SPRINGFIELD SYMPHONY ORCHESTRA

Wagner, Tchaikovsky, Beethoven

Kevin Rhodes, Music Director and Conductor

Julian Schwarz, Cello

SPRINGFIELD YOUTH ORCHESTRA

Tchaikovsky's "Romeo and Juliet Fantasy Overture"

REVIEWED BY DONNA BAILEY-THOMPSON

The audience arrived starved for music. In reference to the protracted hiatus, a lament over heard often, “It seems like forever since we were here!” transformed the loss into a philosophical c’est la vie dismissal.

The evening’s outstanding concert was worth the wait.

At 6:30, musical hors d’oeuvres were served: for 20 serene minutes: SS0's Youth Orchestra under, the direction of Jonathan Lam, performed Tchaikovsky’s Romeo & Juliet’s Fantasy Overture. . Those who may have skipped this performance because the musicians were under 18 deprived themselves of a freshly-polished Fantasy. Their hours of practice contributed to confidence. Think of the youth orchestras around the world sublimating their personalities to play as one. They are not automatons but musically disciplined to play with appropriate expression. SSYO’s playing honored Tchaikovsky. Especially a percussionist whose dexterity with cymbals, for example, was tenderly modulated.

UNIDENTIFIED PERCUSSIONIST

LIBERATED FROM SS0S PAGE

A half hour later, at 7:30, a broadly smiling Maestro Kevin Rhodes strode across the stage, his energy stoked. The audience’s applause was code for unabashed admiration and appreciation of the high level of the SSO’s playing. To heighten our enjoyment of the opening piece, Richard Wagner’s Siegfried Idyll, the Maestro painted a picture of Wagner’s wife, Cosima, still asleep on Christmas morning – her birthday – who had recently given birth to their son Siegfried. Wagner positioned 13 musicians on the stairs whom he directed from the top of the stairs. The intimacy of the occasion is captured within the piece just as Wagner’s intelligence is embedded in the music. Lovely scenes evolve. A sequence of staccato notes suggest the sleepyhead was gently encouraged to wake up. Instead, because of its ultra quiet ending, the suggestion is she aborbed more of her husband’s exquisite music before drifting back into sleep.

The program’s abbreviated profile of guest soloist Julian Schwarz, cello could claim he was born holding a cello. Why not? Some are toted to have been born with silver spoons in their mouths. Instead, the first paragraph reads: “Born in Seattle into a musical family...” who just celebrated his 21st birthday, “Julian Schwarz is already being recognized as a young musician with great talent and even greater potential.” He began piano lessons at age 5, cello the following year, and at age 11 made his orchestral debut “with the Seattle Symphony, with his father, Gerard Schwarz on the podium.” When he isn’t performing, he’s a student at the Juilliard School.

For his solo, Mr. Schwarz chose Tchaikovsky’s Variations on a Rococo Theme, Op.33.
The term “rococo” alludes not to flamboyant style but to “old-fashioned.” This is a perfect choice for a young musician: his youthfulness encourages him to take chances, experiment. Even moodiness is age appropriate. The fleeting dialog between the cello and selected instruments suggests the artist is stretching his knowledge, and especially his technique.

Following Intermission, with the roster of subdued moods cleared out of our heads, new energy stimulated the musicians, most especially the Maestro. Beethoven’s Symphony No. 7 in A Major, Op. 92 awaited. Beginning with Beethoven’s signature opening – a stand-alone massive chord arriving from out of nowhere – there was no doubt everyone on the stage was on the same page.

I have never enjoyed Beethoven so much. Any notes I made were few and difficult to decipher. There was something about the authority of the playing, a transferred secureness. The SSO was on fire. The theme that trails throughout the Second Movement, how it builds only to find different footing to rebuild anew, had me ready to swoon. (I’ve never swooned in my life.)
Following the Third Movement – festive, upbeat, whimsical, optimistic – again, there was a smattering of applause. The Maestro wiped the perspiration from his head, tucked the handkerchief away, picked up the baton, gauged the musicians, and the Fourth Movement was set in motion.

It owned me. I was riveted. Kevin Rhodes bore down. The musicians upped their game. He increased the tension another notch. The orchestra matched him. And all the while, the music whirled, burrowing into dark corners. The program includes this insight: “The nineteenth-century musicologist Sir Donald Tovey described the finale as ‘a triumph of Bacchic fury’.” What I fixated on was Kevin Rhodes’ whirling right arm, as if he was on horseback trying to get close enough to fling the lasso over the music he was chasing at a gallop. The buildup to the ultimate moment broke free. There were no more because who could have borne more – Secretariate? The spectators yelled and hollered. Everyone’s horse was a winner. And the rider of the fastest horse danced on the balls of his feet.

On February 11, the SSO in Pops mode will share the stage with The Kingston Trio. By the March 10 concert featuring Brahms and guitarest Denis Azbagie, the faithful will be eager for their “food fix.”

~~~~~~~~~~~~~~~~~~~~

P.S. to “Romeo & Juliet Fantasy Overture”

About 35 years ago while watching a black and white program about race horses, the antiseptic-like presentation changed when the focus switched to breeding. Soft music of a familiar theme cushioned the voice over. A brute of a stallion was led up a wooden ramp towards where he would wait for a mare to join him. He walked with authority. He did not swagger. When the mare arrived, the music swelled. The Fantasy Overture became a wedding march. My eyes played tricks: I could have sworn she was wearing a veil. The clowns responsible for the film presentation speeded up the arrivals of the many brides, making sure to synchronize the Tchaikovsky score with the bride’s gait. The longer the parading continued, the fun intensified. I had no idea then nor since of what program I was watching. If I find out, I’ll post it here.

HOME ART MOVIES THEATER BOOKS MUSIC TALENT DANCE POETRY POTPOURRI SUPPORT

All rights reserved.
© The Arts, etc., Copyright 2012