Review: Chicago Symphony Orchestra performs invigorating concert

The Chicago Symphony Orchestra is considered one of the best orchestras in the world and many thanks to the Harriman-Jewell Series for presenting them in Kansas City. The ensemble, celebrating its 125th anniversary this season, performed in Helzberg Hall on Tuesday to an enthralled audience, including a good number of our own Kansas City Symphony members.

Renowned music director Riccardo Muti conducted from the score with authority and nuance, his astute gestures guiding the responsive ensemble, adjusting the sound in the unfamiliar hall.

And what a sound it was. At full power it was muscular, fortified, chiseled, an acoustic force, yet experienced viscerally as more of an intense pressure than a volume level.

Perhaps more astounding was the thorough utilization of the soft end of the spectrum, these controlled and effective pianissimo moments and from there, from nearly imperceptible shimmers, emerged colossal crescendos.

In either case, and everywhere in between, the clarity of tone was remarkable, with the individual timbres prominent, yet balanced, taking advantage of the coloristic variety and textural subtlety of the scores.

Their Kansas City concert featured two repertoire favorites: Ludwig van Beethoven’s Symphony No. 5 and Gustav Mahler’s Symphony No. 1.

Beginning with a decisive slash of the baton, the ensemble launched into the Beethoven’s familiar motif with urgency. Low voices and timpanist provided a formidable platform. Melodies in the second movement blossomed in eliding phrases, accented dynamically. The fugue was outstanding, with clear, animated themes passing through the ensemble. The vigorous last movement, erupting from a stunning transition, brought the work to completion with cogent finality.

The Mahler was a tremendous exhibition of an orchestra’s capabilities, a series of controlled explosions, laced with effectively honed small moments. Soloists, especially bass and tuba, made compelling cases for the simple material. Similarly to the Beethoven the low strings’ resonance was foundational to the sound, leading a robust and intricate fugue.

There was also a theatrical streak, as with the bells up winds, the dramatic standing line of horns, the crashing cymbals and timpani/bass drum roll or, best of all, the complete full stop in the coda, a last gasp before the tumultuous climax.

There were moments when a deliberate pace threatened the momentum of sections in the Beethoven and a feeling of restraint crept into the otherwise zealous, schmaltzy street band allusions of Mahler’s third movement, but even so this Chicago Symphony Orchestra performance was an invigorating experience.

This story was originally published October 28, 2015 at 12:18 AM with the headline "Review: Chicago Symphony Orchestra performs invigorating concert."