Review

CityMusic Cleveland with Ryan McAdams

and Jan Vogler at Fairmount Presbyterian (October 12)

By Mike Telin

Apollo certainly had his eyes set on Fairmount Presbyterian Church Wednesday night as CityMusic Cleveland presented the opening concert of their 2011-2012 season, featuring works by Beethoven, Ligeti and Dvořák.

Since the orchestra's founding in 2004, CityMusic has consistently presented concerts that are of a high artistic quality. However, last night this fine ensemble raised their artistic bar even higher, due in very large part to the keen musical sensibilities of guest conductor Ryan McAdams who was making his debut on the CityMusic Podium.

In recent years, McAdams has quickly established himself as an exciting and versatile conductor, and has logged an impressive list of guest appearances that include the Los Angeles Philharmonic, New York City Opera, New York City Ballet and St. Paul Chamber Orchestra, as well as serving as the music director of the New York Youth Symphony. From the first note to the last, McAdams drew a rich and well-blended sound from the orchestra, in addition to a full range of controlled dynamics: the pianissimos were truly soft and the fortissimos were full but never harsh. Most importantly, this was a concert of musical substance and McAdams and the CityMusic musicians together created musical magic.

McAdams opened the concert with a well-paced and rhythmically precise performance of Leonore Overture No. 3, one of four overtures Beethoven wrote for his opera Fidelio. The slow opening section was well balanced between strings and winds, and the transition into the first fast section set up a true sense of anticipation for the overture’s famous theme. Here McAdams kept everything nice and tidy, never allowing the brass to become overbearing. The offstage trumpet calls were perfect: the second just slightly louder then the first. The section leading up to the final chords was triumphant.

In her program notes about György Ligeti’s Concert Romanesc, Yvonne Frindle writes, “It’s difficult to imagine that this tuneful, vibrant music was once banned” (by the communist party). What is more difficult to imagine is that this piece, dating from 1951 and loosely based on folk melodies, was actually written by the same composer responsible for such works as his three books of piano etudes, Atmosphères, and Lux Aeterna, let alone by the same composer who championed the use of polyrhythms and microtonality.

In his brief introduction, McAdams explained that we would hear some passages in the French horns that might sound out of tune, but Ligeti intended for it to be that way in order to give the effect of alphorns. He also took the time to show a bit of humor by introducing himself with “Hello, I’m Ryan and I’ll be your server this evening”. When the music began it was once again back to business. There were many wonderfully played solos throughout the work's four short movements: notably by concertmaster Sarah McElravy and the French horns; their alphorn calls, one on the stage and one in the organ gallery, worked to great effect.

The second half of the program was devoted to a single work, the Cello Concerto in B minor, Op. 104 by Antonin Dvořák with the German cellist Jan Vogler as soloist. Vogler, who was also making his CityMusic debut, recorded the work in 2004 with the New York Philharmonic under the direction of David Robertson. To prepare for that recording, Vogler went to great lengths to understand the origins of the concerto's themes: were they truly based on Bohemian folk songs or were they inspired by American tunes such as Negro spirituals? Although he reached no definitive conclusions, Vogler said in an interview for this publication “When I finally recorded the piece I felt like I did have a new approach. I had more imagination and motivation to really play my own Dvořák.” Whatever the source of Dvořák's inspiration, Jan Vogler, the orchestra and conductor gave an inspired performance of this staple of the cello concerto repertoire.

Vogler possesses a large focused sound that sings, and he is in complete technical command of the instrument. Both qualities served him well in this performance. The opening Allegro movement had just the right amount of intensity and grandeur, then relaxed in all of the right places. Vogler kept the piece moving along but pulled back just enough in places to allow it to breathe. The Adagio ma non troppo was simply beautiful. Who cares where the themes came from: Vogler provided his own virtual lyrics and his cellistic voice ranged from a full-throated tenor to the intimacy of a mother singing to her child. He stylishly controlled the final Allegro moderato from the beginning, march-like theme to the most delicate passages played on the highest part of the fingerboard.

McAdams and company were the perfect collaborators, and it was a pleasure to hear a performance of this piece where the soloist did not have to struggle or force the sound in order to cut through the work's thick orchestration, even during those previously mentioned, delicate passages. Articulations were clear and the smallest of musical nuances projected well. This was a performance to remember, and the large audience responded with a well deserved standing ovation. Bravo to the musicians of City Music, cellist Jan Vogler, and conductor Ryan McAdams. And perhaps a nod in the direction of Apollo as well.

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Published on ClevelandClassical.com October 14, 2011.

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