After being absent for a couple or so years, conductor Jun Märkl
Märklwalks into the Symphony Centre Tuesday morning, and by the following
Friday he has honed the Indianapolis Symphony players into a generally
razor-sharp ensemble for two war horses in a well filled Circle Theatre. German/Japanese
violinist Arabella Steinbacher, 33, joined
the German conductor, opening with Mendelssohn's Violin Concerto in E Minor,
Op. 64, perhaps the finest essay in its genre. Märkl continued after the break with
Berlioz' ground-breaking Symphonie
Fantastique, Op. 14.
As violin concertos go, there are none which match the verve
and sparkle, coupled with the lyric beauty of Mendelssohn's Op. 64, a work in which he reached a
musical density at age 35--with but three more years to live--equal to his
Overture to A Midsummer Night's Dream,
written when he was 17!
(Mozart almost reaches it with his "Turkish" Violin Concerto [No.
5 in A, K. 219].)
Though Steinbacher generally delivered a lovely singing tone
in the slow (2nd) movement, her bowing was a bit inconsistent in the fast
movements, varying from white to wobbly, occasionally producing imperfect
rapid passage work tended to run those notes together. Still, this contrasts only against top tier
playing of the work by few violinists on tour. Märkl's
orchestra supplied more-than adequate balance, precision and energy while
Steinbacher made no obvious slips. It's always a joy to hear this
Mendelssohn, even when its playing lacks a degree of perfection.
Berlioz was only 27 when he completed the Symphonie Fantastique, launching the era
of program music and large orchestras. For a work this elaborate, based on
his obsession with Irish actress Harriet Smithson, the composer's programmatic
elements outshine his purely musical ones, possibly a product of a somewhat
demented genius who did everything to excess. Though the result has entered the
mainstream of symphonic repertory success, I find it difficult to enjoy all of
its five movements as pure music. For example, the 15-minute middle
movement seems interminably long, with insufficient music to carry its load.
Conducting from memory, Märkl made the most of Berlioz'
material, from "Reveries - Passions, "A Ball," "Scene in the Countryside,"
"March to the Scaffold," through the noisy "Dream of the Witches' Sabbath." English hornist
Roger Roe was an exemplary soloist at the start and end of "Countryside."
The two Berlioz chimes, heard from offstage during the final
movement, failed to stay on the beat as the movement progressed--very obviously audible
as they were quite loud.
The two bass drums, located halfway upstage on the right side,
failed to resonate into the hall as well as in a previous performance where they
were fully upstage toward the left side. These picayune points aside, Märkl
gave us a roller-coaster ride throughout. And the Symphonie Fantastique is unvaryingly a crowd pleaser. May 8; Hilbert Circle Theatre