The Pittsburgh Symphony Orchestra and Maestro Mariss Jansons’ reputations precede them, as seen from the large crowd that turned up at the Dewan Philharmonik Petronas (DFP) on March 1 and 2 to watch them perform their maiden concerts here. Appearing with them on the first night was acclaimed cellist Truls Mørk, returning for his second performance at the DFP.
Currently one of the top eight orchestras in United States of America, the orchestra embarks on at least one international tour a year and has made 25 such tours to date. The orchestra has been helmed by a host of renowned conductors including Victor Herbert, Frederic Archer, Otto Klemperer, Fritz Reiner, William Steinberg, Andre Previn, and Lorin Maazel. Jansons took over as Music Director of the orchestra in the 1997-98 season and has been working towards establishing a unique sound for the orchestra by “combining the best sides of the American and European sound”.
Born in Riga, Latvia in 1943, Jansons studied the violin, piano and conducting, graduating with honours from the Leningrad Conservatory. He has trained with some of the most distinguished conductors in the world including Hans Swarowsky in Vienna, the great Herbert von Karajan in Salzburg as well as with Evgeny Mravinsky, who invited Jansons to become the Associate Conductor of the St. Petersburg Philharmonic (formerly the Leningrad Philharmonic) Orchestra.
Jansons’ commanding presence makes his average Russian build seem larger than it actually is as this gifted conductor speaks passionately about music and its interpretation. He explains how technical virtuosity should be put to the service of creating emotions, rather than be an aim in itself.
“The most important is what is behind the notes,” he adds. “The notes are signs which mean so high, so loud, so quick. But it is only [a) sign. But these notes, or phrases, they mean something. […) Content or image or atmosphere. You must find and you must perform this. Then it is [on a) completely different level. If you play only right notes and everything that is written, it’s not enough. It’s good, but it’s not enough. Ifs not this moment which you hear, you feel like in Heaven.”
And the evening’s performance did manage to send the audience to heaven. From the very first movement of Beethoven’s Symphony No.7 in A (op.92), it was clear that conductor and musicians were performing as one. Seamlessly moving from solemn to exuberant and back again, the orchestra painted vivid images with the many highs and lows that make up the sometimes schizophrenic, dance-like atmosphere in this taxing piece.
Tchaikovsky’s Symphony No.5 in E minor (Op.64) followed the intermission. Here, the orchestra played so lyrically that one could almost hear the words of a storyteller emerging from the music. The grave opening heralded the arrival of doom as the melody gave itself up to Fate with sweeping gestures after offering feeble resistance in the form of an erratic flurry of notes framed by a defiant march. The second movement takes on a lighter approach, akin to a tentative springtime blossoming with just a hint of winter threatening to return. This melts into an emotional declaration of love and hope that ends with an ominous reminder that Fate is waiting in the wings. After the playful waltz that makes up the third movement, the fourth and final movement recalls the dark mood of the first, but this time the music exudes a confidence and banishes the somber thoughts with an exultant crescendo.
It was a delight to witness how Jansons’ slightest gestures brought about a dramatic change in the orchestra’s playing. Both conductor and orchestra succeeded in bringing the music of these great composers to life with their masterful interpretation and passionate performance. Bravissimo!
First Published: 19.03.2002 on Kakiseni