February 20 & 22, 2025
Atlanta Symphony Hall, Woodruff Arts Center
Atlanta, Georgia – USA
Atlanta Symphony Orchestra; Matthew Halls, conductor; Sterling Elliott, cello.
Franz Joseph HAYDN: Overture to L’isola disabitata (“The Uninhabited Island”)
Franz Joseph HAYDN: Cello Concerto No. 2 in D Major, Hob. VIIb/2, Op. 101
Franz Joseph HAYDN: Symphony No. 101 in D major, Hob. 1/101 (“The Clock”)
Mark Gresham | 22 FEB 2025
On Thursday evening, the Atlanta Symphony Orchestra presented an all-Haydn program at Atlanta Symphony Hall, led by guest conductor Matthew Halls and featuring cellist Sterling Elliott. The evening showcased Haydn’s stylistic range, from the dramatic overture to his rarely staged opera L’isola disabitata (“The Uninhabited Island”) to the warmth of his Cello Concerto in D Major and the wit of Symphony No. 101.
Matthew Halls (courtesy of Askonas Holt)
Halls, a British conductor known for his expertise in historically informed performance, is best known for his work with early music ensembles such as the Academy of Ancient Music and his tenure as artistic director of the Oregon Bach Festival. Halls has been Chief Conductor of the Tampere Philharmonic in Finland since August 2023.
The concert opened with the overture to L’isola disabitata (1779), an example of Haydn’s dramatic orchestral writing, setting the stage for the evening’s exploration of his breadth as a composer. This particular overture departs from the composer’s typically lighthearted opera openings, instead embracing a stormy and intense orchestral texture evocative of the Sturm und Drang movement of its day. The music begins with bold, forceful chords and rapidly shifting harmonies, evoking a sense of isolation and turmoil that reflects the opera’s narrative. Halls and the ASO emphasized the overture’s urgency and contrast, maintaining tight control over its dynamic shifts.
Haydn’s Cello Concerto No. 2 in D Major, composed in 1783 for Antonín Kraft, a leading cellist of the Esterházy court, is a work of elegance and refined virtuosity. Unlike its predecessor in C major, this concerto leans toward a more lyrical and expansive style, with long singing lines and an intimate interplay between soloist and orchestra.
Sterling Elliott, a fast-rising American cellist and 2019 winner of the Sphinx Competition, gave a poised and technically assured performance of the Cello Concerto. His playing displayed a seamless blend of lyricism and virtuosity, particularly in the expressive “Adagio,” where he shaped long, singing lines with sensitivity. He executed the lively finale with agility.
Elliott returned to the stage for a solo encore, performing Julie-O by Mark Summer. A striking departure from the evening’s classical repertoire, Julie-O blended elements of jazz, bluegrass, and percussive cello techniques. Elliott embraced the piece’s rhythmic drive and improvisatory spirit, showcasing his versatility and command of extended cello techniques.
Haydn’s Symphony No. 101 (“The Clock”) provided a lively conclusion to the program. Composed in 1793 during the composer’s second visit to London, the symphony earns its nickname from the second movement’s distinctive “ticking” rhythm. Halls and the ASO brought out the charm and ingenuity of Haydn’s writing, allowing Haydn’s humor and inventive orchestration to shine. The finale, marked by its driving momentum and exhilarating interplay between sections, brought the evening to an energetic close, highlighting the orchestra’s clarity and cohesion under Halls’ direction.
Though devoted entirely to Haydn, the program did not feel monochromatic in character, thanks to the variety of moods and textures within the composer’s works, serving as a testament to Haydn’s enduring appeal and the interpretive strengths of the conductor, soloist, and orchestra.
Chamber Recital Preceding the Concert
Before the main orchestral performance at 8 p.m., a chamber recital was presented at 6:45 p.m., offering an intimate presentation by five of the ASO’s musicians that contrasted with the orchestral works of Haydn that evening.
Cellists Joel Dallow and Brad Ritchie opened the program with Jean-Baptiste Barière’s Sonata for Two Cellos in G Major, an engaging Baroque work written around 1737-1740 when the cello was new to France and beginning to replace the viola da gamba.
Then came two works for flute, viola, and harp by English composers, played by Christina Smith (flute), Zhenwei Shi (viola), and Elisabeth Remy-Johnson (harp). First came Sally Beamish’s Between Earth and Sea, inspired by a Celtic caoineadh, or lament for the dead, which evokes the call of the redshank — a European species of shorebird. The trio followed with Arnold Bax’s Elegiac Trio, a lush and expressive work reflecting the composer’s affinity for Impressionist harmonies. The trio gave it a beautifully balanced interpretation. ■
EXTERNAL LINKS:
- Atlanta Symphony Orchestra: aso.org
- Matthew Halls: tamperefilharmonia.fi/en/orchestra/chief-conductor
- Sterling Elliott: sterlingelliott.com
Read more by Mark Gresham.
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