CSO shines in premiere, Paris tribute

Midway through the Cincinnati Symphony Orchestra concert on Thursday, music director Louis Langrée paused to remember the victims of the Nov. 13 terrorist attacks in Paris.

“This is for the ones who have left us, and for those who are left behind. We are still here, enjoying the power and the grandeur of music and of being together,” said the French conductor.

Thanking the audience for their demonstrations of sympathy, Langrée led Massenet’s “Méditation” from “Thaïs,” featuring his soloist, French violinist Renaud Capuçon. It was performed with stunning beauty, from the heart, and offered listeners a quiet moment of reflection. At its conclusion, no one stirred for a full minute, and I'm not sure there was a dry eye in the house.

That extraordinary moment capped an extraordinary program. The orchestra performed the world premiere of Sebastian Currier’s “Flex,” a large-scale orchestral work that was being recorded live for future release. Capuçon made a sensational debut in Bruch’s Violin Concerto No. 1, and Langrée also led a crowd-pleasing performance of Tchaikovsky’s “Romeo and Juliet” Overture-Fantasie.

"Flex," which opened the concert, is one of three new concertos for orchestra being premiered this season, made possible by arts donors Ann and Harry Santen. In six movements spanning more than 30 minutes, it looked to the past, with minimalist techniques and even a snippet of a minuet, as well as to the future.

The composer, who introduced the piece, said it was designed to “show off the orchestra.” Just as Bartok’s “Concerto for Orchestra” is a showpiece for orchestral soloists, Currier’s “Flex” spotlighted players in a nonstop display of virtuosity.

The orchestration included a large percussion section with vibraphone and glockenspiel, as well as piano (Heather MacPhail), and harp (Gillian Benet Sella), resulting in a glimmering palette of colors.

The first movement, “In the Spotlight,” was instantly engaging as each soloist was introduced with a short outburst, juxtaposed against pulsating rhythms. The composer explored an infinite variety of sound effects and thematic possibilities in “Fifteen Variations.” It was followed by “Micro-Variation,” which atomized themes into even smaller fragments. The musicians traded brilliant flourishes, which resulted in a fascinating tapestry of color and rhythm. Yet impressively, textures were lean and masterfully controlled.

The final three movements were the most inventive, including “Echoes, Canons and a Minuet,” which alternated bits of a classical minuet with bright, breezy solos. The heart of the piece – and the most satisfying – was “Alone and Together.” Here, close harmonies in the strings created glowing atmosphere. Finally, the listener could revel in Currier’s gift for melody in long-breathed themes for viola, trumpet and clarinet.

The finale was a vibrant mix of episodes, underscored by jazzy pizzicatos in the basses. The busy dialogue across the orchestra rose to a peak, only to be stopped by a whistle.

Despite the complexity, the musicians played with remarkable precision. Langrée took care with each phrase, finding nuance in even the smallest motive.

After intermission, Capuçon delivered a breathtaking performance of Bruch’s Violin Concerto in G Minor. He played with a big, romantic sound and beautiful line from the outset. The violinist poured intensity into each phrase, often turning to communicate with the orchestra, as if playing chamber music.

In the slow movement, the sweetness of his Guarneri del Gesù “Panette” (1737), a violin that belonged to late teacher, Isaac Stern, was something to behold. Here, Capuçon's singing tone, effortless technique and depth of feeling came together for an inspired performance. The gypsy finale was as irresistible for its freshness of spirit as it was for the violinist's technical fireworks.

Langrée was an excellent partner, in complete synch with the soloist.

Langrée's view of Tchaikovsky’s “Romeo and Juliet” Overture-Fantasie was romantic, from the full-blown love theme to the dramatic music of the Capulets and Montagues.

The concert repeats at 8 p.m. Saturday, Nov. 21, in Music Hall. Tickets: 513-381-3300, cincinnatisymphony.org.