May 1, 3 & 4(m), 2025
Jones Hall
Houston, Texas – USA
Houston Symphony, Matthias Pintscher, conductor; Cédric Tiberghian, piano.
Tōru TAKEMITSU: Twill by Twilight (1988)
Wolfgang Amadeus MOZART: Piano Concerto No. 20 in D minor. K. 466 (1785)
Ludwig van BEETHOVEN: Symphony No. 7 in A major, Op. 92 (1811-12)
Lawrence Wheeler | 3 MAY 2025
Thursday evening was the first of a trio of concerts by the Houston Symphony at Jones Hall with guest conductor Matthias Pintscher. French pianist Cédric Tiberghian made his Houston Symphony debut with Mozart’s Piano Concerto No. 20 in D minor. The program began with Twill by Twilight by Tōru Takemitsu, and concluded with Beethoven’s Seventh Symphony. Before the performance, principal oboe Jonathan Fischer made a humorous and well-delivered pitch for donations.
The leading 20th-century Japanese composer, Takemitsu composed several hundred independent works of music, scored more than ninety films and published twenty books. Twill by Twilight was dedicated to the memory of American avant-garde composer Morton Feldman. Feldman had a Houston connection through his 1972 commissioned work, Rothko Chapel. Twill by Twilight was composed in 1988 and written in a Neo-Impressionistic style. It makes extensive use of whole tones and has a wide range of dynamics and orchestral colors. Xylophone and a cymbal played with a bow combine with string tremolos to create amorphous effects. These alternated with loud brass interjections. The softer and more delicate parts were too loud and, therefore, less successful, perhaps due to Pintscher’s symmetrical beat patterns that did not appear to change with the dynamics.
Mozart’s D minor Piano Concerto is one of only two piano concertos he composed in a minor key. The first movement has “Sturm und Drang” (“Storm and Stress”) characteristics—restless syncopations and ominous bass figures—tempered by yearning and sadness. Pintscher achieved soft dynamics with great clarity by having the upper strings separate their syncopations. The ensuing forte sixteen bars later exploded with pent-up energy, followed by woodwind figures alternating with strings in perfectly balanced exchanges. To achieve better balance, Leonardo Soto used smaller-sized timpani placed on the floor next to the basses, and trumpets tempered their volume.
Pianist Tiberghian played with superb control of dynamics and phrasing. Legato sixteenth-note runs were seamless between both hands. His ensemble with the orchestra was as well-tailored as a Brioni suit. Tiberghian has recorded all the Mozart violin and piano sonatas with Alina Ibragimova and brought that chamber music style to this concerto. He was in constant touch with conductor and orchestra, even though Pintscher rarely if ever turned towards the soloist. The audience applauded after the first movement, which Tiberghian graciously acknowledged.
The second movement, “Romanze,” showcased Tiberghian’s exquisite touch. His piano tone was crystalline in the upper register and had the warmth of a cello in the middle. Mozart’s masterful and idiomatic woodwind writing was also a showcase for beautiful playing. Before the concert, oboist Jonathan Fischer told the audience this was his favorite piece. His beautiful playing served to confirm that statement.
Cédric Tiberghian (credit: Jean-Baptiste Millot)
Tiberghian took the third movement “Rondo” at a healthy clip. Marked “Allegro assai” (very fast), ascending string arpeggios were played brilliantly and with such clarity they didn’t sound rushed. Using just one hand to indicate beats, Pintscher maintained perfectly synchronized ensemble. Following a brilliant cadenza, the final rondo theme in D major brought this virtuosic performance to a joyful conclusion.
The audience fairly much demanded an encore with cheering and a standing ovation. Tiberghian chose another piece in D minor—the piano transcription by fellow French pianist Alfred Cortot of Bach’s arrangement for organ of the second movement of Vivaldi’s Double Violin Concerto. The light sicilienne rhythm was in contrast to a high singing melody.
Beethoven’s Symphony No. 7 is one of the greatest symphonies ever written, with its second movement, the “Allegretto,” a contender for the greatest movement ever. Wagner called the symphony “the apotheosis of the dance.” In it, Beethoven uses rhythm and harmony to create a wide range of emotions that reach out and grab us more than 200 years later. He was experiencing irreversible deafness at the time, and Europe was in the throes of war. He could have retreated into himself, but instead courageously shook his fist (or foot) at fate and created ever greater music.
As led by Pintscher, this evening’s performance had mixed results. The first movement opening had grand gestures, energetic ascending scales, and expressive wind solos. Dynamics were carefully observed, with fine ensemble throughout. Principal flute Aralee Dorough transitioned into the “Vivace” (a quick sicilienne rhythm that reiterates “Beet-ho-ven, Beet-ho-ven”) and led the bouncy new theme with spirit. This grew to a full-throated fortissimo with clarion high horns and energetic sixteenths in the middle strings. Beethoven is full of dynamic and harmonic surprises. Pintscher repeated the exposition, flipping several pages back in his score. It was surprising to see a conductor use a score for a Beethoven symphony, let alone this iconic work.
The second movement began attacca, even though the audience applauded at the end of the first movement. While the intent is to hear the contrast from A major to A minor, that effect was obscured. It would have been wiser to wait the extra three seconds since it likely made those who applauded feel foolish.
The lower strings melody was played non-vibrato, making it sound like a chant. Beethoven’s original idea may have been a religious procession, but it may also hide an autobiographical “Lud-wig Beet-ho-ven.” In any case, the first 66 measures of strings alone were beautiful and intriguing. I was curious to hear how this story would unfold. The change to A major came and went, as did the transition back to A minor. Even when going from fortissimo to piano dolce, there was no breathing. It was perfectly objective, making it imperfectly expressive. The result was ascetic rather than aesthetic. This music cries out for emotion. Dry eyes are not the goal.
The “Scherzo” was again attacca. The strings’ spiccato figures were very well played, as were the parallel woodwind notes. Short figures were passed from section to section with precision. The lyrical trio sections provided nice contrast. The very low second horn part was quite well played by Ian Mayton.
The “Finale” was begun on the heels of the “Scherzo.” The attaccas were beginning to feel breathless in the wrong sense. This was confirmed by a tempo that was fast simply for the sake of fast. Lost was the effect of a prevailing strong second beat. This country-style knee-slapping rhythm has its own internal pulse that should not feel kinetic. The excellent Houston Symphony musicians gamely kept up, giving the audience a rousing performance. ■
EXTERNAL LINKS:
- Houston Symphony: houstonsymphony.org
- Matthias Pintscher: matthiaspintscher.com
- Cédric Tiberghian: cedrictiberghien.com
Read more by Lawrence Wheeler.
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