Parade of Guest Conductors at the Symphony Is Well Under Way

The Seattle Symphony Orchestra is now in earnest looking for a music director to replace Gerard Schwarz in 2011. All sorts of conductors are lined up this season and next in a kind of elaborate, public audition for the post.

The official line of the symphony, rather witty in fact, is that every guest conductor this season and next is a candidate and none is a candidate. In other words no one is talking on the record. It is too early for any buzz on the street but eventually there will be plenty. Well-known conductors, like Lawrence Renes, who have led the orchestra with distinction in the past, are not being invited on the theory their talents are already familiar in the city. I hope they don’t get lost in the formal process. They deserve better.

Ludovic Morlot made his debut Thursday night at Benaroya Hall. In some ways he got the short end of the stick. Engaged all this week at Seattle Opera, including a number of principals, about half the orchestra was not on hand for rhe concert and will not be for the the remaining two, Friday and Saturday nights. That means the really big pieces, with which most conductors like to make their major statement, were not available. Less would have to do. And Morlot made sure they did in all sorts of way. For instance, Haydn, underplayed by most modern symphonies, ended the concert instead of beginning it. The performance was a revelation on just how “”big” and “important” the composer’s symphonies can be. At least in the capable hands of someone like Morlot.

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A word of introduction. The young conductor, a fellow at the Tanglewood Festival only eight years ago, was born in France and lives in Lyon. However, according to the program notes, he received a good share his music education in London, followed by studies at Tanglewood and subsequently an appointment as an assistant to James Levine at the festival. David Robertson was also a mentor to Morlot. In the intervening years, he has not been idle. Important engagements include the New York Philharmonic, Cleveland Orchestra, Dresden Staatskapelle, Tonhalle Orchestra, Budapest Festival Orchestra and Royal Stockholm Orchestra. All manner of important dates in the United States and Europe are forthcoming.

He made an immediate impression in his opening gesture — Prokofiev’s First Symphony. He is short and blond, disdains the baton as well evening clothes (white tie or black tie) and maintains a lively presence on the podium. He is both ebullient and economical in style. You sense the music in him, but never to the point of distraction. Most conductors would open with the Haydn and close with the Prokofiev. Morlot turned the tables in a very convincing fashion. The Prokofiev was full of air and lightness, completely transparent. Nothing thick or messy. For once, the symphony deserved its Classical nickname. Morlot’s reading was quick and free and smart. Everything was pinpoint in accuracy and balance. There were fortes for sure but no shouting. Everything seemed spontaneous and vivid.

The Oboe Concerto of Bohuslav Martinu is really a showpiece for the soloist; In this case, SSO principal oboist Ben Hausmann. When he joined the orchestra, it was second oboe to principal Nathan Hughes. Until Hughes left to become co-principal oboe of the Metropolitan Opera Orchestra, Hausmann was overshadowed by his presence. For the next year or so, he was acting principal, gaining in maturity, strength, beauty of tone and technique until he was made principal. He deserved the appointment. His abilities are in evidence night after night at Benaroya. They could be readily heard in the Martinu — smooth legato, honeyed timbre and technical facility. An orchestral oboist is rarely called upon to make an impression with the speed of his or her fingers. More important is the sound and musicality. These Hausmann has.

Morlot stepped into the 19th century with three of Dvorak’s “Legends”: Nos. 6, 7 and 9. They demonstrated that Morlot has as much sensibility for the great romantic era as he does for the 18th and 20th centuries. He provided a lovely line, precision without tightness, long-limbed legato. String sound — Morlot was trained as a violinist — was exemplary for its silky sound in which strength was coupled with elasticity. Rhythms were never ruffled or smudged. What made Haydn’s Symphony No. 88 so notable was that it was fully engaged — every phrase, every movement. The symphony may be more than 300 years old, but it seemed freshly minted in Morlot’s reading. It was not hard to realize why this symphony is among the most popular in Haydn”s huge output of symphonies. Morlot understands the wit and wisdom of the composer, his fondness for contrasts –what gorgeous pianissimos he produced — and his sense of drama. A fine end to an excellent evening of orchestral playing.