SYMPHONY REVIEW : Under Shaw’s Baton, Concert Was Ode to Joy

The challenges of presenting a monument such as Beethoven’s Ninth Symphony are legion. Too much reverence may induce somnolence, but a jaunty approach risks reducing lofty aspirations to catchy jingles. Even in its own era, the “Choral” Symphony’s naive, homely themes invited critical derision as mere back alley tunes. It takes a seasoned hand to shape this mighty, sprawling work and probe the depth of the composer’s vision.

Fortunately, the San Diego Symphony secured the services of Robert Shaw to conduct the local orchestra and San Diego Master Chorale in the Ninth. Still effervescent and curious as he approaches his 72nd year, Shaw brought the best of both worlds to his conducting. The Atlanta Symphony’s conductor laureate displayed the vigor of a youthful spirit and the security of a mature technique.

Friday night at Symphony Hall the Shaw trademarks were evident in abundance: crisp diction from the chorus and precise rhythmic inflection from both singers and instrumentalists; brisk but not breakneck tempos, and a broad palette of finely-tuned dynamic levels. Most rewarding to the listener was the dramatic tension he built from the opening phrase of every movement, which he carefully tended and sustained through the widest arches of the composer’s architecture. He conducted as if no motif were superfluous and every idea had a unique calling in the ultimate scheme.

If such analyses appear unduly fussy, it is only because the level of conducting practiced on this orchestra’s podium over the last two seasons leaves so much to be desired from the twin perspectives of technique and inspiration. Guest conductors routinely drive through scores on auto pilot, or engage in displays of cute choreography that add nothing to the music but visual distraction. Shaw’s solid stance and clean-cut motions put the prancers and dancers to shame.

It was a great night for the Master Chorale, which sounded fresh and enthusiastic after sitting through the lengthy opening movements. Slightly augmented with additional voices for this concert, the chorale gave the maestro the lithe, disciplined sound he asked for. Their German was more than recognizable, but their timbre lacked richness and they did not muster a thrilling forte. But they have room to grow.

Overall, the orchestra put its best foot forward for Shaw. Execution of those delicate little fugues for strings, especially in the second movement, exposed those sections’ lack of precision and nervous entrances. Surprisingly, the usually reliable cellos fell short of tonal perfection in their solos at the opening of the finale. However, the orchestra’s solid ensemble and well-focused energy left an overriding positive impression.

Among the quartet of vocal soloists, bass-baritone Terry Cook’s stentorian lyricism and soprano Lorna Haywood’s luminous, arched phrases made solid impressions. Tenor Jon Garrison sounded a trifle forced, and mezzo Shirley Love seemed unduly buried by the other voices, although the entire quartet was placed at the far side of the stage--hardly a favorable position from which to sing over the orchestra.

Shaw opened the evening with the overture from Bach’s Third Orchestral Suite. Oddly, he reduced the number of players for the Bach, then urged them to push out more volume. This notion was not successful; it only made the Baroque work sound tense and distorted. For the Beethoven it was an unnecessary prelude.