Visiting pianist Alexandre Dossin is a true virtuoso.
There are strong opinions about how J.S. Bach’s music should be performed. Some believe that large orchestras should “reclaim” the music that was never meant for them in the first place. Meanwhile, progress in the development of period ensembles, such as the Madison Bach Musicians, allows us to hear the music as it sounded in Bach’s day.
But the Wisconsin Chamber Orchestra found a middle ground on March 23. Maestro Andrew Sewell brought off a beautifully planned program at the Overture Center that included a generously scored version of Bach’s Orchestral Suite No. 4.
With the requisite winds and timpani (plus virtually inaudible harpsichord), Sewell used a string band of 25 players, who avoided vibrato. Though the instruments were all modern, not period ones, the playing was convincing and the compromise approach quite credible under Sewell’s responsible direction.
The same orchestra, without harpsichord but with the wind sections filled in, played the rest of the concert. Guest pianist Alexandre Dossin joined the orchestra to play the Concerto No. 2 by American pianist and composer Edward MacDowell. The piece premiered in Germany, where the composer studied, and clearly draws on German Romantic backgrounds, starting with Schumann but heavily influenced by Liszt. It is cast in three unconventional movements and, while some fine mottos appear, their organization is not fully coherent. But it is a robust work, full of highly virtuosic writing for the soloist.
Dossin is a full-blooded virtuoso, and brought off the bravura displays admirably. As an encore, he wisely chose something contrasting, the thoughtful “October” movement from Tchaikovsky’s piano set “The Seasons,” which he played beautifully.
The second half of the concert was devoted to the Symphony No. 3, the “Rhenish,” by Robert Schumann. This composer’s orchestral writing has been criticized, but if it is taken seriously and honestly it can be very successful, and nowhere more so than in this work. Cast in an unconventional five movements, it evokes the life and spirit of the Rhineland, most directly in its powerful fourth movement, inspired by Cologne Cathedral and a solemn ceremony there. It is absolutely wonderful music, with particularly strong writing for the brass choir, which was realized admirably by the WCO players.
Sewell has clearly come to understand, to trust and to revel in Schumann’s writing. His emphasis was on robust Romantic expression rather than abstract polish. There were a few rough moments here and there, but it was a deeply satisfying performance, richly deserving the standing ovation it was given.
