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Michael Stern, conductor of the Kansas City Symphony, summarized the opening concert of the KCS's classical 2009-10 season perfectly when he mentioned "role reversal" while describing the Haydn and Rouse pieces.  In a strange move that did not work musically, the works were performed seemingly out of sequence.  Instead of the typical "opener, concerto, symphony" format of most concerts, the Symphony performed Joseph Haydn's Symphony No. 49 in F Minor "La passione," Christopher Rouse's Rapture, and Johannes Brahms' Piano Concerto No. 2 in B-flat Major in that order.  Now, I like all these pieces and applaud their programming; however, this program would work better as a mid-season concert.

Opening with a relatively-obscure Haydn symphony in a minor key with an Adagio first movement was a very lackluster, yawn-inducing way to begin what, when glancing at the upcoming performances, looks to be a solid season.  The problem with putting the Haydn first was compounded by the fact that Rouse's Rapture was the PERFECT program opener.  Rapture had everything a concert opener should: a great build in intensity, texture, dynamics and tempo from start to finish, large ensemble forces, dueling timpani, suitable length, etc.  The crowd's reception and unforced standing ovation following Rapture's performance further speaks to its appeal and functionality.  This piece will get your crowd going... a Haydn symphony... not so much.

Overall, the maestro and musicians performed well despite a couple flubs and some questionable wind intonation.  I found the split-string seating (which apparently the New York Philharmonic under the new leadership of Alan Gilbert is also trying out this season) more sonically fulfilling.  I often found the cello/bass sound could be lost into the rafters; switched with the second violins, however, the lower frequencies are more prevalent and the sound of the orchestra seems fuller.  Here's hoping Maestro Stern keeps this configuration.

As mentioned earlier, Stern referred to this concert as one of role reversals: in the case of Haydn, with Symphony No. 49, the typically amicable composer wrote a piece epitomizing Sturm und Drang.  With it moody opening Adagio to the finale's brisk Presto, the strings were the stars.  Their playing was clear, Classically light, and their intonation was superb.  The first movement was marred, however, by some sloppy releases between the winds and strings.  The third movement's too-brief trio section of the Menuet was a delight as the soli strings paired lovely with the winds and harpsichord.

Christopher Rouse's music is typically dark and aggressive. Written in 2000, Rapture, while aggressive, is much more optimistic and tonal than his other more substantial works like Gorgon, Phaeton, and his symphonies.  The principal woodwinds played their difficult solos beautifully and expressively. The stereophonic, back-stand string soloists played with aplomb in their rare chance to shine (even if a note or two were missed).  The entire piece had an organic flow that swept the audience along with it.  In its Kansas City premiere, Rapture was well received and well performed.  Stern excels with interpretations of living composers' works and he seemed more comfortable in this milieu than he did in the Haydn.

I had my own "role reversal" with Brahms this summer, with this piece and with this soloist.  For the second time in as many months, I have had the good fortune to hear Yefim Bronfman play the Brahms Second Piano Concerto.  I believe everyone has that one composer that they are supposed to like, but for one reason or another, can't.  Brahms is that composer for me.  I am completely indifferent to his music.  Yefim Bronfman is that special type of performer, however, that can make anything sparkle.  The orchestra and his playing in the first movement were a bit heavy, but the other three movements were sublime. The scherzo second movement was brisk and capricious and the allegretto fourth was riotously flashy and jaunty.  The playing in the third movement of the concerto was the most stunning - it was two months ago in Aspen and was again on Friday night.  The cello obbligato played by Mark Gibbs, and later, accompanied delicately by oboist Barbara Bishop, was gorgeous, emotive and romantic.  It was the perfect match to the balanced control and precision of Bronfman's playing.  Bronfman seemed to coax sound out of the piano at every phrase.  His performance was deliberate, no-nonsense, and achingly musically.  So I guess Bronfman has won me over to Brahms... for this concerto at least.

Lastly, welcome back Kansas City Symphony and welcome to the newest members!

Review:
Michael Stern and the Kansas City Symphony
with Yefim Bronfman, piano
Friday, September 25, 2009
Lyric Theatre
www.kcsymphony.org

By Lee Hartman

Editor-in-Chief; Traditional and New Classical Contributor

Lee Hartman holds degrees from the University of Missouri-Kansas City (D.M.A., M.M.) and the University of Delaware (B.M.). At the University of Delaware, he received a Dean's Scholar position enabling him to pursue an individually designed academic program combining music education and composition. At the University of Missouri-Kansas City he served for three years as the Assistant Director to Musica Nova, the conservatory's new music ensemble, while teaching a variety of composition classes.

In 2007 he was invited to both the Iceland Academy of the Arts in Reykjavík, Iceland and the Sichuan Conservatory in Chengdu, China to give lectures and master classes in composition. In the summer of 2009, Hartman served as an orchestra manager for the Aspen Contemporary Ensemble and Aspen Opera Theater Center for various performances. He serves on the National Executive Committee of the Society of Composers, Inc. as Submissions Coordinator. His primary composition instructors include James Mobberley, Chen Yi, Zhou Long, Paul Rudy, John Beall, and Jennifer Margaret Barker. He currently teaches music theory at the University of Central Missouri and general music classes at Park University having previously taught at UD (2007–08) and UMKC (2006–07).

His compositions can be found at http://www.leehartmanmusic.com

Comments(1):

1. Nice review

   Lee, Nicely written review. I think your comments about program order are interesting. I was a little disappointed with the concert, but not because of the order. For me the Haydn was under characterized; I kept wanting to hear things that would have made the work really sparkle but the phrasing was a little flat for me. I thought the orchestra played great on the Rouse but after a wonderful beginning I found the piece fragmented and 'Hollywood'; it did not have an organic feel for me. As for the Brahms, one word - Square. Deliberate and no-nonsense is exactly right, but achingly musical didn't happen. Bronfman is a great player but a performance of this piece should be shattering, searing, healing and, in the last movement, fun. In other words when the piece is over you should know that you've heard a great masterwork. That just didn't happen for me. The Cellist was the best part of the performance. Listen to Gilels recording with Jochum to hear a really great performance. I look forward to reading more of your reviews!

   Wednesday, September 30, 2009 Robert