Critics mostly laud Seattle Symphony's tour

By Melinda Bargreen
Seattle Times music critic

	KEN LAMBERT / THE SEATTLE TIMES Gerard Schwarz conducts the Seattle Symphony in Richard Strauss' "Death and Transfiguration" April 1 at Carnegie Hall in New York. At left is principal second violinist Janet Fisher Baunton.
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The first concert, in the beautifully detailed and acoustically rich Mechanics Hall of Worcester, got a rave from Worcester Telegraph critic Jennifer Weininger, who observed, "Under the sure direction of Gerard Schwarz, the instrumentalists gave a riveting performance of works by Sibelius, Strauss and Busoni. ... If one is to judge by Tuesday evening's fascinating essay in turn-of-the-century orchestration, Schwarz is deserving of his reputation, not only for fine conducting but also for imaginative programming."

Other passages in the review pointed to the "searing intensity" and "breadth and sweep" of the playing.

The Seattleites got an equally warm welcome in New Brunswick's State Theatre, where the players were crammed like anchovies onto a small stage that also held the big concert grand played by soloist Horacio Gutierrez. (It was enough to make an orchestra rethink its choice of solo instrument, excellent though Gutierrez was. Perhaps a piccoloist next time?)

Newark Star-Ledger critic Willa J. Conrad praised the "thick, dark-string tone" and the "unity, zeal and force that the conductor and orchestra brought to the performance."

Conrad linked Seattle with the orchestras of San Francisco and Los Angeles: "Taken together, the three major West Coast orchestras exhibit independence of thought, a willingness to change protocol and lack of hideboundness that East Coast ensembles can only salivate over. Seattle is the most conservative of these three, with its lusher strings, rich textures and more bumptious wind and brass sections ... "

Conrad's most interesting observation: "Schwarz has created in Seattle a truly unique sound personality — and that's no small compliment. Once, American orchestras all strove to find their own balance and voice, but beyond the largest tier of orchestras now, this kind of ensemble individuality is sadly too rare. Perhaps it took them 100 years to get to New York, but it would seem the Seattle Symphony's time has come."

In the review everyone was waiting for, The New York Times' Jeremy Eichler struck a similarly upbeat tone. He called the orchestra's sound at Carnegie Hall "full and rich," adding that "the musicians play for Mr. Schwarz with palpable commitment. ... The Strauss had generous volume and theatrical sweep, with these qualities only occasionally coming at the expense of balance and textural clarity. Everything clicked for the impressive encore, a movement of Busoni's Suite from 'Turandot.' "

Arts watchers were prepared for a more equivocal response from the New York critics, where the press has always had a love/hate relationship with their own Gerard Schwarz.

Despite Schwarz's prominence and success in New York, including his long tenure as music director of the Mostly Mozart Festival and his own New York Chamber Symphony, there's often a subtext in press coverage suggesting that he'll never outgrow his origins as the youngest principal trumpet in New York Philharmonic history.

And, indeed, a rather perplexing review in Monday's New York Sun, by critic Jay Nordlinger, begins not with a discussion of the concert, but by chiding Schwarz for giving up the trumpet when he turned to conducting — thus depriving music lovers of "a first-class trumpeter."
 
"When Placido Domingo picked up the baton," Nordlinger continued, "he didn't give up singing. ... But Mr. Schwarz bade farewell to the trumpet for good. Yes, there's less repertory for it than for voice, piano, or violin. But, again, he was superb."

Turning to the matter at hand, Nordlinger dismissed Schwarz's conducting as "blunt," "obvious" and "clunky." Later in the review, after mixed praise for the new Bright Sheng work, "The Phoenix," and soprano soloist Jane Eaglen ("in fine voice"), the reviewer added, "But the orchestra came through with some graceful playing, and the first movement ended beautifully — it is always advisable to end beautifully."

After discussing the "lift and grace" of the Sibelius, Nordlinger concluded: "Whew! May the Seattle Symphony live another 100 years."

In the London Financial Times, Pulitzer Prize winner Martin Bernheimer — always a tough critic — called the Seattle Symphony a "splendid ensemble," going on to specifics. "The evening began a bit nervously as Schwarz and his attentive players sped through Strauss's 'Tod und Verklarung' in a performance more notable for sonic brilliance than expressive grandeur. All was well — well, almost well — after the interval, when they made Sibelius's sprawling Symphony No. 2 vital, virtuosic and almost taut."

Symphony backers and tour donors didn't need to see any reviews to make up their minds for them. Exultant on the night of the Carnegie Hall standing ovation, tour donor David Gannett called the evening "absolutely marvelous."

Jack and Becky Benaroya, the Seattle Symphony's most generous philanthropists, brought their extended family, including children and grandchildren, to Carnegie Hall for the Thursday concert.

"It was my first time in Carnegie Hall," says Becky Benaroya, "and I couldn't have been more thrilled by the concert. It was really gorgeous."

Jack Benaroya reflected on the orchestra's long road to Carnegie Hall: "I think the orchestra has really grown under Jerry (Schwarz), and he has grown, too. The Carnegie program was well thought out, and the execution was just incredible — just outstanding.

"I think the success of the tour will give them the opportunity to grow even more. It is a tremendous encouragement for the orchestra."

Benaroya said he could envision a future in which the Seattle Symphony has a "fairly regular" presence in Carnegie Hall. Crucial to such a step will be a sound financial footing, which recent gifts from both the Benaroyas and Charles Simonyi have already done much to secure.

It will be interesting to see what the Seattle Symphony musicians bring back from the tour, besides wonderful memories. Much of the playing on the tour was on a higher level than the orchestra has ever achieved at home. Will this achievement push the symphony to a new level?

There's no question that the orchestra's public profile has risen substantially. Being grouped with the symphonies of San Francisco and Los Angeles puts Seattle in some pretty nice company.

Conversely, the tour also has raised the expectations of the players with respect to their audiences. Experiencing the intense listening environment of the tour audiences, who (by and large) suspended their coughing and paper-rustling to pay close and deep attention to the music, several players said they wished the listeners back in Seattle were equally involved and courteous. Cough drops, anyone?

Melinda Bargreen: mbargreen@seattletimes.com

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