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The Spokesman-Review Newspaper
Spokane, Washington  Est. May 19, 1883

Review: Visiting conductor brings out Spokane Symphony’s best

Larry Lapidus Correspondent

After an absence of five years, Polish conductor Michal Nesterowicz returned this weekend to the Martin Woldson Theater at the Fox to lead the Spokane Symphony in a program that appeared at first glance to be somewhat careful and unadventurous. As it turned out, those fortunate enough to attend were reminded that great music in the hands of gifted and committed musicians always has something fresh and even startling to tell us.

Maestro Nesterowicz displayed his credentials first by conducting the complex “Orawa” (1984) of Wojciech Kilar (1932-2013) without a score. Kilar’s folk-flavored score demands constant and intense involvement from the conductor, as the work expands from a single violin intoning repeating and subtly changing phrases to the vibrant participation of an entire string orchestra. In the 10-minute compass of the piece, Kilar asks for virtually every device available to a string player, from short, nervous phrases to deeply drawn, passionate ones. Nesterowicz was alert to every nuance, showing special sensitivity to dynamic shading and contrast.

This quality took on greater prominence as the program progressed to the Cello Concerto in D major (1783) of Franz Josef Haydn (1732-1809). In this work, the orchestra was joined by cellist Edward Arron. He matched Nesterowicz’s concept of the Haydn Concerto perfectly: a subtle, witty, sometimes poignant conversation, in which different players in the orchestra engage the soloist at different times, offering suggestions, support and sometimes correction. The soloist enlarges upon and elaborates these suggestions, exploring their implications and intensifying their impact on the listener.

Nesterowicz and Arron achieved this through the most careful matching of tone and phrasing, to a remarkable degree, considering the short rehearsal time available to them. Arron showed the greatest sensitivity to matters of ensemble throughout the performance and took many of the concerto’s virtuoso demands in stride, though recurrent patches of questionable intonation and smudged passagework detracted from our enjoyment of his musicianship. His instrument, also, seemed minded not to give back all that Arron poured into it, producing a tone far less rich and resonant than one expected.

With the concluding work on the program, Antonin Dvorak’s Ninth Symphony in E minor, “From the New World” (1895), we were permitted to experience the full range of Nesterowicz’s gifts. They are considerable. His phenomenal attention to detail and total mastery of the piece (again, conducted without a score) allowed him to scrape off layers of chrome laid on by tradition and some celebrated conductors, to reveal a trove of beauties.

Two gifts allowed him to do this: an unerring sense of the correct tempo, and a mastery of one element which most musicians fear: silence. The musical experience possessing the greatest magic is when silence is first broken. Nesterowicz’s refusal to rush a phrase and his insistence that it never grow louder than needed to make maximum impact resulted in an airiness and clarity that is rare among performances. Nesterowicz’s resourceful deployment of silence allowed Keith Thomas’ eloquent oboe, Bruce Bodden’s plaintive flute and, perhaps most notably, Sheila McNally’s melting English horn to leave deep impressions on our hearts. We were even able to hear and appreciate the eloquent contributions of the double bass section, led by their outstanding principal, Patrick McNally.

Both audience and orchestra followed this most musicianly and insightful performance with such shouting and foot-stamping enthusiasm, one would have thought they had just heard a masterpiece for the first time. Perhaps they had.

A recording of this concert will be broadcast at 7 p.m. today on Spokane Public Radio, 91.1 FM.