Thursday’s program by the Cleveland Orchestra ended its subscription season at Severance Music Center. The evening started with Richard Wagner’s Prelude and Liebestod from Tristan und Isolde and continued with Alban Berg’s Violin Concerto featuring Leila Josephowicz. It ended with a glorious performance of Mozart’s Wind Serenade No.
Cleveland Orchestra closes Severance season with glorious performance of Mozart’s Wind Serenade No. 10Franz Welser-Most conducts the Cleveland Orchestra at Severance Music Center. CLEVELAND, Ohio -- Thursday’s program by the Cleveland Orchestra ended its subscription season at Severance Music Center. The evening started with Richard Wagner’s Prelude and Liebestod from Tristan und Isoldefeaturing Leila Josephowicz. It ended with a glorious performance of Mozart’s Wind Serenade No. 10 .
Wagner’s opera shook up the world of 19th-century harmony with its first four bars. Cellos softly play a four-note motive that transitions into a dissonant but perfectly balanced “Tristan Chord” played by oboes, bassoon, and English horn that misbehaves by resolving into another dissonant chord. Alban Berg set out to reconcile the traditional diatonic and 12-tone composition in his 1935 Violin Concerto, producing an elusive style that received an otherworldly performance by Leila Josefowicz, Franz Welser-Möst, and the Cleveland Orchestra on Thursday.
Then, a surprise. Out of a kind of primordial musical soup, the first four chords of J.S. Bach’s choralecame to the surface, elegantly played by the clarinets. For the rest of the movement the chorale seemed to be attempting to re-assemble itself. Conducting without baton or podium, Welser-Möst led a relaxed, lively, but not overly nuanced performance of the seven-movement work.
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