Just in time for Thanksgiving, Michael Tilson Thomas and the San Francisco Symphony stuffed Davies Symphony Hall with the big and bountiful Symphony No. 4 (1916/24) of Charles Ives last week. Following recent performances of the Pulitzer Prize-winning Symphony No. 3, "The Camp Meeting," the massive event was also recorded for future release on the Orchestra's SFS Media label.
Iconic is the catchphrase for everything these days, but it aptly describes the visionary genius of Ives' writing. As a great American voice and groundbreaking thinker, he broke free of establishment restraints early in the 20th century to compose music years ahead of its time. Sounding every bit as startling and bold today as the first complete performance in 1965 must have over a decade after the composer's death, the giant parade and exciting "ride" that is the Fourth rocked DSH from the basement to the rafters with a joyful noise. Thanks, MTT!
The cacophonous collage of marching bands, old hymn tunes and songs, ethereal string choirs, subterranean percussion and quartertone and orchestral pianos needs many virtuosi and two conductors to make proper impact. The strings play an important role, as well as other members of the more conventional orchestra, and MTT kept them all on a clear and harmonious and sometimes consciously unharmonious course throughout the densely packed performance.
Young German conductor Christian Reif, SFS Resident Conductor and Wattis Foundation Music Director of the SFS Youth Orchestra, was stationed upstage of the podium to further coordinate as second conductor, and piano soloist Peter Dugan was prominently positioned downstage left.
Starting with a longer spoken introduction than usual, necessarily so, MTT warmed the matinee audience with his patented blend of insight, information and gentle humor. He obviously admires and loves Ives. He made certain the game crowd of listeners would make it through the relatively short (approximately 31 minutes) but immensely complicated experience with maximum enjoyment and minimum confusion.
Ragnar Bohlin's SFS Chorus also helped illustrate, beautifully singing six of the hymns quoted and subtly woven into the score. "Sweet By and By" and "Beulah Land" still sound wistfully familiar, but "Nearer, My God, to Thee" resonates with modern listeners most, probably due to the historical fact the band played it on the sinking Titanic.
There are many wonderful and easily accessible moments in the Fourth, especially the richly textured Fugue. The riotous Comedy: Allegretto and the spiritually mysterious and primal Finale: Largo maestoso still pack the most typically Ivesian punch.
MTT, Reif, pianist Dugan, the Chorus and all of the assembled musicians concentrated intently on the daunting work before them, but clearly managed to enjoy the assignment. If Ives had included a section needing whistling (he threw in almost everything else), the ensemble would have aced it.
The second half of the performance featured a guest appearance by renowned Pinchas Zukerman in Beethoven's Violin Concerto in D Major. His customary strength and achingly sweet (in a very good way) tone fits the piece well, and I have long admired his interpretation. His approach has changed little over the years, but there were a few moments when the seasoned pro seemed to be on autopilot, a magnificent and well-oiled machine that could use a touch of freshening.
The large crowd was probably there primarily to hear Zukerman's famous rendition, and rightly so. It was a powerful performance that earned a sincere standing ovation. There was no encore, but after all the concert's embarrassment of riches, it was hardly necessary. Let's hope the Ives performances won some converts and the recordings will be available as soon as possible in the new year.
This week MTT returns to the podium for another Thanksgiving feast. Mahler's sunny and evocative Fourth Symphony will feature local favorite mezzo-soprano Isabel Leonard as soloist.