Funereal Works but Lively Performance by Philharmonic

A tad lugubrious, Mark Wigglesworth’s program for his second week as guest conductor of the Los Angeles Philharmonic seemed to specialize in music of funereal aspect. How depressing for the contingent of senior citizens who regularly visit the orchestra’s Friday matinee, which last week began this series in the Dorothy Chandler Pavilion.

And how confusing--perhaps even boring?--to the many school-age youngsters attending as guests of the Philharmonic. Will they want to come back?

This agenda, beginning with Webern’s passionate but stern Passacaglia, continuing with Mahler’s stirring “Totenfeier” (Funeral Rite) and Shostakovich’s First Cello Concerto and concluding with Richard Strauss’ ostensibly uplifting “Death and Transfiguration,” may have been high-flown. But it was not jolly.

Nevertheless, the gifted British conductor coaxed the Philharmonic into giving of its best; the playing exhibited spirit, virtuosity and tight balances. Among the many soloists in the orchestra who contributed strongly were, in particular, hornist Jerry Folsom and clarinetist Lorin Levee.

On the purely sensuous level, the two contemplation-of-death pieces gave great pleasure. Mahler’s “Funeral Rite,” which in a later version became the first movement of his Symphony No. 2, is a handsome sound document; here, it emerged polished and expressive. And Strauss’ “Death and Transfiguration” remains an orchestral showpiece worth the occasional revival; Wigglesworth and the orchestra let it soar and grovel.

Steven Isserlis was the competent but unprojecting soloist in Shostakovich’s First Cello Concerto, which he played with obvious commitment but an apparently small tone; if only his sound were as engaging as the neon-blue tie he wore for this afternoon performance.