An evening of glorious music

The Independent, Februrary 21, 2008
By Nancy O’Connell

The Pacific Chamber Symphony performed music that spanned over 150 years with great depth and musical virtuosity on Friday night, February 8th at the new Bankhead Theatre Maestro Lawrence Kohl not only conducted this concert, he also played his clarinet in the Mozart’s “Sinfonia Concertante for Oboe, Clarinet, Bassoon, and Horn.” Because he conducted this work while playing his clarinet, the audience was given a glimpse into the way conductors were a part of the orchestra in Mozart’s time. The harpsichordist or the concertmaster, (the first violinist) would conduct with one hand to bring in the ensemble, but would not stand and direct from a podium. Not until the 1850’s was the conductor with a baton the norm.

Hero worship of the conductor happened quite recently in musical history, and symphony musicians have been known to mutter under their breaths about the huge amounts of money a conductor earns versus a member of the orchestra. In this century by the 1950’s, the conductor would often earn at least thirty times more than the symphony player, and the star system was born, not only in Hollywood, but on the podium.

This concert almost ended before it began. A mike was brought out on stage and raised up to about 10 feet in height. It teetered uncertainly for a few moments and then crashed to the floor, narrowly missing Kineko Barbini sitting in the first violin section. Some violins are valued at well above $500,000, so it could have led to a very expensive evening.

Gustav Holst’s “St.Paul’s Suite, Op. 29, No. 2” opened the program. Kohl suggested we listen for the playfulness and joy so evident in both Mozart and Holist. In the first movement, Viviane, driving rhythms led to a rollicking jig of English fiddle dance tunes with a bright cadence The Ostinato began with more ethereal sounds with melodies in each string section in turn The Intermezzo featured William Barbini, Concertmaster, in a beautiful, haunting solo accompanied by pizzicato chords. With a rubato tempo, the melody resembled a Magyar, gypsy tune Barbini’s solo was up in the stratosphere on the fingerboard and answered by the viola with low, rich sonorities. In the Finale, The Dargason, a 16th century English folk ballad, was first introduced by the ‘celli and then given to each string section in turn. The melodies were lyrical and singing, the familiar “Greensleeves” was heard, and each player looked as though he or she took a pride and joy in the performance. Maestro Kohl had the concertmaster and first viola take well deserved solo bows before asking the entire orchestra to stand.

Then confusion reined as every musician on stage moved to a new location. It looked like a game of musical chairs. Two string orchestras were formed, with a percussion section, including a harp, in the midst of these two groups. A unique placement of the instruments took shape, with the ‘celli seated behind the upper strings. Bela Bartok’s “Music for Strings, Percussion and Celesta,” composed in 1936, was performed by these talented symphony musicians. I’ve seldom heard a more exciting interpretation.

Historically, Bartok was only too aware of the growing Nazi threat. He knew that he would have to someday leave his beloved Hungary in order to survive. In the first movement Bartok built up the suspense with great intensity until the percussion section made its dramatic entrance. The first violin’s solo was answered by the celli, then the bass. A tenuous section follows, filled with harmonics in the strings, and the movement ended with a whisper.

Maestro Kohl described the first and third movements of this work as “night” music with an almost nightmarish quality There is a foreboding here, a fearful questioning, answered musically in the other two movements with a more life-affirming message The second movement might have been more positive in its outlook, but to me it sounded military and brusque with the piano playing heavy chords and the ponderous drum beats. Later there were intricate rhythms, syncopation, and a long pizzicato section. The snare drums and bass drums entered, and the strings raced wildly to the cadence like an out-of-control train heading for a wreck - the wreck of civilization in Hungary and Western Europe as Hitler’s war machine gained momentum.

All eyes were on Kohl as he gave a generous, sweeping downbeat to the fourth movement, which is perhaps the most difficult technically of all the movements. Every musician in this ensemble is highly trained and every entrance was precise. A finery series of chords let to an amazing final climax.

After the intermission, the audience was treated to a musical gem, the Adagietto from Gustav Mahler’s “Symphony #5.” This is almost his only work for a chamber orchestra, and the rich sonorous melody in the ‘celli was accompanied by the harp and then answered by the second violins in their lower register. The strings didn’t overwhelm the harp and is intense emotionally. Towards the end, the big rich, full sounds were heard as all the players played with great intensity, then dropped to a quiet pianissimo as the movement drew to a close.

In Mozart’s “Sinfonia Concertante” in E-flat for Oboe, Clarinet, Bassoon, and Horn” all four soloists were superb. On the French horn, Alicia Telford has a beautiful tone. Robin May’s oboe soared above the orchestra when he had the melody. Karla Ekholm on the bassoon played her difficult part with seeming ease, and Lawrence Kohl’s clarinet sound was warm and rich, like dark Swiss chocolate. There was excellent intonation from the four soloists and the entire ensemble. After the difficulty of the Bartok, the orchestra appeared much more relaxed in the Mozart.

Great technical demands were placed on each musician in the concert, and he or she was able to surmount each difficult passage with apparent ease. The sonorities were rich, the program filled with variety, and the audience responded with great enthusiasm. My personal favorite was the Bartok, for my friend it was the Mozart. Maestro Kohl is to be commended for bringing his orchestra to the valley, and for never “playing down” to his listeners. It was an evening to remember.