Dutoit and Boston Symphony Orchestra explore diversity of 20th−century music

Many of the patrons of the Boston Symphony Orchestra (BSO) this weekend would have likely been surprised if they were told that they were attending an all−20th−century concert. It wasn't billed as a "new music" concert, and none of the works presented was the challenging fare often associated with the music of the past century. But guest conductor Charles Dutoit of the Philadelphia Orchestra and the Royal Philharmonic Orchestra bravely programmed Henri Dutilleux's 1970 cello concerto, "Tout un monde lointain" ("An entire distant world"), with soloist Gautier Capuçon. The program also included Richard Strauss' seldom−heard orchestral suite "Le Bourgeois Gentilhomme" (1920) and Claude Debussy's 1905 orchestral staple "La Mer."

The concert opened with Strauss. The work, in line with the rest of the program, is French−influenced. It eschews the bombast and emphasis on motivic development of the Germanic orchestral tradition in favor of a lighter tone and a greater concern for clarity of gesture. Dutoit's laid−back conducting style was well−suited to the lightness of the piece, and the orchestra responded to his gestures with appropriate nonchalance.

Strauss calls for a reduced ensemble bordering on a chamber orchestra and features prominent solos for several of the principal players, most notably the violin and piano. The suite began compellingly with rhythms reminiscent of Stravinsky but dragged a bit as it went on. Of the three works performed, Strauss' was without a doubt the least adventurous, though it was well−suited to the orchestra. The orchestra always seemed quite comfortable with the suite, making for a charming opening piece.

Dutilleux's "Tout un monde lointain" immediately followed intermission. Its title is more than a poetic afterthought. From the opening cello cadenza with its intermittent percussive accompaniment, it was clear that the audience had entered a sonic world as distant from Strauss' as one could imagine. Dutilleux's keen ear and fierce attention to register and chord arrangement throughout the orchestra helped him achieve incredibly beautiful sonorities and innovative chord progressions. The most memorable moments were positively otherworldly. Again, Dutoit's conducting was relaxed and admirably unobtrusive, which left plenty of room for the soloist.

Capu‡on's playing was brilliant, and he seemed entirely at ease with the part, which was frequently situated in the extreme high register of the cello. It was clear that he had performed the work before with great success; his love of the piece's language and challenges were evident in his spirited performance. The orchestra accompanied him responsively — what appeared at first to be throwaway gestures in the solo part frequently rippled throughout the ensemble, almost imperceptibly overthrowing whatever the previous accompanying texture had been. The end of the piece immediately drew a standing ovation.

In an interesting programming decision, the concert concluded with Debussy's "La Mer." In a more typical symphonic concert, Debussy's music still manages to sound groundbreaking. When compared to a Beethoven symphony or to a work like the Strauss earlier in the program his harmonies and textures are far more adventurous. But following the Dutilleux, with its cautious use of atonality, Debussy's extended tonality sounded surprisingly tame. Instead of highlighting the adventurous elements of Debussy's music, the program emphasized his lyricism. In this Debussy anniversary year — he was born a century and a half ago in 1862 and died in 1918 — it will be important to give audiences a chance to hear his music in a different light in order to avoid a potential Debussy burnout — if such a thing is even possible.

Dutoit was finally able to open up while conducting the Debussy. The final two movements were lively, and all three movements had big, climactic moments that allowed for emotive conducting. The orchestra still cultivated the tasteful, clear gestures that had permeated the two previous works, which made for a vibrant rendition of "La Mer." Like the Dutilleux, the Debussy was enthusiastically received by the crowd, who were treated to a Debussy−themed fashion show, Project Debussy, before and after the concert. The BSO has made a yearly tradition of composer−themed fashion shows that exhibit the work of local design students and fashion enthusiasts. The fashion show was a fitting conclusion to an atypical evening at the symphony.