The InterHarmony International Music Festival at San Francisco State
University concluded yesterday afternoon with a concert by an orchestra
consisting (almost?) entirely of Festival students, featuring solo
performances by three members of the faculty, and conducted by Sidney
Harth. Festival Director Misha Quint performed Pyotr Tchaikovsky's Opus
33 "Variations on a Rococo Theme;" and this was the only work on the
program that required winds in the orchestral accompaniment. My guess
is that the wind players were not Festival students, and some of the
lesser wind parts were actually covered by string players. As usual,
Quint was right at home with Tchaikovsky's technical demands and blended
well with the orchestra, which still captured the spirit of
Tchaikovsky's sonorities even with the substitutions for some of the
wind parts.
The other soloists were violinists Jassen Todorov
and David Yonan, who played the concerto for two violins in A minor from
Antonio Vivaldi's L'estro Armonico,
Opus 3, Number 8. We are used to the familiarity of the "Vivaldi
sound;" but this performance brought out contrapuntal intricacies in
lines that weave among each other, not only from the soloists but also
from the orchestral accompaniment. Listening to this interpretation,
one could appreciate why the work made such an impression on Johann
Sebastian Bach that he prepared is own transcription of it for organ
(BWV 593).
The program opened with the G major concerto grosso by
George Frideric Handel, the first from his Opus 6 collection of twelve.
Harth conducted this with a good sense of pace, keeping the music
moving forward without falling into a steady "sewing machine" tempo but,
instead, using subtle decelerations to delimit major phrases. As with
the Vivaldi, there was an effective blend of the ensemble with the solo
voices, now coming from within the ensemble. More problematic, however,
was the performance of two works by Jean Sibelius, his C major romance
(Opus 42) and the canzonetta written as incidental music for Arvid
Järnefelt's play Kuolema. These are both short works, but they
involve complex harmonies with sophisticated voice-leading demands and
ambiguous rhythmic patterns. I suspect that the students were not yet
up to the task of seriously listening to music at this level, although
they were perfectly at home with the more straightforward harmonic
language of Sibelius' "Andante Festivo."
The afternoon concluded
with several encore pieces, listed in the program as "Just for fun."
These included a string orchestra arrangement of that ever-popular final caprice of Niccolò Paganini's 24 Caprices,
transcriptions of two short pieces by Georges Bizet, and (not listed on
the program) "Bess, You Is My Woman," from George Gershwin's Porgy and Bess
in an arrangement probably based on the one Jascha Heifetz used for his
solo encores. Harth introduced the Gershwin with a remark about a
meeting of minds between old-timers and today's youth. It made me
realize that those of us more attuned to Steve Riffkin's string quartet
arrangement of Jimi Hendrix' "Purple Haze" are now "old-timers;" but
Harth did not strike me as the sort of conductor willing to cut loose
with that once-popular Kronos Quartet encore!
No comments:
Post a Comment