Symphony Review: SLSO shines in a program dominated by works for strings and small orchestra

The St Louis Symphony Orchestra is well-known for its presentation of orchestral works for the full extent of its personnel. But in a bit of a switch to that pattern, the orchestra presented an engaging varied program at 10:30 am on Friday, December 1 at the Touhill Performing Arts Center with compositions scored primarily for strings or smaller classical orchestra. Guest conductor David Danzmayr led the ensemble with irresistible spirit and energy. Danzmayr is one of the leading up and coming conductors from Europe, and he returns to the SLSO podium after his debut concerts with the orchestra in 2021.

[Find out more about the music with the KDHX symphony preview.]

The program opened with a sparkling performance of Jessie Montgomery’s 2006 string composition “Strum.” Montgomery is a performing violinist as well as composer and her work strives to interweave classical music with elements of vernacular music. “Strum,” originally composed for string quartet, has been well-served in this version by the composer that expands the work to string orchestra.

“Strum” begins gently with pizzicato figures traded between principal viola and principal second violin. This simplicity is gradually layered with more full rhythmic strumming from the sections, with graceful trade-off between the upper strings, underlaying a lyrical line that was played beautifully by principal cellist Melissa Brooks. The energy develops further with extended sections of all pizzicato for all players. The sound of a full string section all simultaneously plucking is an all-too rare magical sound, here bringing up to me glorious references to parts of Tchaikovsky’s Symphony 4.

The extended rhythmic plucking created a feeling of energy that miraculously continued to make itself apparent even as the broad lyrical melodies bowed by the full string section took precedence.  The music gradually cycled around to return to the beginning feel to complete with a thrilling rush of pizzicato energy. The impeccable precision of the symphony violins under the leadership of concertmaster David Halen once again proved the astounding artistry of the section.

The program continued with a performance of Ralph Vaughan Williams’s for Oboe and Strings with principal oboist Jelena Dirks on the solo. The exuberance of Montgomery’s “Strum” would be a difficult piece to follow up with in the best of circumstances, but the bucolic calm so typical of Vaughan Williams and very present in this concerto rather failed to maintain the excitement that had just been established.

The concerto is rather a meandering idyll, repeating many of the same harmonies and figures throughout, especially in the first and third movements, punctuated by a rather simple middle movement unencumbered by complexity of rhythm or harmony. However, the composition ends quite literally “on a high note” with a beautiful held note in the uppermost range of the oboe.

Dirks played beautifully throughout, but her outstanding tone and technique could not make up for the almost static nature of the performance. Vaughan Williams used his unique voice to create a stirring rich string background (how can he make a diverse string section sound entirely like a chorus of violas?), the swells and harmonies of which provide the bulk of the emotional impact.

I am a devoted fan of all things English, and the famous pastoral images of the English countryside are perfectly embodied in Vaughan Williams’ compositions. In fact, in many ways, his music was meant for commonfolk, built on folk melodies and figures he gleaned from the British landscape. The result here is most like looking at a lovely landscape. It is beautiful to look at but effects little forward change when all is said and done. This aspect was made even more apparent in this concert by bookending this with two compositions of such energy and vitality.

The concert concluded after the intermission with Beethoven’s Symphony No. 2, one of the master’s less performed but most energetic symphonies. Beethoven wrote this symphony in the summer of 1802, just at the time he was becoming aware of his irreversible hearing loss. Though he had just written his “Heiligenstadt Testament,” a despairing will of sorts in which he gave voice to his anguish, the music he composed at the same time is some of his most cheerful.

The symphony is structured in the typical four-movement form. It opens with a slow adagio that simply sets the stage for spirited Allegro con brio. Contrasting scales by strings and winds build a great sense of motion and expectation. My only criticism is the perhaps too-strident blasts alternating from the horns and trumpets in the section closing the introduction. The solo work by woodwinds created a real sense of harmony and goodwill.

The expansive Larghetto follows and then answered by a playful scherzo, marked by unexpected rhythms and bold crashes. The symphony concludes with the final Allegro Molto, played here at an exhilarating tempo that highlighted the startling, sometimes shocking, but always inventive movement.

Once again, the program highlighted the extreme musicality and precision of all the sections, with Maestro Danzmayr bringing out a very enjoyable and challenging performance.

The symphony strings move to the Sheldon Concert Hall with a performance of the string quartet version of Montgomery’s "Strum," along with other contemporary works for strings, on Wednesday December 6 at 7:30 in the Live at the Sheldon Series. The remainder of December is filled with a variety of holiday-themed concerts. More information is available at the SLSO web site.