit his own kind of musical-royalty heritage with a precise and plainly articulated approach to the Mozart, bolstered and complemented by Blomstedt's warm and richly textured accompaniment. Details emerged especially in the strings, which helped showcase Serkin's strength to full advantage, and also remind us of the composer's genius with orchestration.
The concert had begun a surprising 15 minutes late – you had better believe it wasn't due to the maestro – but the fleet and thoroughly satisfying Mozart performance satisfied the crowd enough to cover the late start and the inclusion of only one piece on the first half of the bill.
After intermission, Blomstedt returned to the podium, ramrod straight as ever and clearly ready to settle in for the demanding arc of the magnificent Sibelius Second. Ye gods, the maestro is pushing 90, and he doesn't look appreciably different than when he was Music Director 30 years ago. It must have something to do with pursuing your passion, or upper-body strength, or clean-living, or all of the above, but whatever his secret to vibrant longevity, the maestro's audiences reap the benefit.
The Sibelius Second is a vast and gorgeously melodic piece, filled with reminiscences of great Russian composers like Tchaikovsky and Rimsky-Korsakov, but infused and enlivened by the composer's quirky rhythms and harmonies. Sibelius also had a gift for writing a stirring anthem, and the Second grows throughout its span to a thrilling Finale, guaranteed to urge any audience to cheers.
So many younger faces in the audience – and indeed, among the orchestra – might not know the kind of epic grandeur Blomstedt is capable of, but after his marvelously assured leadership last week, it is safe to say they got the picture. The orchestra, including many stunning solo contributors, supported the maestro's clear-eyed and boldly heroic vision with breathtaking ensemble and concentration. It was a mighty and well-earned ovation.
This week, Blomstedt returns with an all-Brahms concert featuring the glorious A German Requiem. Hunt down a copy of his recording with the SFS from the last year of his contract in SF, and understand what is so enduringly important about Blomstedt's vision. The simplest yet richest and most non-dogmatic of religious works becomes a moving testament to the human condition that also eloquently summarizes the conductor's artistry.
Ragnar Bohlin's SFS Chorus will be appearing with baritone soloist Christian Gerhaher and soprano Ruth Ziesak, but as long as we're strolling down memory lane, it would be kind of cool if former Chorus Director Vance George were in the house. After all, he won the 1995 Grammy Award with Blomstedt for Best Choral Performance for their recorded collaboration with the SFS on Deutsche Grammophon,