Sibelius and Brahms Peacefully Co-Exist at Symphony Hall

This week's classical series concert featured a pairing of Sibelius Symphonies (Nos. 6 and 7) and the Brahms Piano Concerto No. 2. The programming of the two Sibelius works was also done in 2005 - together they add up time-wise to one standard-length symphony. Friday night the playing was exemplary, although for me, Sibelius is an acquired taste, and I readily admit my own deficiency in not having adequately absorbed his unique musical language. There are long, lush passages, but just as many inexplicable discontinuities. The path is not always well-marked or even identifiable. But there is no denying Robert Spano's command of this idiom, and you could not wish for a better guide if you have to take the journey.

For various readily-discernible reasons, the traditional program order which sets the concerto in the first half of the show was reversed, with the long and demanding Brahms concerto performed after half-time. Emanual Ax played brilliantly with a spare, unsentimental reading. His long experience with not only this work, but also Brahms' chamber repertoire, makes him a soloist who views his role as an outgrowth of what is happening in the orchestral accompaniment and not a standalone virtuoso statement. Whenever he was not playing, he was turned toward the orchestra and concentrating intently on what they were doing. And you couldn't ask for a better example of ensemble than the intertwining of the piano and clarinet that occurs near the end of the magnificent third movement, surely one of the most sublime moments in all Brahms' output.

That third movement starts and ends with a dialogue between the piano and cello. In a gesture of grace, one also indicative of his long relationship with the ASO, he brought Chris Rex forward to share the standing ovation that immediately greeted the conclusion of the concerto.

Mr. Ax generates plenty of power and knows how to pace the performance so there is still some in reserve for the big finish. The audience called him back three times, hopeful of an encore - but perhaps not realizing that performing this work three nights in succession is the pianistic equivalent of a marathon. No encore, but based on previous experience, I'm sure Mr. Ax gave generously of his time to sign autographs and CDs, especially for the many students in the large (but not nearly capacity) audience.

Despite the usual acoustic problems with Symphony Hall -- which I address in a separate post -- I was glad I went Friday, and it was a great concert in spite of so much adversity, thanks to the determination of the folks onstage: orchestra, guest artist, and conductor all. On to Christmas with the ASO!