Tokyo-to Kokyo Gakudan

April 14, Gary Bertini conducting in Tokyo Bunka Kaikan -- Scherzo Fantastique, Op. 3, Concerto for Violin and Orchestra in D, featuring Tomoko Kato; "Petrouchka," Burlesque in Four Scenes (Igor Feodorovich Stravinsky, 1882-1971)

The Tokyo Metropolitan Symphony Orchestra under Gary Bertini presented its 508th regular subscription concert in Tokyo Bunka Kaikan recently, one of four programs this month conducted by the TMSO's music director.

Compact and wiry in appearance and wired in temperament, Bertini was appointed to the post two years ago, in April 1998. A music director normally shoulders administrative burdens that justify a sense of ownership in his orchestra and responsibility for its artistic performance. He is expected to vet overall programming and the selection of guest conductors and soloists, to exercise jurisdiction over hiring and firing the musicians, and to imprint his personal style on the orchestra's performance.

By the end of his second season, one would expect a music director to have placed his personal stamp clearly upon his new orchestra -- in most countries. Japan is not like most countries. The TMSO lists him as its music director, but it appears to be an empty title. Bertini is little involved in the hiring and firing of TMSO musicians, and seems to have little influence over programming other than his own.

In April, commencing his third season at its head, he led the TMSO in programs each of which featured a composer whose works collectively span the Romantic period: Mendelssohn, Brahms, Mahler and colorful Stravinsky.

Bertini is also slated to conduct a multiyear cycle of the symphonies of Mahler, a composer whose music he considers his specialty. He was restrained from commencing his cycle, though, while Inbal was conducting his own Mahler cycle with the same orchestra.

(While the TMSO has been caught up in its two Mahler cycles, yet a third Mahler cycle was launched with another orchestra in this city at the rapid pace of a program a month; that cycle is nearing its halfway mark.)

An intensive schedule working together should enable maestro and musicians to come to know each other on a profound level, but Bertini apparently cannot give much time to the TMSO. In the announcement of the 27 main series programs offered during the remainder of the 2000-2001 season, his name appears only three times, a low percentage for a music director. If he dedicates so little time to it, one has to wonder how he intends to make this orchestra his own.

Igor Stravinsky is the most seminal composer of the 20th century. Whereas the music of the previous century sings and soars in long lines, Stravinsky's music dances with an infectious pulse and a quirky sense of humor. From the gorgeous opulence of his earliest published works, his music swirls, prances, stomps, trips and bounces in a clever collage of meters that evolved naturally from the early experiments of his Russian antecedents. From the 5/4 of Tchaikovsky to the mixed meters of Stravinsky is but a single simple step.

Bertini chose a sagacious sequence of Stravinsky's music to illustrate the musical evolution of his tonal works, before the composer finally abandoned the concept of a rich harmonic palette with a discernible tonal center in his final stage of evolution.

The early Scherzo Fantastique reveled in the colorful orchestral dress of his teacher, Rimsky-Korsakov, but it was abundantly a playful dance that Stravinsky conceived.

It was good to hear it performed. The orchestration is dazzling, and the textures a delight. It was also a fine choice to hone the orchestra's flexibility of technique and expression, and lighten its traditionally Teutonic sonorities. This is a work to remember.

Stravinsky's violin concerto in D has been getting a lot of play recently, as even Japanese concerto violinists have felt the pressure to enlarge their repertoire. This is not music that sings on its own though, as do the popular romantic concertos: It needs to crackle with electricity.

Tomoko Kato may have essayed the work for the first time, since she chose to work from the music on the stand in front of her. Proceeding diligently through the music, her pretty violin tone was in the spirit of the music. The lack of energy was not, though. The piece seemed to amble along as soloist and conductor worked it out, stolidly missing the irrepressible fun found in the startling rhythms.

Quick movements are always easier to make persuasive than slow movements demanding introspection and interpretation. The most successful movement was the finale, which came the closest to catching fire. It was certainly Stravinsky, but it seemed to be hard work. The playing in the orchestra was quite good, and the orchestra tone was highly attractive, sensitively balanced and melded. My ear was caught by fine solos from the concertmaster, flutes, clarinets, bassoons and pianoforte.

The orchestra seemed to be on familiar ground in the ballet "Petrouchka," more comfortable indeed than their conductor. The ballet ends with a musical question mark; this even Nijinsky was said to have understood. I missed the sense of drama, fun and frolic though.

Bertini conducted as if fulfilling an assignment, projecting no impression of his love for the music. Much of the Kappelmeister-like gestique appeared to be merely mechanical; occasionally it became jerky and ill-defined, sometimes throwing off the players. It did not strike me as world-class conducting.

The TMSO's playing has become better year by year, perhaps through the natural process of discovery and growth, and of player attrition. Still, it cannot be said that the playing style has changed from any perceptible influence of its music director. I love the orchestra, and it grieves me if it does not seem to be benefiting from a happy marriage. I have not yet seen evidence though that this relationship is really working out as it should.