Sanderling in Promising Debut With Philharmonic

If you love a big tune, you were in the right place at the Hollywood Bowl on Tuesday, although in surprisingly sparse company. Stefan Sanderling, a Philharmonic Institute alum and son of the much-esteemed conductor Kurt Sanderling, made his Philharmonic debut with a slate of second-tier Romantic favorites before an audience little larger than a capacity crowd at the Dorothy Chandler Pavilion.

Though mixed, the results revealed a conductor of ideas and insight, energy and flair. Mendelssohn’s A-minor “Scottish” Symphony can be more than just pretty melodies, but it must be at least that, and Sanderling kept the themes out front and well-pointed. He proved unduly optimistic, however, about how slow and soft he could take some contrasting sections--such as the haunted reflections before the final pomp--without losing them altogether.

He tried something similar at the beginning of Weber’s “Freischutz” Overture, but those mysteries, too, sounded merely awkward across the outdoor distances, and Sanderling’s scheme had the horns in immediate trouble. The piece unfolded in sections, some beguiling, but without compelling integration.

Philharmonic Concertmaster Alexander Treger was the volatile soloist in Wienawski’s Violin Concerto No. 2. He was at his best in the soulful second movement Romance, sweet of tone and poised in sentiment. Elsewhere he expressed a full measure of urgency and gypsy swagger, with wayward tempo fluctuations and lapses in accuracy and control.

Sanderling kept the orchestra abreast of its impetuous soloist at almost every turn. Throughout the evening the Philharmonic played with steady grace and more. The symphony was beautifully lit with elegant woodwind solos and the horns redeemed their “Freischutz” hesitancy in the ringing splendor of Mendelssohn’s finale.