San Francisco Classical Voice

On the primarily plus side, Tortelier took the second waltz nicely slow, and went from a deliciously sensuous reading of the third one to the miniature toy shop fourth waltz, dancing on needle points, led by oboist William Bennett. On it went, waltzing variously suavely and gaily to the climactic ninth waltz where, as we were to experience later, Tortelier went for the all-out sound. Early in the work there had been too much brass, but here he had the trombones playing at what seemed their loudest volume. Wrong. Later in the program, in the seventh (“Troyte”) of Elgar's Enigma Variations and again in its finale, they demonstrated that they could play still louder. Hooray! The best in the Ravel waltzes was the final coda where the composer Ravel evokes echoes of the different waltz's themes. They are like dream-like recalls of moments from an exquisitely romantic evening. Savoring this very slowly, Tortelier made the effect diaphanous.

The special, unusual work was the Cello Concerto by the distinguished Swiss composer Frank Martin (pronounced in the French manner, Mar-taenh) (1890-1974). Martin is one of those composers so highly and widely respected that he is more often honored in the avoidance than in the performance and so it was a rare pleasure to hear the piece. Martin bridges styles in the Cello Concerto (1966) but achieving in it a conciliation and consistency that results in unified manner and purpose. Classical in form, as he noted himself, and tonal, the concerto presents the cello in a dominant, leading role with a strong, full-voice lyrical line that is surprising grave. With his big sound and command of line, the soloist, Michael Grebanier (the orchestra's principal cello), made the most of this.

The first theme, decidedly modal as if suggesting old cathedral music, comes off broadly with a solemn eloquence. There is a distant suggestion of Bartok, and in livelier second theme, a Hindemith flavor. These are probably not influences but simply Martin's drawing on the musical currents from earlier in his life when composing this work at age 76 in a conservative vein. Surprisingly, in the development, the music turns sharply modern and dissonant as if some kind of dramatic program is in play, then moves in big strides to an unexpected meditative, not cadenza-like cello solo and then a recapitulation.

The second movement, Adagietto, is slow and dark, again lyrical, with the soloist dominant. It might have benefitted from the thrust of a more impassioned performance, but Grebanier, characteristically playing towards the music stand, was a more contained singer, not carried away. There was a moment, as the orchestra strings dug in intensely, where Barber came to mind, or at least his style.

The last movement, Vivace, was lively, syncopated, the orchestral part more complex and more at parity with the soloist, Grebanier bringing off the now vigorous music handsomely. For some reason, built into the piece, the propulsion of this movement is not continuous and unswerving. The material does not seem to knit together fully and the ending does not come off successfully. The Concerto employs an orchestra with small wind section that includes and features an alto saxophone. Tortelier led a warm and clear performance.

Finally, Elgar's much favored Enigma Variations. If it seems unexpected that a French conductor would choose it, it should be noted that the work was much admired and greatly performed by Pierre Monteux here. And so also did Tortelier's affection for the work show. His distinctive way with it was immediately apparent in the drawn-out affettuoso treatment of the opening theme, threatening to love the work to death before it started. The subsequent variations seemed to have more pronounced character than usual, this one a little heavier, that scherzando a bit more transparent, and so on. Tortelier began the “Nimrod” centerpiece with the softest of pianissimos setting up a grand climax indeed. Both Geraldine Walther in the “Ysobel” viola solo and Peter Wyrick in the XII B.G.N variation cello solo were splendid. Pursuing as strong contrast as feasible, (them ‘bones again), the finale came off in Elgarian/Tortelian glory.