Great symphony orchestras always play, well, great. The LA Phil is no exception. But sometimes, just sometimes, these orchestras take it up a notch. Most of the time this is because of the conductor. If one goes to a lot of concerts, as this reviewer does, and hears the same orchestra under the direction of different conductors, one can tell the difference. As I said, the LA Phil is always great. But sometimes it’s, well, greater does not sound appropriate, so maybe special is a better descriptor.
This has happened at times over the years with the LA Phil. And it happened again on Saturday night when the Swiss conductor Philippe Jordan conducted the Phil in two blockbuster works: the piano Concerto No. 5 in E flat major, Op. 73, “Emperor,” by Beethoven with Yefim Bronfman as soloist and the Symphony No. 6 in B minor, Op. 74, “Pathétique” by Tchaikovsky.
In addition to his own musical training on piano and violin, Jordan has an exceptional pedigree. He is the son of the late conductor Armin Jordan. Sometimes the apple doesn’t fall too far from the tree. And the audience at Walt Disney Concert Hall on Saturday night was the fortunate recipient of this apple.
At the beginning of the concert, Jordan walked on stage, picked up a microphone from the podium and announced to the almost full-capacity crowd at WDCH that the orchestra was going to perform a piece by Bach that was not on the program as a tribute to the residents of Los Angeles (after the tragic and destructive fires). This concert was also the first by the LA Phil since the fires as the concerts and recitals scheduled for last week were canceled. Jordan then led the orchestra in a moving and calming performance of Bach’s “Air on a G string.”
After leaving the stage briefly, Jordan returned with Bronfman to perform the Beethoven. Bronfman is a favorite of LA audiences and for good reason. He is one of the finest pianists of our generation. He is old school. No flashy clothes or distracting genuflections while he performs, just good old-fashioned outstanding playing. I have seen Bronfman on several occasions and always leave blown away by his power and grace. He reminds one of the elder Brahms or the Russian pianist Grigory Sokolov in that he is a big man. And one can’t help but conclude that that heft isn’t somehow translated into his impressive performances, especially in powerful concertos like those by Brahms and the Beethoven “Emperor.”
From the first moments of the Beethoven, one could tell that this was going to be a special performance. Jordan opted for the classical timpani, which contributed to the sharp, crisp sound that he evoked from the orchestra. And he used the timpani to great effect, punctuating Beethoven’s fortissimos (Kudos, by the way, to timpanist David Riccobono!). Jordan is no stranger to outstanding performances of Beethoven’s orchestral works. His 2019 recording of the complete Beethoven symphonies with the Vienna Symphony Orchestra shows his unique and thoughtful approach to Beethoven. This set is among the best out there.
On Saturday night, Jordan was very sensitive to Bronfman and held the orchestra back many times to showcase Bronfman’s playing. Essentially, Jordan had the Phil playing like an 18th– century orchestra, but with a modern grand piano. The effect was astonishing. The LA Phil played great, but Jordan took them up a notch, and with Bronfman’s power, grace and institutional knowledge of Beethoven, the audience was treated to a special performance.
Even though the audience whooped and hollered and brought Bronfman back to the stage four times, sadly there was no encore. Still, the effect of this exceptional performance lingered throughout the intermission.
The second half of the concert was devoted to Tchaikovsky’s Pathétique symphony. Once again Jordan took the orchestra up a notch and delivered a performance that stood out in a number of ways. Mostly, it was his control not only over the orchestra, but also over the score. As he did in the Beethoven, Jordan somehow managed to have individual instruments or sections rise above the orchestra when it was time to play. One heard notes and phrases that one has rarely or never heard in a work that has been performed so many times. And his expert and thoughtful managing of dynamics was icing on the cake. Jordan would frequently bend his knees and lower his tall frame when he wanted the orchestra to play quieter. All of this was a testament to his pre-performance work with the orchestra, which is where the real music direction occurs.
As they did after the first movement of the Beethoven, many in the audience applauded after the first and second movements of the Tchaikovsky. But this reviewer knew that the real applause would occur after the resounding climactic conclusion to the third (Allegro Molto Vivace) movement. In fact, one couple stood to give a standing ovation before they realized, with some embarrassment, that no one else was standing. The third movement of the symphony is one of the most exciting movements of any symphony, but it belies the tragic and passionate nature of the final movement, which ends in a whisper in the double basses, just like the beginning of the first movement.
At the conclusion, the orchestra cheered for Jordan. I don’t know if the powers that be at the LA Phil would consider a white European man as the next conductor, especially one who is 50 years old, but if they would, Jordan would be close to the top of the list, especially if their decision is based largely on what a conductor can get from an orchestra.
Finally, a shout out to principal bassoonist Whitney Crockett, whose solos and other highlighted parts were featured in both works. He was, in fact, the first person that Jordan asked to stand at the end of the Tchaikovsky. It’s not often that the bassoonist is highlighted so prominently in a concert.
—Henry Schlinger, Culture Spot LA
For information about upcoming concerts, visit www.laphil.com.
Photos of Philippe Jordan and Yefim Bronfman courtesy of LA Phil