As historical figures, Haydn and Beethoven are often perceived as opposing forces, bookends framing what is commonly defined as the “Classical” era. Yet the music of these composers shares at least one prevailing stylistic feature: a motivic conception of melody, emphasizing the brief statement above the elongated lyric. Taking advantage of a program full of musical motives, PBO Music Director Nicholas McGegan focused relentless attention on the little details in these pieces, configuring these gestures into a dazzling array of permutations.
An overriding sense of power and majesty propelled the first movement of Haydn’s Symphony No. 101 (“The Clock”), McGegan’s fluid gestures coaxing thick, sensuous melodic lines from the ensemble even in its quieter moments. The second movement, in contrast, allowed McGegan to capture Haydn’s sense of wit with an almost cheeky approach to the main theme, which emerged lithe and humorous-sounding against the steady tick-tock of the lower voices. The third-movement Minuet was a swirling delight, simultaneously vigorous and elegant, while the ensemble gleefully embraced the finale’s schizophrenic moods of graceful simplicity and earnest declamation.
Palpably Emotive Playing
Next up was the Haydn Concerto for Violoncello in C Major, with the incomparable Steven Isserlis as soloist. Flamboyant in visual presentation, Isserlis punctuates his playing with theatrical gestures and dancelike movements of the bow, giving his performance the feeling of a multimedia spectacle. But, far from overwhelming the music with flashy histrionics, Isserlis proved an immensely sensitive performer, scarcely letting a passage go by without communicating some palpable emotion. In the opening Moderato he blended a sensitive, mannered style with more-fiery gestures in the more turbulent middle section.The second-section Adagio was languid and seductive, Isserlis’ reverie made plain through both his impassioned attention to melodic lyricism and his frequent heavenward gazes. After the playful and dazzling finale, a number of ensemble members sported smiles, seemingly delighted by the audience’s encounter with this dynamic musician.
Hearing a familiar warhorse like Beethoven’s Symphony No. 7 in period-orchestra guise offered a welcome change of pace. The pure clarity of the strings and the bold, slightly rustic sound of the winds infused the piece with an earthy quality, especially in the interior movements, without sacrificing the work’s power and majesty. Following a slightly ragged opening, the ensemble got down to business with a vibrant Vivace, masterfully executing the endlessly undulating waves of melody. The ensuing Allegretto offered several moments of high drama, as the opening’s slow layering of textures led to a potent cry of intensity that sustained the rest of the movement.
The vivacious third-movement Presto, an unusually extended scherzo and trio, found the orchestra expertly negotiating a range of contrasting moods with unerring precision. And though certain melodic details of the closing Allegro con brio were masked amid an atmosphere of high spirits, the ensemble’s thrilling energy and passionate embrace of what a famous scholar once called the movement’s “Bacchic fury” proved more than adequate compensation.