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FELICITOUS FAUN and FURIOUS FIREBIRD

Listening to the Tucson Symphony Orchestra under the baton of new Director, Josè Luis Gomez, it is clear that the music making has quickly taken on his character; joyful, optimistic, and very enthusiastic. The interpretations contain nuance, but no nonsense. Most tempos are quick, though not rushed; the playing always sounds natural. Tone colors are crisp and beautiful, and the architecture is sculpted clearly and in balance. This man loves how this orchestra plays, and has given himself to them. In turn, the players have responded in kind, happily engaging this lithe South American spirit. It is fun to watch and a joy to listen to.
This second concert in the Inaugural Season of Maestro Gomez was another solid success. Popular classics by Debussy and Stravinsky were given colorful, energetic readings, and a romantic masterwork from Alexander Glazunov - one of the lesser performed Russian composers - made a fine impression in its Tucson premier. Interestingly, all three of these composers were 28 or 29 years young when they wrote the works here performed. Gomez' pairing of 'The Afternoon of a Fawn' and the 'Firebird Suite' (from 1894 and 1910 respectively) was particularly brilliant, showing both how forward-looking is Debussy's first major orchestral work, and how impressionistic are the conception and tone color palette of Stravinsky's first ballet music. They similarly explore new, crystalline orchestral sounds, and even share a couple of specific melodic elements, deepening the commonality. The precision and clarity of TSO's performance of these originally groundbreaking creations was equally brilliant.
Flutist Alexander Lipay, a deservedly revered Principle within this ensemble, set a beautiful lead line in this familiar, yet always fresh array of whole-tone-colored orchestral sonorities, through the alternately drifting and soaring thematic episodes characterizing this faun's afternoon. Debussy's atmospheric method of evoking the scenes and feelings the innocent beast are so compelling that they literally define the Western artistic understanding of animals in nature. Yet the original score continues to dazzle the imagination. Here, as all evening long, the outstanding quality and 'ensemble' of the woodwinds and horns was striking, to my ear delivered through Maestro Gomez' illustrative baton. What he wants to hear is so clear and passionately held, it appears impossible for the players to stride right into form. I will say, and as criticism, that his method is somewhat of a throwback to a time when symphony orchestras were less driven by star players, as we tend to identify and celebrate today, almost like sports heroes. 
Stravinsky truly pounced on his chance opportunity to supply the music for Diaghilev's fantasy ballet, 'The Firebird'. The story-driven nature of the assignment inspired the composer to freely explore new orchestral techniques, including stark instrumental combinations, barbaric driving rhythms, and extreme, drama-inspired melodies and climaxes. The freedom and mastery achieved, quickly elevated Stravinsky into a leading voice and practitioner of new music for the new century. As with Beethoven 'Eroica' a century before, the revolutionary spirit in this music is timeless, as vibrant today as it was one hundred plus years ago. As such it remains an orchestral 'tour de force', demanding both technically and interpretively. Josè Luis obviously relished this challenge which tested all of his formidable conducting skills. Powerfully communicating his well-conceived, compelling vision and ideas, a tautly executed and exciting performance was drawn from his orchestra. He appeared justifiably proud of the players' success, while the audience was genuinely moved and appreciative.
The Maestro prefaced the second half of the program, Glazunov's 4th Symphony, expounding on his intent to introduce musical masterpieces, that for whatever reasons, are less known than the established war horses of the orchestral repertoire. Clearly he is a fan and champion of Glazunov, attracted by the masterful orchestrations, rich romantic melodies, and the momentum-gathering manner in which ideas are developed. The opening 'Andante; Allegro moderato' is a model of broad Romanticism, delivered in a set of rich, subtle, ever-changing harmonies. The layout of the form is long, as several minutes pass before a second theme is introduced. The ingenuity of this technique becomes apparent as the contrast with newly presented thematic material is exaggerated by strikingly beautiful, skillfully woven orchestration. The building of emotional momentum gathers in a straight forward, almost classical way. The direction is clear, yet the setup of multiple variables keeps the march to the conclusion exciting in anticipation. The 'Allegro vivace' second movement, bouncing with syncopations, provides the most dramatic of musical statements; a perfect highlight to the relative repose of the outer movements. The 'Andante; Allegro' finale develops similarly to the first movement, culminating with the fireworks of a hard-earned, triumphant conclusion.
Overall, this symphony gives the impression of a sort of concerto for orchestra. And I was struck by the idea that its most attractive qualities would shine brightest in a more intimate setting, which likely was more common at the time it was written. It must be a real players' piece, as each section takes on substantial lead and internal ensemble responsibilities, while alternately fully occupied in a thoroughly worked out accompanimental web of ever-changing orchestration. When not the primary musical focus, most if not all of the other players remain quite busy, as the fullness of the supporting material seems omnipresent. I took in the rich harmonies and orchestration, and happily desiring to again have the pleasure of examining all of the craftsmanship in fine detail. This was an engaging experience, satisfying from every point of view: the conductor's podium, across the stage, and throughout the hall. Bravo, TSO!
Show repeats at 2 p.m. this afternoon.

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