The last time we heard the Saint-Saëns Symphony No. 3 in C minor , Op. 78 ("Organ Symphony")
on Oct. 23-24, 2009, we
were introduced to the Circle Theatre's newly installed, revamped, refurbished
Wurlitzer theater organ. It was then played by Martin Ellis (of the N. United
Methodist Church) with the orchestra conducted by Thierry Fischer.
While Ellis returned Friday to repeat his excellent
Wurlitzer-keyboard-and-pedal work, the guest podium artist this time was Jun Märkl
Märkl, a conductor we always look forward to. He out-conducted Fischer in
virtually all aspects of the popular late Romantic symphony, emblazoning it
with energy, precision, balance and nuance.
Cast in two distinct parts, each one containing two
connected movements, the symphony is dominated by a dies irae-like motto with double notes and some added chromatic
steps not heard in the famous Medieval church chant some of Saint-Saëns'
contemporaries liked to employ within their works. We first hear the organ as
the first movement bridges into the hymn-like tune of the second movement, under
girded by the organ's pedals.
Then, after the Scherzo-like third movement's bridge, both
orchestra and organ opened the fourth movement, beginning with a Maestoso which
was overwhelming with the purely sonic elements of the organ, coupling with
this hall as no on-stage orchestra by itself ever has. A fugal tour-de-force
leads to an ear shattering ending, with pounding timpani, and Märkl and Ellis's
"forces" proclaiming "C major rules the day!" The audience response was quite
There were a few minor slips in the orchestra's precision in
the so-called "trio" section of the third movement--the woodwinds off-track here
and there. But not enough to compromise Märkl's vision of the work. The strings
handled the double-note theme in the first movement with purposeful élan,
especially considering the conductor's quite rapid tempo.
With cellist Zuill Bailey returning for the third time to
the ISO, we've come to realize that, among other purposes, it was for a
commercial recording on the Telarc label, the first two having already been
released. This time, however, Bailey opened the concert with two disparate
works: Schelomo, Hebraic Rhapsody for
Cello and Orchestra (1915) by Swiss composer Ernest Bloch, and the U.S.
debut of the 'Cello Concerto' by Nico Muhly (b. 1981 in Vermont).
About as "Jewish" sounding as any music gets, Schelomo recalls a "klezmer" concert a
few years ago, the word indicating Jewish music with an element of jazz. This
is also Bloch's most popular work and is very compelling in its bluesy
inclinations and vivid orchestration. Bailey's solo part was as well rendered
as consistent with his locally proven artistry, especially his rich, evenly
As Muhly exhibited a fast-talking, exaggerated
hand-gesturing persona in the pre-concert Words on Music, his Cello Concerto
showed a tendency to reach out to the far extensions of modern musical ideas--to
being original without merely being dissonant, as the contemporary style is often
thought of. Bailey's cello had a more reserved part than in the Bloch work,
sometimes disappearing for stretches.
An interesting use of a muted trumpet took over dominance at
one point in the second movement. While the first two movements were joined at
the hip, with the cello weaving a line in and around punctuated chords, the
final movement -- Quarter note = 174 -- became a further study in minimalism.
Will Muhly's Cello Concerto become a repertoire piece? I have no idea; critical
judgment of a work at first hearing has tended to be historically inaccurate. Hilbert Circle Theatre; Jan. 24-26