Philadelphia Orchestra's impassioned playing elicits cheers

Fans flock to the Philadelphia Orchestra because they know they're going to hear that famous lush sound from the strings — a sound that has made this orchestra renowned worldwide for excellence. Those fabulous strings were on display again Tuesday evening in Benaroya Hall, for a program with music director Christoph Eschenbach on the podium.

But it wasn't just the strings: Many of the finest moments in the concert of Mozart and Berlioz came from the flexible woodwinds and the mighty brass. This is, in short, a virtuoso orchestra, and on Tuesday night it played like one. And despite all the fuss about the players' purported animosity toward Eschenbach, they followed his every move with evident enthusiasm. Nor did Eschenbach conduct with the kind of quirkiness that some reviewers have cited; his readings of the Mozart Sinfonie concertante (K.297b) and the Berlioz "Symphonie fantastique" were noteworthy for excellent taste, not for eccentricity.

The opening Mozart work is a showcase for four wind soloists, and with principals like these, no wonder Eschenbach wants to feature them. Richard Woodhams (oboe), Ricardo Morales (clarinet), Daniel Matsukawa (bassoon) and Jennifer Montone (horn) are all brilliant players; their performance was one lovely moment after another, with interwoven melodies and near-perfect ensemble. Morales' nimble, subtle clarinet was a particular standout.

Conducting the complicated Berlioz without a score, Eschenbach drew playing of real distinction from the orchestra — leaning just a bit into the top of the phrase in the second-movement waltz, and calling on the supercharged brass section for sizzling bolts of energy in the "March to the Scaffold" movement. The orchestra dug into the emotional content of the work, capitalizing on the near-hysteria that fuels much of the music, and making it all matter.

The cheers that erupted from the audience after the "Dream of a Witches' Sabbath" finale brought Eschenbach back for a high-energy encore that perfectly capped the concert: "Dance of the Comedians" from Smetana's "The Bartered Bride."

Melinda Bargreen: mbargreen@seattletimes.com