MIDORI Mesmerizes In Tucson -- McDERMOTT On Deck

REVIEW:  2 November 2018

MIDORI plays Brahms Violin Concerto

GENESIS

And God said:  Let the Earth put forth "each greenery". And it was so (Japanese: 五嶋みどり; English transliteration:  Midori Goto). 'OMG, thank you!', rejoiced the people, transfixed by Midori's music, as they basked in the Glory of receiving on Earth this Divine inspiration from He who dwells beyond the canopy of stars.

As bright as a meteor was the beginning of Midori's concert career; shining on stage with Zubin Mehta and the NYPO at age 11, a headlining performance with Bernstein at Tanglewood at age 14; and conquering Carnegie Hall with a dazzling full recital at age 18. Thirty years into a spectacular concert and recording career, that has taken us far beyond the normal bounds of concert artist, Midori has become a true citizen of the world. Highly active as an educator, promoter of opportunities for young musicians, and an activist Messenger of Peace, Midori's concerts continue to transfix, as was this TSO audience for her Brahms concerto performance.

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This was the third violin virtuoso TSO has hosted / accompanied in its last five months of performances. José Luis Gomez, himself a concert violinist, saved Brahms sprawling Violin Concerto for the second half of the concert, while using the first half to brilliantly set the table for prized soloist Midori. For each of three choice, illustrative German and Slavic numbers, José, as he likes to be called, casually addressed the audience from the podium. He then turned to his colorful and responsive instrument -- the Tucson Symphony Orchestra -- and gave intense, well-judged and executed performances of Brahms Tragic Overture, Strauss's "Emperor" Waltze, and Dvořák's Slavonic Dance #8.

Midori's way with the gigantic Brahms 'Violin Concerto' embraced both its depth and apparent contradictions. Brahms, like Beethoven, is focused solely on the message of the music. That is to say, he wants to challenge his listeners to open themselves and be inspired, affected, and changed by the experience. Empty displays of instrumental virtuosity are of little or no interest. For violinists, on the other and, since the beginning of the 19^th Century, with Niccolò Pagininni – as with Franz Liszt at the piano – grand showmanship has been one of the pillars of the trade. And so, admiration, yet also criticism, has flowed from various virtuosi every since its premier, by Johan Joachim in 1879. Joachim himself was so in love with Brahms' Beethovenian goals and methods in the writing his concerto, that he programmed Beethoven's 40-minute Concerto in D as a preface to the premier of Brahms' 40-minute concerto in D!

Here, an electric hush took over the audience for both the intricate passagework and the delicately balanced interweaving of violin and orchestra that Brahms was able to achieve. And in the big first and final movement cadenzas, in this truly great match of concerto and soloist, the displays of virtuosity – double-stops, arpeggios, and the dazzling array of articulations – are fully subsumed into the pathos of Brahms working out of themes. These cadenzas add great musical depth, as the violin extends, accompanies itself, and somewhat coyly springs a few unpredictable dramatic surprises – a hallmark of Brahms writing. As the more memorable themes appeared, the audience seemed to sit back, relax, and smile in welcome to these little breaks from the music's intensity. And when the violin again took over, we were back to the edge of our seats, breathing in the giving-her-soul, sweeping presence of Midori's endless passionate dance with her violin.

As a final treat, this humble master gave us an encore of . . . Bach -- the Preludium which opens the Partita #3 -- an utterly delicious and deeply musical conclusion to a breathtaking performance. As I like to say, "Fools missed this concert!" What an honor and joy for all who were there.

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McDermott & Judd - Mozart & Elgar

This week, 9th and 11th of November, pianist Anne-Marie McDermott, who has been deeply involved in the Tucson Concert Music Scene for twenty-plus years, takes the stage with the TSO for Mozart's final completed work:  his Piano Concerto #27. Tucson audiences have been the lucky recipients of McDermott's sparkling chamber performances for a number of Tucson Winter Chamber Festivals, as well as the her performance of the complete, thunderous set Prokofiev Piano Sonatas. This appearance with Conductor James Judd and the Tucson Symphony Orchestra is highly anticipated. Keeping with Music Director Gomez' passion for the Late Great Romantics, Elgar's heavyweight Symphony #2 will complete this program.

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 ~ Steven Gendel

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