Stasevska and Josefowicz elevate Houston Symphony in thrilling 20th-century showcase | EarRelevant

CONCERT REVIEW:

Houston Symphony
April 18 & 19, 2025
Jones Hall
Houston, Texas – USA
Houston Symphony, Dalia Stasevska, conductor; Leila Josefowicz, violin.
John Coolidge ADAMS: Short Ride in a Fast Machine (1986)
Igor STRAVINSKY: Violin Concerto in D(1931)
Jean SIBELIUS: Symphony No. 5 in E-flat major, Opus 82 (1914-1919)

Lawrence Wheeler | 19 APR 2025

Friday evening was the first of a pair of concerts by the Houston Symphony at Jones Hall with guest conductor Dalia Stasevska. Leila Josefowicz was the violin soloist in Stravinsky’s Violin Concerto. The program began with Short Ride in a Fast Machine by John Adams and concluded with Sibelius’ Fifth Symphony. The three twentieth-century works of widely varied styles were given excellent, even fantastic performances by conductor, soloist, and orchestra.

Short Ride in a Fast Machine, described as a “fanfare for orchestra,” was written by Adams at the same time as his first opera Nixon in China. The two scores share the addition of a pair of synthesizers. A more notable feature is the constant pulse of a high wood block. Intricately written, identical repeated figures are separated by an eighth note as syncopated motifs are introduced in a framework of consonant harmonies. Eventually, a brass chorale emerges from the swirling texture, not unlike the fugue in Britten’s Young Person’s Guide to the Orchestra. Brilliantly written, the short piece is an orchestral tour de force. Stasevska chose a controlled tempo that allowed the score’s intricacies and bouncy rhythms to jive.

Stravinsky’s Violin Concerto was written in 1931, during his neo-classical period. The three movements—“Toccata,” “Aria,” “Capriccio”— have titles that suggest the works of Johann Sebastian Bach. Indeed, Bach’s Concerto for Two Violins was a source of inspiration, and duet combinations with the solo violin run throughout the concerto. The tricky mixed-meter ensemble was maintained by Stasevska’s attentive conducting as well as Josefowicz’ chamber music style collaboration with her various duet partners. These included flute, bassoon, violin, and cello, all expertly played. Special mention to Rian Craypo for her colorful and characterful playing of the prominent bassoon part. Various sections of the concerto abruptly shifted gears, with conductor, soloist, and orchestra all in sync. Josefowicz played with amazing accuracy and an unlimited palette of colors and characters, all accompanied by shifting facial expressions. This was an opportunity to hear this music performed at the highest possible level anywhere.

Returning after several curtain calls, Josefowicz played the third movement (“Largo”) from Bach’s C-major Violin Sonata. Played simply and tenderly, it served to demonstrate another facet of this artists’ stylistic range.

On a personal note, thirty-six years ago, I coached and played in a quartet with then ten-year-old Leila Josefowicz at ENCORE, a summer music camp for strings. She was already gaining attention as an exceptionally gifted violinist. Her teacher, the esteemed Robert Lipsett, was securing her set-up and technique with his highly successful regimen of scales and the model of Jascha Heifetz.

That secure foundation was on display last night in Stravinsky’s Violin Concerto with the Houston Symphony. Leila’s intonation is exceptional, even by today’s high standards. Her left hand moves with superb efficiency, keeping close to the fingerboard with no excess motion. Of particular interest was her formation of the “Passport Chord,” the interval of an 11th that begins each movement and was at first thought to be unplayable. Rather than placing the first finger and reaching up, she placed the fourth finger and reached back, stretching the hand across the middle. This is a technique I observed with Lillian Fuchs, the great violist and teacher, who was small in stature and played a normal-sized viola.

Violinist Leila Josefowicz. (credit: Tom Zimberoff)

In addition to stretches, Leila leaped to high notes and double-stops with amazing accuracy. Her vibrato shimmered, without any excessive throbbing. This leaner style fits the cool, “cool,” and objective character of Stravinsky.

No less impressive was Leila’s use of the bow. Legato passages saw an arrow straight bow planted firmly on a sounding-point track; off-the-string passages flew with deft precision. Sometimes, the bow became a percussion instrument adding variety to the tone colors and highlighting the character.

It was a lesson in balance between the two hands—when the bow is flying, the left hand needs to be controlled and close to the fingerboard. Leila’s technique has absolutely no flaws or weaknesses. Her genius mentality enables her to play and understand any concerto, old or new, without limits.

As principal guest conductor of the Lahti Symphony Orchestra and Artistic Director of the International Sibelius Festival, Stasevska brings a wealth of insight to Sibelius’ Fifth Symphony. She shared with the orchestra the meaning and intent of multiple elements in the score, which even veteran players who had performed this music dozens of times were hearing for the first time. Attaching additional meaning to the notes helped create an exceptional performance of uncommon expression. Sibelius’ richly colorful and imaginative orchestration burst forth from the Jones Hall stage with beautifully blended and balanced sounds.

While not a stick technician, Stasevska gives intention with clearly shown arm motions and left hand expression. The Houston Symphony played with great precision and unity, regardless of dynamic, rhythm, or instrumental combination. It was a clear demonstration that precise ensemble is best achieved by telling the musicians what to do rather than what not to do. When an orchestra feels the music together a high level of music making is a natural byproduct. The shifting and flexible tempo changes in the Sibelius were organic and, therefore, inevitable.

This symphony is nothing without the French horns, who begin and end the work. Led by William VerMeulen, the horn section was stellar. The iconic trumpeter swan motif in the final movement was masterfully modulated and flawlessly executed. Trumpets and trombones added grandeur with unforced voluminous sound. Timpanist Leonardo Soto played with precision and conviction, including perfectly placed grace notes in the final chords.

The return of principal oboe Jonathan Fischer was a welcome sight and sound. Bassoonist Isaac Schultz brought character to his descriptive part. Pairs of woodwinds were charming in the simple repeated melody of the second movement.

Following encouragement from the podium, the strings produced rich and blended sounds, beginning with the solid bass section. The violins were unified, whether dancing on the head of a pin with super soft notes or going full throttle in the blazing first movement coda. The violas opened the buzzing third movement with precision. Cellos were tonally beautiful and projected well.

The Houston Symphony is in top form. Each concert shows a greater sense of musical purpose as the musicians adjust to the improved acoustics of the hall. Tonight, the sound was full and resonant, filled with color and expression. It was thrilling to hear. ■

This program will be repeated on Saturday evening, April 19.

EXTERNAL LINKS:

Houston Symphony: houstonsymphony.org
Dalia Stasevska: daliastasevska.com
Leila Josefowicz: leilajosefowicz.com/

About the author:

Lawrence Wheeler was a music professor for 44 years. He has served as principal viola with the Pittsburgh Symphony, Minnesota Orchestra, and Houston Grand Opera Orchestra, and guest principal with the Dallas and Houston symphonies. He has given recitals in London, New York, Reykjavik, Mexico City and Houston, and performed with the Tokyo, Pro Arte and St. Lawrence string quartets and the Mirecourt Trio. His concert reviews have been published online on The Classical Review and Slipped Disc.

Read more by Lawrence Wheeler.