Davies Symphony Hall, San Francisco, March 1st — Violinist Joshua Bell played majestically. He led the Academy of St. Martin in the Fields. His musicians assimilated the precision and passion of their leader. It was an amazing performance to see and hear the fine musicians demonstrating their live music; their lives are music.

The selections for the program were ideal. Charles Ives’ Variations on “America” was terrific. I am an Ives fan and had not heard this before. It is unusual for Ives as the tune of “America” is recognizable despite or because of the varying variations. His father taught him music; his music was for everyone in America. The father, George Ives, was “different.” He liked to have two bands march from different directions until they met in the center of town. The band leader, George Ives, would get a kick out of hearing music in different keys merge into the air.

From the brief but delightful piece of Ives, Bell took a dive into Johannes Brahms’ Violin Concerto in D major, Opus 77. This concerto is extremely difficult to perform and those difficulties make the listeners fascinated by Brahms and Bell. Watching Bell conduct his orchestra is a unique, physical wonder. To do it he must sit and twist his back to indicate which instruments he wants to play and how. His gestures involve his whole arm and sometimes the violin’s bow. He is in charge. The orchestra watches him, not occasionally but always. The first movement, Allegro non troppo, is expressive by changes. It begins with hints of folk-music origin, and then the key changes for the violin solo and the violin’s partner timpani. The long first movement has a cadenza that was composed by Joseph Joachim, the violinist, composer, and conductor. In the performance on March 1, the cadenza was written by Bell. Audience members stood to applaud the music and technique. The middle movement, Adagio, features a lovely oboe singing while the other winds dance in their harmonies. However, the oboe would bring the solo violin causing disarray and competition in the family.Then, they smooth out their problems.

The closing movement is described, Allegro  giocoso, ma non troppo. That “giococo” takes it  but with a joking kind of play. Brahms asks that it would not be too wild. This is the part of the concerto that my brain can replay — not when I want to turn it on — just when it wants to hear it again. This movement has faster rhythms and then faster than previously. It is a gift to hear the Brahms Violin Concerto in D major, Opus 77 played by Joshua Bell and conducted by Bell. Watching his exactitude and hearing the results, it is a gift.

I was very happy to hear these two Romantic composers – one from near the early era and the other near the close of it – on the same program. For a long time, I did not hear Robert Schumann, but recently he has been revived. To be rediscovered in Springtime is just right for Symphony No. 1 in B-flat major, Opus 38, Spring. The music begins with a fanfare and the movement  is Andante un poco maestoso – Allegro molto vivace. It is fitting for the time the leaves come up, but slowly, and then the flowers in bright colors appear and sway in the breeze. The Larghetto is beautiful. The program writer, Rene Spencer Saller, gives the reader this note: “it is the only movement that Schumann left nearly untouched during his long revision process.” The trombones and bassoons have their moments in the gentle Larghetto. The Scherzo changes to G minor. Somehow there was a suggestion in the Larghetto that something new is coming. The finale, Allegro animato e grazioso, brings back a brass fanfare. There are moments for soft horns, flute, and solo oboe. The finale designs a thrillingly, glorious happiness. Closing our thought of the Symphony dedicated to Spring; Schumann reminds us that there is something serious to remember: “I want to tell you that I would like to describe a farewell to spring, and therefore do not want it to be taken too frivolously.” *

*Schumann to conductor Wilhelm Taubert