Maestro Joel Levine’s penultimate concert enraptured audience
In the fifth installment of the OKC Philharmonic’s Classics Series, Maestro Joel Levine treated patrons to a beautiful penultimate concert as Artistic Director. The concert’s first half featured a lesser-performed symphony by Antonin Dvorak, No. 7 in D minor. A daring, and interesting choice, the work is at once more complex and less overtly appealing than either the 8th or the 9th symphonies. However, it proved to be a genuinely moving, successful performance. The work demands a patient approach to pacing and a gentle caressing of the the phrasing, which Maestro Levine executed expertly on both counts. Uninhibited by the technical challenges presented by the intricate rhythmic configurations, Levine seemed at ease, coaxing a refreshingly tender and organic musicality out of the orchestra. It was a great pleasure to hear this understated work performed by a conductor willing to savor the nuances, and give it the necessary love and attention.
The most touching moments of the entire concert came not from the symphony or the concerto, but from a gem called The Swan of Tounela by Jean Sibelius. Maestro Levine led the orchestra in a deeply introspective, and profoundly moving performance of this atmospheric tone poem. The programatic piece evokes the image, derived from Finnish mythology, of a majestic swan singing while gliding across black waters surrounding the “land of death.” Like a true swan-song, the piece is a contemplation of mortality—an appropriately timed anticipation of this early Lenten season.
This work featured the Phil’s own english hornist, Dr. Dan Schwartz in a stunning performance. Schwartz’ playing has otherworldly grace, and a poignant, humanistic pathos; he sings each line with heartbreaking honesty, magnificent beauty, and sparkling elegance for days. Like the image of a stark-white swan set against the murky waters of the unknown, the contrast of Schwartz’ rich, warm sound penetrating the frigid orchestral colors of the accompaniment was not only affective, but hair-raisingly uncanny. Also notable in this performance were the haunting cello solos performed marvelously by Dr. Jonathan Ruck that bookended the piece, setting the chilling tone of the work. From start to finish, this performance was nothing short of hypnotic.
Guest soloist CheeYun concluded the concert with Tchaikovsky’s monumental Violin Concerto in D major, Op. 35. Always an audience favorite, the concerto was dazzling. With captivating soloistic flair, and technical precision, Chee-Yun spun Tchaikovsky’s gorgeous melodies like gold. My only complaint of the entire performance was that I would have liked to hear a bit more of her. She was overpowered by the orchestra at times; our musicians simply couldn’t resist the urge to play out—given the passion and excitement of the music, I can hardly blame them.
The concerto garnered a particularly exuberant audience reaction—even by Oklahoma standards. I love that Oklahomans love the arts. If the alternative is callous, stuffy, indifference, then place me firmly on the side of raucous vivacity. On the other hand, applause after all four movements of a symphony, and a standing ovation in the middle of the concerto— yes, you read that correctly—is a bit much. So much, in fact, that a polite request from the podium or a program note may be in order. Nevertheless, our Philharmonic is in clearly in good shape, if an overly-enthusiastic audience was the worst blemish on an otherwise wonderful concert.