A gala evening in Chicago

You would have thought it was a gala, with Emanuel Ax performing Brahms' Piano Concerto No. 2 with the Chicago Symphony Orchestra, conducted by the distinguished maestro Bernard Haitink. But it was a weekly concert at the symphony, and it was almost sold out.

Part of what created this "gala" feel was Chicago's beautifully renovated (some years ago) Symphony Center. At intermission, the audience flowed into the beautiful ballroom, where coffee urns and champagne bars were set up, as well as into the attached "Symphony Center." There, one also found bars and amenities, and on the way was a wonderful photo gallery featuring symphony musicians. Intermission seemed longer than the 15 minutes we have in Cincy.

Named principal conductor last year, Haitink was music director of the Concertgebouw for 25 years. His old-world style, musicianship and genuine love for the music was evident in Mozart's Symphony No. 25 in G Minor, K. 183, which opened Saturday's concert. He led without a baton, as if it was vocal music. I was very taken with the phrasing of the first movement, which alternated between intensity in the strings, and the most relaxed, lyrical oboe solo I've ever heard.

The acoustics in Orchestra Hall are somewhat dry, so that the orchestra's playing is extremely exposed. Yet, the precision was extraordinary in the strings, which played like one instrument.

From the other orchestras I've heard recently, and given the Chicago's refined precision, warmth and the acoustics of Orchestra Hall -- the Chicago Symphony may be the finest orchestra in the country right now.

Haitink and his soloist, the pianist Ax (pictured), were stylistically at one in Brahms' Concerto No. 2, with the conductor as elder statesman, leading with clear affection for this music, and Ax performing with stunning sonority, depth and interpretive power. Is there a pianist in this country who can project such nobility, and also commune with the orchestra as if playing chamber music?

Then came the third movement, with its breathtaking cello solo performed by principal cellist John Sharp. The former Cincinnatian (he was principal in Cincinnati before going to Chicago) played with such immense sweetness of tone and warmth of expression, that Ax was grinning from ear to ear the whole time. Ax, the consummate musician, played the accompanist with a combination of lightness and depth, and at the concerto's end, leaped up to drag Sharp to his side for several bows.

Haitink also led the world premiere of "Chicago Remains," by one of the orchestra's composers in residence, Mark-Anthony Turnage. Scored for massive orchestra with a huge percussion section (I counted eight players), the piece is meant to evoke Chicago by juxtaposing the city today with the Chicago fire of 1871. It was attractive and tonal (rather like Copland at times), with some humorous moments (it opens with bouncing bows in the violins). But I found it aimless, a gleaming soundscape of drifting colors that had no direction. How does one evoke a city, after all? The best came last, with a sustained section featuring a quite lovely flute solo played against Asian-tinged harmonies.

Word is, Riccardo Muti is favored to be named the next music director.