Kansas City Symphony offers uplifting Romantic masterworks

The vibrancy and elegance of Frédéric Chopin, together with the élan of Ludwig van Beethoven’s Symphony no. 6 formed the Kansas City Symphony's uplifting program on a dreary January evening. The crowd in Helzberg Hall on Friday was restless but enthusiastic, including a spirited clattering of mid-movement applause, along with standing ovations for pianist George Li and guest conductor Ludovic Morlot.

Morlot replaced the originally-scheduled Asher Fisch on short notice, prompting a program change with the ebullient Beethoven. Morlot, in his first performance with the Kansas City Symphony, was a deft substitute, effective and efficient, guiding the ensemble with a calm and direct manner and a small smile as he pushed the tempo or drew out a phrase.

Chopin’s Concerto no. 1 in e minor was, as were all his compositions, a showpiece for his own startling abilities. Li commanded the work from his first chord, coming in strong after the orchestra’s warm, bold introduction, skillfully navigating the shifts from virtuosic passages to lyrical. His sense of phrasing was judicious, with poise and sensitivity in the delicate lines contrasting to a pointed peaking in the more technically demanding runs.

Morlot and the orchestra stayed consistently below the piano’s volume, yet fully present, notably in the low strings. They honed in on the connecting lines while strengthening the harmonic structure, supporting the sophistication of the second movement and the third movement’s playfulness.

Applause erupted on the final cadence, the audience on its feet for a justly impressive display. Li followed with an encore on the Robert Schumann/Franz Liszt “Widmung.”

Symphony no. 6, “Pastoral,” featured Beethoven’s appreciation for the countryside, his sense of humor, and his ability to conjure natural sounds through musical means. For this well-loved programmatic work, Morlot conducted from memory.

The orchestra presented excellent motivic consistency, along with lovely woodwind colors throughout, especially from principal flute Michael Gordon (the replication of bird song garnered some special acclaim from a few patrons at the end of the second movement).

The opening of the joyous third movement felt hurried, though the second statement was more comfortable, heralded by the winds’ prowess and the basses’ leadership into the dance figures. The dramatic treatment of the storm section was particularly effective, with the sforzandi hits in timpani that one could feel as well as hear, bursts from piccolo, and the swirling force of the violins. A hymn-like respite, calls in clarinet and horn, and a fine display of volume from strings, ended the concert on a confident, encouraging tone.

This story was originally published January 20, 2017 at 2:40 PM with the headline "Kansas City Symphony offers uplifting Romantic masterworks."