Last weekend the San Francisco Symphony, surely unbeknownst, gave me a Valentine's Day card masquerading as a pair of tickets! I don't honestly recall a concert in recent years I've enjoyed more than this one. I've known and loved Paul Dukas' ballet score La Peri for more than fifty years without ever hearing it live, and as a dedicated Francophile in music, I am always delighted to hear again Camille Saint-Saëns' iconic and fascinatingly structured Organ Symphony. Add to this the fact that I grew up in the wilds of Latin America and learned to tango just about when couples abandoned cutting a rug with each other on the dance floor in favor of wriggling in place, and you can imagine how a piano concerto based on Tango would evoke a special warmth and affection in someone like me. So I am writing more as a fan than as a critic this time.
If nothing else had been performed this week at the San Francisco Symphony, the Scherzo from Erwin Schulhoff's Fifth Symphony would have been worth the ticket. James Conlon has become an authority in recent years on the subject of "Entartete Musik,” which is to say, music forbidden performance by the Nazis. And he had the daring to program just what he thought the audience would enjoy. I made a point after the concert of listening to several complete symphonies by Schulhoff and concluded Conlon was right to include just the Scherzo from the Fifth Symphony in his program, at least this time around. The music was both remarkably exciting (about which more in a moment), not too long and utterly hilarious, due to the brilliant and edgy talk Conlon gave from the podium before performing it.