Guest soloist Augustin Hadelich plays Antonin Dvorak’s Violin Concerto, Op. 53.
The Madison Symphony Orchestra’s penultimate concerts of this season offer a contrasting trio of works.
While briefly an expatriate in the United States in 1940, Benjamin Britten composed an orchestral score on commission from the Japanese government. The result, a pacifist proclamation making analogies to the Latin Mass for the Dead, proved unacceptable to its sponsors but emerged as the composer’s first major orchestral score. Each of its three movements is carefully developed from simple motives to a powerful climax: The first, “Lacrymosa,” suggests weeping over disaster; the second, “Dies irae,” is a picture of senseless militaristic violence; the third, “Requiem aeternam,” gives a feeling of uneasy repose. The whole score is the testimony of a passionate pacifist and foe of militarism. Maestro John DeMain, bravely giving us this tough work, pulls no punches, and the orchestra gives its all.
Guest soloist Augustin Hadelich is rapidly rising to the top ranks among today’s violin virtuosos, and he also brings work off the usual path of warhorse concertos: Antonin Dvorak’s Violin Concerto, Op. 53. It is a work of obvious virtuosic demands but, as backed by the rich orchestral writing, is also full of the composer’s melodic inventiveness. Hadelich is a musician possessing innate artistry who totally immerses himself in any music he plays— making for a wonderfully absorbing performance.
Hadelich recently recorded the complete Caprices of Nicolo Paganini, and he appropriately played No. 21 of the cycle as his encore at the April 13 performance.
It is difficult to believe that the MSO has never, in all its long years, performed Robert Schumann’s Symphony No. 1, which he titled Frühling, or “Spring.” Now, at long last, it certainly proves a welcome evocation amid this weekend’s weather.
Although Schumann was a novice at symphonic writing when he undertook this work, it reveals his skills in the construction of sonata-form in the wing movements. The slow movement is a beautiful piece of melody, and the dancelike scherzo has two trios. The turning of the opening introduction into the first movement’s sped-up main theme is quite clever. The performance handsomely realizes the work, in very full-blooded playing.
The program is repeated on Saturday, April 14 at 7:30 p.m. and Sunday, April 15 at 2:30 p.m.
