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| TSO Chamber Strings, soloists José Luis Gomez, Ann Weaver, James Karrer, and Lauren Roth (photo by Alexander Lipay) |
Tucson Symphony Orchestra
Friday, 8 March 2019
SO TONIGHT WE'RE GONNA PARTY LIKE IT'S 1799!
The first half of this evening's program, the 'Wind Serenade in #12, in C Minor' and the 'String Serenade #6, in D Major' proved once again that, "Most of the best music ever written, was composed by Mozart." What a THRILL to have an octet of TSO principal and second Oboe, Bassoon, Horn, and Clarinet players take on a rather serious Serenade by that musical genius / wildman of the late 18th Century, and in a venue that well-favors chamber music -- WOW. The oboe and clarinet dominate the melodic writing, yet the bassoon and horn parts are fully integral to this ensemble, and only rarely do the doubled instruments double each others lines. Follow the driving repeated-note lines in the opening movement -- sometimes a pedal-tone, yet becomes prominently thematic. This music is simply mesmerizing. Congratulations to David Barford, who, as the lead oboe, served as concertmaster for the ensemble. Truly an excellent performance all the way around!
NO SECOND FIDDLE
The evening's billed headline featured Maestro José Luis Gomez' TSO instrumental performance debut on violin, in a Serenade featuring two violins, viola, and double bass -- what a combo! This was great and enlightening fun on several levels. One, if you've ever watched European orchestras perform, there is a more physically engaged style or method employed by most of the players than is usual in the U.S. or Asia -- more physical motions seemingly not essential for playing the notes. José Luis plays his violin with this same sort whole body expression, and it seemed contagious. The dueting violins -- here featuring Maestro José and Concertmaster Loren Roth -- was joyful on stage and joyous for the audience to take in. In some of the pronounced accentuations by the string sections, that heartier physical motion was also present -- maybe in the score, yet encouraged by the Maestro. The finale, a rhythmically spirited rondo, created a perfect setup for little solos in the concluding drama before the final cadence. In turn, the timpani, the double bass, and the first violin took their turn, exposing a little hint of the fun that José Luis might unleash given the opportunity for more improvisation. Great choice of music. Fine performance. Your life as a Tucsonan will be diminished if you miss hearing one of these four concerts.
A DRUMROLL, PLEASE
Haydn's Symphony #103, written for performance in London, where he and his music had found exuberant fans, is a masterwork by any measure, which in Haydn's world, means crafty, but always well-crafted surprises and triumphs. Famous for its brief, dramatic opening timpani solo, equally riveting is the unison melody of the slow introduction, which immediately succeeds it -- striking in any terms. The "Drumroll", as it is known, is a symphonic 'tour de force'; a large, sonata form opening movement, with, for Haydn, a thematically and harmonically explorative development section; a generous and alluring Adagio; a tricky Scherzo, alive with syncopations; and a grand finale, with alternating extended groupings of woodwinds, brass, and low strings, and the ubiquitous richly arranged upper and middle string sections holding both themes and sonorites together. Haydn was never the wild, almost supernatural orchestral genius of Herr Mozart, yet you can definitely hear and feel what seeds of dramatic technique from Haydn found fertile ground in the revolutionary spirit of his one-time student, Ludwig van Beethoven.
Not to favor some over others, yet this program features many of the TSO's treasure talents: David Barford, oboe, Dario Brignoli, clarinet, Letitia Bryant, bassoon, and Johanna Lundy, horn, in the opening Wind Serenade; and Ann Weaver, viola, James Karrer, bass, in the String Serenade. Homero Cerón, percussion, and especially Concertmaster Loren Roth, whose duets with Gomez made the String Serenade sizzle, and whose solos were the créme topping the Haydn symphony, were magnificent, with a touch of glorious musical magic.
Party in the Courtyard of the Archduke's Castle! Don't be late!!
~ Steven Gendel
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