Midori brings controversial Schumann concerto to ASO

There is something endearing about her modest style. She plays bent over, with her head crooked down and her eyes closed, and there is nothing of the self-conscious flamboyance seen in many of her rivals.

Recently she’s been championing Robert Schumann’s Violin Concerto, a controversial work with a bizarre history. It was written for violinist Joseph Joachim in 1853, when Schumann was already descending into madness, likely the result of syphilis. Joachim, along with Schumann’s widow, Clara, felt strongly that it wasn’t up to snuff and suppressed it.

The work remained hidden away for nearly a century until, supposedly, the composer’s grand-niece consulted a Ouija board which told her of a hidden masterpiece that she soon made available. This was in the 193os, and the Nazis arranged a premiere, which went badly. But Yehudi Menuhin embraced the work as “the bridge” between Beethoven and Brahms, and he performed the American premiere, to terrible reviews.

The work has mostly languished since then, but occasionally an artist emerges to champion it once again. Which brings us to Thursday night.

There is, frankly, much in this concerto to dislike: thin melodies; plodding accompaniment; and a final movement that seems to drift down into nothingness. There were also some sublime passages, when the genius of Schumann seemed to emerge from the fog. There was a memorable point where the soloist had a series of dialogues, first with the violins, then the lower strings.

The work showcases Midori’s flawless technique and elegant tone. But she played so delicately, against an orchestra part that was generally more vigorous, that we got a game of peek-a-boo. It was also slow going. Still, more energy couldn’t save this work.

ASO music director Robert Spano is a first-rate accompanist, and here the orchestra sounded like its usual fine self.

Then came Wagner excerpts. Handicapped by the lack of an opera posting, Spano has yet to emerge as a major Wagner conductor. His one major outing in this field, a Seattle Opera “Ring” in 2005, got mixed reviews. Here, because of its slow pace, the overture to “Parsifal” exposes the orchestra dangerously. It was impossible to ignore sloppy entrances and a lack of overall tightness. The “Good Friday” music from the same opera fared better. Still, the highlight of the evening was a rousing performance of the overture to “Die Meistersinger,” where everything seemed to fall into place.

The concert opened with Mendelssohn’s Overture to “A Midsummer Night’s Dream.” While winsome and frisky, it was marred by the same intonation issues that have plagued the orchestra all season. This time, at least, they were not so frequent or severe.