San Francisco Classical Voice

But such literal-mindedness finally got in the way of the expression, the grace, the potent delight which lurks around every Classical corner. Oundjian's treatment of dynamics overall was a general case in point. They settled into an easy regime of rather soft and rather loud. Except in the Chopin, there was little gradation between these effects. Over time this binary switching became tedious.

Haydn's Symphony No. 82, “The Bear,” opened the program. Everything was well-played and adequate to its purpose. A graceful codetta in the second movement, well-aimed hemiola in the third — these small virtues became notable. Only in the final movement was there any sign of risky life, of burning tempi and Haydn's ceaseless invention. But this too dwindled. The drone, the hurdy-gurdy, the rustic memories give this work its special character. Haydn wrote for strong accent and clashing culture, for antagonizing harmony and sudden dissent. Bold speech is required to approach these ethnic energies. Disappointingly, it came out in Esperanto.

Mozart's great Symphony No. 40 in G Minor, in the version with clarinets, closed the program. Within two bars the audience let out an audible sigh of recognition (and relief) in notice of its fame. But, as with the Haydn, it lacked personality. Only in the second movement, Andante, was there a distinct aesthetic choice made. Oundjian took a very broad pulse and found serenity within. He showed weight and warmth, especially in unexpected modulation. Although below a traditional tempo, it never lost elasticity. It was his best work of the day.

The fulcrum of the concert was Mozart's Rondo in D for piano and orchestra, K382, leading to Chopin's variations on Mozart's ”La ci darem la mano” from Don Giovanni. Even Mozart could occasionally resort to rote and formula, and this Rondo clatters along its pre-ordained tracks. Pianist Shai Wosner, in his Symphony debut, made the best case he could for the work. The strongest performance of the concert lay immediately ahead.

The Chopin Variations were given their first San Francisco Symphony performances, and Wosner proved their equal. In parts discreet and buoyant, demanding and responsive, he gauged the several voices of these variations and endowed them with names. Oundjian began with a lush Introduction, and Wosner replied in kind and character. His technique is strong, but does no injury to the line. Impeccable cross-hand work, long passages with very little pedal, and a superb left hand generally characterized his sound. In fact, I was drawn to Ivan Moravec's shining left hand sonorities as an apparent model — it was that fine.

The best of the variations was the last. ”Alla Polacca” meant everything to its composer. So, too, it gained with all of these players a grand sense of design and engagement. Unashamed dance will do that to a concert, every time.