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| Jacob Reuven & Omer Meir Wellber (www.jso.co.il) |
The Henry Crown Auditorium of the Jerusalem
Theatre was alive with anticipation on September 5th 2024 for the opening
concert of the Jerusalem Symphony Orchestra's 87th Classical Series. Conducting
the concert was Omer Meir Wellber (also harpsichord, accordion) and Jacob
Reuven (mandolin). Both artists were born in Be'er Sheva, Israel.
The event began with one of the earliest
examples of the program music genre - Antonio Vivaldi's "Le quattro
stagioni” (The Four Seasons) - four violin concertos published with
accompanying poems (possibly written by Vivaldi himself) - the score replete
with details and images relating to each season. At this festive concert, we
were to hear the work in a different setting. There would be no violin soloist.
Omer Meir Wellber's setting, calling for strings, continuo, accordion and
mandolin, originated from Jacob Reuven's desire to perform the virtuosic violin
solo role of "The Four Seasons" on mandolin (Reuven himself has done adaptations
of several virtuosic works) together with Maestro Wellber's own wish to explore
new contemporary approaches to continuo-playing. Seated next to Reuven at the
front of the stage was Wellber at the harpsichord, facing the strings behind
him, the accordion strapped to his back, allowing him both to conduct, to turn
to Reuven and constantly to switch from accordion to harpsichord. The result
was a vibrant, richly-timbred and deep inquiry into this highly familiar work,
fired by the captivating detail and brilliance of Reuven's mandolin playing, in
collaboration with Wellber's own quick-witted, articulate and well-shaped
delivery and his guiding of the JSO string players. This sparkling, zesty
musical setting, in keeping with how Vivaldi intended it to depict Nature's
beauty and sound associations, offers tender dialogues between Wellber and
Reuven, the duets and other ensemble moments also involving orchestral players.
A bold, original artist, Wellber creates Vivaldi's marvellously contrasted
soundscapes with his own palette of timbres, rendering idyllic, lush nature
depictions, pulsating, forthright tutti wrought of Italian joie-de-vivre and a
sense of spontaneity, down to the finest spun, gossamer-like pianississimo
utterances. Adding the accordion and mandolin to the work opens up a new,
beguiling mix of musical colours. Under the fingers of Wellber, with his
innovative approach to continuo-playing, the accordion weaves finely-sculpted,
mellifluous melodies, at times, manifesting a gripping, pivotal presence. Under
Reuven's fingers, the mandolin's tremolo sings and serenades in subtle tones of
elegant delivery, then to transform into an instrument capable of substantial,
dense textures and dramatic expression despite its modest size! In an interview in 2022, Maestro Wellber summed
up the project (which also includes Piazzolla's "Four Seasons of Buenos
Aires") as resulting from "when musicians come together with a shared
passion for pushing boundaries and creating something truly
extraordinary." and "the joy of experiencing familiar music in an
entirely new light". The audience at the Jerusalem Theatre was exhilarated
and delighted to be part of this experiential revisiting of Vivaldi's
"Four Seasons". For their encore, Wellber and Reuven
entertained listeners with a gently sentimental Venetian waltz, performed with
charm and a touch of whimsy.
Of his Symphony No.8 in G major, Op.88,
B.163 (1889), Antonin Dvořák had said that he wanted “to write a work different
from my other symphonies, with individual ideas worked out in a new manner.”
With the key of G major considered more appropriate to folk music and song than
to symphonic works, the composer discloses the work's inspiration as deriving
from the Bohemian folk music he so loved. Calling for a large orchestra, the
work's heart-warming Czech melodies and symphonic mastery make for appealing
concert fare. Communicating convincingly and overtly with his players, Maestro
Wellber (sans baton) spares no energy in recreating the work's many moods swiftly flowing in
a colourful and invigorating sequence of lyrical pastoral images, dance- and
march temperaments as well as its moments of pathos and drama alongside
passages reflecting Dvorak's poetic voice. With the 'cellos carrying much of
the melodic weight, there was also much fine playing on the part of the
woodwinds and some splendid solos.
The Jerusalem Symphony Orchestra saw in the
2024-2025 concert season with an evening brimming with dazzling sounds,
interest, originality and the joy and optimism good music has to offer.
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