For the past two weeks, audiences in Davies Symphony Hall have been offered beloved works from the core repertoire as interpreted by two generations of orchestral leaders, San Francisco Symphony Music Director Michael Tilson Thomas and regular guest conductor Pablo Heras-Casado. There is surprisingly little contrast to note between the two maestros. As far as control or interpretation goes, each displays an expert's ability and, perhaps most admirably, a generosity of support for their fellow musicians.
Both concert programs also featured guest artists who might have shown a separation in technique or stylistic approach because of their age difference, but again, the youngster and the oldster only proved that talent is really ageless. Apparently, coiled energy doesn't suffer much in advanced maturity either, as veteran pianist Rudolf Buchbinder made wonderfully clear last week when he played the lovely Mozart Piano Concerto No. 20, with MTT conducting.
That concert opened with Pacific Boychoir, director and conductor Kevin Fox and Men of the SFS Chorus positioned throughout the auditorium to perform the exquisite Gregorio Allegri Miserere mei, Deus (1638). The beautiful rendition, both forceful and tenderly moving, resounded in the dry DSH acoustic with impressive power. The heart-stopping moments when the boy soprano sings a high C had the proper effect.
It might have seemed like a hard act to follow, but Buchbinder is the very definition of old pro, and he commenced his appearance with subtly assured elegance. My knowledge of the Austrian pianist stems mostly from years of admiration for his recorded Beethoven. After hearing him make such nimble and elegant sense of Mozart, I may be turning next to his set of complete concertos with the Vienna Symphony, with the artist also conducting from the bench.
It has been more than three decades since Buchbinder first appeared at DSH. He turns 70 this December. Hopefully, local audiences won't have to wait again so long to appreciate his impressively burnished talent. And burnished is a word commonly applied to the symphonies of Johannes Brahms. That "autumnal glow" description might lead us to forget that the four masterpieces also contain many pages of fiery passion and unfettered joyfulness.
Of course, MTT remembers, and his interpretation of the "sunny" Symphony No. 2 in D Major made sure to include darker moments of reflection before ending in triumph. The orchestra responded with one of the best performances by the horns in recent memory and some especially vivid support from the strings. Clear-eyed and perfectly paced, this was Brahms without the "old master" heaviness.
The prior week brought Spanish conductor Pablo Heras-Casado back to the podium at DSH for a series of subscription performances that also featured exciting young guest artist Alisa Weilerstein in Schumann's Cello Concerto in A minor. I confess to being an avid fan, but not without some reservations, as Weilerstein exhibits both surprisingly advanced insights matching her sturdy technique along with the occasional lapse into monotonous and superficial tone.
The audience response was suitably enthusiastic to her recent performance. The thoughtful moments of reflection were perked up by edgy explosions of sustained energy. If I wasn't completely convinced, there were certainly many who were, and my estimation of the young star still continues to grow.
Heras-Casado opened the bill with a nicely articulated Mozart Symphony No. 29 that immediately captured the crowd with its seductive and familiar opening tune. The musicians of the SFS obviously know and respond well to the Spanish maestro by now. For audience members meeting the dynamic conductor for the first time, it proved a charming introduction.
The big news of the evening was the second half, devoted to Dvorak's magnificent Symphony No. 7 in D minor. And we offer big, big thanks for bringing us the Seventh instead of the too-often-heard Ninth, From the New World. The ensemble playing was superb throughout, and the sexy young conductor proved yet again that he is far more than an agreeable visual presence.
Since he started in music as a boy chorister in Granada, it's too bad the Pacific Boychoir couldn't be on hand for his recent bill as well, and I also admit some regret at the absence of any contemporary music. New music is a noted specialty with Heras-Casado, but how refreshing it was to hear such sympathetic understanding in the core repertory, too.
This week at DSH, firebrand pianist Yuja Wang pairs with MTT one last time locally before they embark on an extended Asian tour with the SFS.