Saturday, October 16, 1999
CONCERT REVIEW
Jarvi gives CSO boost once again
BY JANELLE GELFAND
The Cincinnati Enquirer
Paavo Jarvi has a way of making the Cincinnati Symphony Orchestra sound like a top five orchestra.
On Friday, in his second visit here since his debut in February, it was easy to see why the young, Estonian-born maestro is carving out a big-league conducting career. At a time when there is speculation that he is high on the search committee's list to succeed music director Jesus Lopez-Cobos, he triumphed with major symphonies of Nielsen and Beethoven.
A distinguished presence on the podium, Mr. Jarvi exemplifies clarity, confidence and musicality. He used scores, but he rarely looked at them, turning instead to cue and lead the musicians. Although their playing was not flawless, the level of the players' involvement was truly impressive.
Nielsen's Symphony No. 4, The Inextinguishable, is an energy-packed symphony of conflicts. It pits the beauty of nature against war and destruction — but life survives.
Mr. Jarvi's Inextinguishable had sweep, excitement and rhythmic power. He captured the turbulence and fire of the opening, and inspired engaging playing from the winds.
His view had breadth, yet it was detailed and insightful. Mr. Jarvi is not a subtle conductor, but he summoned rich, powerful textures as well as delicate tone worlds. Stark eruptions by the strings were Beethovenesque; the brass sound was great and round.
Unfolding in four movements without a break, there were many exquisite moments: the congenial playing by the winds in the second movement; the dramatic intensity of the third; the luminous string textures.
In the finale, there was the added drama of dueling timpanists, Eugene Espino and Richard Jensen. Mr. Jensen strode up the aisle to his set on the front of the stage at Music Hall; the dialogue between the two across the orchestra was fierce and exhilarating.
After intermission, Mr. Jarvi plunged into Beethoven's Fifth, leading a taut, full-blooded performance. His tempos were bracing but unrushed. The brass was superb, and never overpowered the strings.
The first movement was electrifying; even the pianissimos had an intensity. He did not allow the slow movement to become indulgent; the scherzo was gripping for its energy.
The orchestra attacked the finale with precision, playing on the edges of their seats. It was Beethoven as it should be played, and brought 1,372 listeners to their feet. Such a concert deserves a far greater audience.
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