Charismatic conductor Roberto Abbado joined the Seattle Symphony this past weekend for a diverse program of pieces that spanned the centuries, ranging from Haydn to Stravinsky. Modest Mussorgsky’s beloved Pictures at an Exhibition anchored the progam. Rounding out the set was André Jolivet’s Concertino for Trumpet, featuring the Symphony’s own David Gordon.
The diversity of pieces gave Abbado plenty of opportunities to demonstrate his conducting chops. Heralding from a musical family, Abbado can claim relation to several other famous musicians, including the famed conductor Claudio Abbado, who is his uncle.
The evening opened with a Scherzo à la russe, a brief work by Stravinsky. Originally intended to be part of a film score, the piece is less dramatic and jarring than many of Stravinsky’s famous works, particularly the intensely rhythmic Rite of Spring. However, strains of Stravinsky’s signature Russian folk melodies could be heard, adding interest to the work.
André Jolivet’s Concertino for Trumpet followed the Stravinsky. The work contrasts the strident tone of the solo trumpet with both string orchestra and piano textures. Composed in 1948, the Concertino‘s difficult passages demonstrate the full technical range of the trumpet. Principal Trumpet David Gordon performed with great virtuosity. The piece calls for two different trumpet mutes to be used, highlighting the variety of sonic textures that can be created with the instrument.
Duly wowed by Gordon’s performance, the audience seemed to relax into their seats for Haydn’s Symphony No. 93. But Papa Haydn had a few surprises up his sleeve that left everyone entertained and on the edge of their seats. Haydn’s compositions are full of dramatic flair, and Abbado encouraged the orchestra to play up the drama, highlighting sudden changes in dynamics and tempo.
However, most of the entertaining aspects of the piece were written into the score. Towards the end of the staid second movement, the orchestra slowly fades away to a standstill. The silence is broken by an enormous honk from the bassoon, which kickstarts a reprise of the movement’s main theme. That certainly woke up the audience, who were too shocked to laugh at Haydn’s musical joke. The musicians and Abbado seemed to enjoy the moment, though.
The highlight of the evening was a performance of Modest Mussorgsky’s most famous work, Pictures at an Exhibition. The piece relates Mussorgsky’s experiences while roaming through a gallery of paintings by his friend Victor Hartmann. Each movement depicts a work of art on display in the gallery. These are tied together by a recurring theme which appears in the “Promenade” movements that appear throughout the piece. These are intended to represent the composer strolling from one painting to another.
Anyone who loves the symphony orchestra must experience a live performance of Pictures at an Exhibition at least once in their lifetime. The piece showcases the entire range of orchestral sounds, from majestic brass fanfares and mournful saxophone solos to frenetic string passages and pounding timpani.
Seattle Symphony’s performance on Saturday night sounded particularly fresh and vibrant. The string section gave a crisp performance, especially in the whirling “Baba Yaga” movement. In the “Great Gate of Kiev” finale, the low brass added power and grandeur to the full orchestral sound.
Seattle audiences still have another chance to catch Maestro Abbado in action. He presents another program with the Seattle Symphony this coming weekend, featuring Schumann’s Symphony No. 4 and Beethoven’s Piano Concerto No. 2.