Switching Schullers and dazzling in Ravel’s dawn
It’s a tricky formula with some inherent tension. Orchestral seasons are methodically laid out years ahead of time, but their smooth execution depends on the folkways of divas and temperamental soloists, not to mention the fickle rhythms of the compositional muse. The BSO caught a series of tough breaks this month, with the successive cancellations of Martha Argerich and Karita Mattila , two of the season’s biggest stars. Then, the world premiere
of Gunther Schuller’s “Where the Word Ends” — a BSO commission scheduled for last night — was postponed because of insufficient rehearsal time.
For this week’s set of programs, James Levine and the BSO have replaced the commissioned work with Schuller’s “Seven Studies on Themes of Paul Klee,” a vibrant suite of orchestral reflections on specific works by Klee. It is one of Schuller’s best-known pieces, though it is hardly over-familiar, having been last played by the BSO in 1985 . The movement “Antique Harmonies” is built on mysterious, delicately stacked chords; “Arabian Town” pans slowly over its subject, with an evocative flute solo billowing in from offstage, and piquant oboe lines conjuring scenes of rustic dance. Also represented at different points in the suite are two of Schuller’s lifelong compass points: serialism and jazz. Levine and the BSO gave a fluid performance, though several quiet passages were frustratingly marred by a chorus of audience coughing. You would think from this alone that the crowd did not care much for Schuller’s work, but he was given a warm reception when he appeared for a bow.
The Schuller came on the second half of the evening, paired with the Suite No. 2 from Ravel’s “Daphnis et Chloe.” The first half was given over to Mozart, who seemed an agreeable if somewhat arbitrary counterweight to the Schuller and Ravel. The Symphony No. 25 crackled with energy in its outer movements, and the Piano Concerto No. 17 was for the most part an elegant and urbane journey in the hands of pianist Alfred Brendel . Conductor and soloist worked together closely to bring out the piece’s more daring harmonic excursions and the music sounded fresh.
The closing Ravel suite was a dazzling orchestral display with the sumptuous dawn taking on a striking lushness. This is Levine’s final week of performances in the orchestra’s regular season. When he returns to Symphony Hall in the fall, he will pick up precisely where he left off, as the BSO’s opening night program includes this same orchestral suite.