Above: cellist Truls Mørk
~ Author: Ben Weaver
Saturday December 2nd, 2017 - The Orpheus Chamber Orchestra was founded in 1972 as a conductor-less ensemble. Musicians collaborate on each interpretation and concertmasters rotate usually for each work on the program. Occasionally this can lead to minor lapses in ensemble. But when things work, results can be unforgettable. The Orchestra’s concert on December 2nd at Carnegie Hall was of the unforgettable variety.
The great cellist Truls Mørk joined the orchestra for a stunning performance of Shostakovich’s Cello Concerto No. 1. Composed in 1959 for Mstislav Rostropovich the concerto is one of the most difficult works written for the cello. The opening movement is like an infernal dance for the instrument and orchestra, the main melody (based on Shostakovich’s name: DSCH) is one he used in other compositions. It undergoes many transformations throughout the movement, unrelenting in its intensity.
Mørk and the Orchestra (with concertmaster Renée Jolles) played it as if possessed. The slow movement – Moderato – flows into a powerful, extended cadenza for the solo cello. Mørk’s command of the instrument – seemingly effortless tones, filled with passion – is wondrous. The final movement – which reintroduces Shostakovich’s DSCH signature – ends with seven timpani strokes, and the audience greeted Mørk’s magnificent performance with a well-earned standing ovation. (Interesting to note that it was this Cello Concerto that Benjamin Britten heard Rostropovich and Shostakovich perform in London in 1960; Britten’s admiration for the piece started life-long friendships between the three men.)
I tend to be weary of world premieres. Oberon, the owner of this blog, and I often remark on the number of percussion instruments on stage for contemporary works. It’s a cheap and easy way to transition from point A to point B when you can’t compose your way through it: have somebody hit something. There are not many composers whose new works I am excited to hear. Some of my current favorites include Kaija Saariaho, Sunleif Rasmussen, Sebastian Fagerlund and John Adams. I will now add Shuying Li to this list. Her new composition, “Out Came the Sun”, which Orpheus premiered in this performance, is stunning.
I intentionally did not read the program notes on the work before hearing it. I prefer to experience it as its own piece: it either works or it doesn’t, and regardless of what a composer saw in her or his mind when they wrote it, the listener hears and interprets with their own ears and experiences. “Out Came the Sun” is an episodic – but not disjointed – outburst of melodies, moods and feelings. From stabbing violins to a lullaby celesta, from marching timpani to a most romantic love song from the full string section, one felt like a people-watcher on the street, observing life stories passing by. Li’s music felt like memories and colors, sunshine and a cloudy night - so many wonderful things packed into a 10-minute composition. Members of Orpheus (with concertmaster Areta Zhulla) played it exceptionally. Li is still a very young composer, with just a handful of works under her belt. I hope to hear “Out Came the Sun” again (hopefully a recording is made) and more of Ms. Li in the future.
Above: composer Shuying Li
The concert was book-ended by Handel’s “Water Music” Suite No. 2 at the start and Stravinsky’s neoclassical “Pulcinella Suite” to conclude. Both works are very familiar, but there was nothing familiar or stale in Orpheus’ performances.
~ Author: Ben Weaver