Davies Symphony Hall, March 22, San Francisco Symphony – Andres Orozco-Estrada conducted a terrific program, and a lot of the audience wanted Orozco-Estrada to stay. His conducting seemed to please the orchestra and the audience. Orozco-Estrada is excellent on the podium, and, when speaking to the audience, he was personable and even fun.

The program opened with Carl Maria Von Weber’s Overture to Euryanthe, Opus 81 (1823). Von Weber succeeded in his early career as he conducted around significant venues. He was the director in Breslau; he led the German Opera Company, in Prague; in Dresden he led the German Opera Theater. The list runs from 1804-1821. He was wanted to lead many theaters and operas. His operas lasted. Euryanthe was not a great theatrical success, but the music was very good. He chose a librettist who warned Von Weber that she was not a librettist, but he signed her on anyway. The Overture is interesting and enjoyable; it is truly fine music which is still performed. According to  James M. Keller’s program note, Act One’s has “a ghost is represented by eight muted solo violins playing in highly chromatic counterpoint.”

Mozart’s Piano Concerto No. 9 in E=flat major, K.271 (1777) The remarkable pianist Jan Lisiecki played with brilliance and sensitivity. He is close to Mozart’s music as though Jan and Wolfgang had practiced together, discussed how each one wanted a particular measure would be played by each of them. This Concerto opened the door for orchestra and soloist both playing, knowing that each one, soloist and orchestra, will come through the door. It is complex but is still music. The beginning Allegro knows that the listeners expect soloist and the orchestra together could muddle the notes if both were playing. No, they each have their own language as though in a conversation.  The Andantino travels slowly as Mozart allows an emotional, minor key, to change the weather. True sadness in the music holds back and then releases the feeling of loss. The finale rebuilds the energy. He adds a minuet and a more exciting rondo. After the sadness of the Andantino, the music now has more to express by the lovely variations. Lisiecki played magnificently.

Dvorak’s 7th Symphony in D minor, Opus 70, is definitely something different. If part of the audience for Dvorak’s work is based on the most performed, it is Dvorak’s Symphony #9 in E minor, Opus 95. “From the New World” or the “New World Symphony” wonderful though it is, they are missing so much. Dvorak composed the 7th Symphony through 1884-1885. He conducted its premier in April, 1885, in London. The English had taken to Dvorak. His Stabat Mater made him a star. He was invited to perform more of his repertoire in 1884; his 6th Symphony swept musical London off their feet. That success produced a commission for another symphony. Dvorak worked steadily to make his new direction take over. Dvorak was a devoted Christian. He did not want to take any time away from the inspiration he received. This symphony is powerful and full of emotion, perhaps anger. There seems to be no hope for the future though he searches for at least one space of peace. The first movement is an Allegro maestoso. It has mixed characteristics. The Allegro keeps a lively timing, and it is the Majesty. The maestoso‘s majesty, I am sure it comes from the heavens for this symphony. The Adagio does not wake up the happiest tunes. It seems to look inward as the spirit of the movement tries to break away. Suddenly, there is a Scherzo. We can hear the folk music and rhythm, but it still does not take over. The Finale: Allegro, brings a slightly more optimistic mood. This is a bit more major key, and yet we are still aware of possible threats. The performance of this symphony was Maestoso. SFS and Andres Orozoco took our breath away.