Music Review : Sanderling Opens 2-Week Philharmonic Engagement

Kurt Sanderling is back. The much respected upholder of Germanocentric symphonic traditions returned to the Dorothy Chandler Pavilion Thursday to launch a two-week stint of concerts with the Los Angeles Philharmonic.

His program was typical--central standards with a twist. He turned to those great men of the classical Viennese school, Haydn, Mozart . . . and Bruckner?

Bruckner’s Third Symphony is not exactly part of the symphonic core curriculum, but it is one of those big, rhetorically rich works in which Sanderling and the Philharmonic meet so productively.

Thursday the magic was more elusive, particularly for those outside the circle of Brucknerian faith. Sanderling took a broad but well-connected approach. He was not afraid of a booming climax or two, or 10. He was just as attentive and careful in the gossamer moments--no small feat to produce such in this piece--and maintained a sense of urgency throughout 65 minutes.

The orchestra supported Sanderling and Bruckner handsomely for the most part, with warm, shimmering strings, blazing brass and a plethora of expressive wind solos, headed by trumpeter Donald Green. Intonation sagged in some of the wind passages, entrances were not always well-defined in the Adagio, and some holes in the texture opened up at odd moments, but ultimately without detracting from the obvious sincerity of the performance.

The Mozartean companion was the deliciously fresh and quirky Piano Concerto in F, K. 459. Walter Klien treated it with sparkling, stylish aplomb and clear affection. His was a thoroughly polished and honed account, but one of seeming spontaneity and great, cheery brio and wit.

Sanderling and a reduced Philharmonic sustained Klien’s playfully aristocratic vision ably. An even smaller contingent opened the proceedings with a pert dash through Haydn’s Overture, “La fedelta premiata.”