Hartford Symphony Orchestra

The Bushnell, Hartford
November 10
By Donna Bailey-Thompson

Exquisite – the one word description of the Masterworks’ program from the first note through the last of the Hartford Symphony’s performance under the baton of Director Edward Cumming. During the Concert Preview, Cumming stated, "This is not your grandfather’s program," referring to the 35-minute length of the opening piece followed by an intermission and then the sequence of the piano concerto and two musically enjoined pieces by different composers – "a program that stretches the orchestra and you." For the audience, a painless stretch.

"Petrouchka, a Ballet in Four Tableaux,"presented Stravinsky in all his glistering glory. The colorful energy of a fair was easy to visualize – the strolling crowds, a dancing bear – and then the fabled puppet himself, Petrouchka (Russian), Pierrot (French), Pinocchio (Italian), and Punch (English). He loves a ballerina; she’s infatuated with a Moor, and the Moor kills Petrouchka. Attending the Concert Preview netted musical insights, e.g., the "Petrouchka chord" – the use of two different keys at the same time (bitonality). While the first clarinet played the notes of the C major chord, the second clarinet played the same melody but in the F sharp major chord. The playing of Margreet Francis at the piano – uneven rhythms sharply delineated – was nothing short of "Wow!"

Following intermission, George Gershwin’s Concerto in F major was performed with technical aplomb by guest soloist Louise Bessette at the piano but who lacked the expressiveness – the musical soul – heard only minutes earlier in the playing by the HSO’s Margreet Francis. Consequently, the concerto’s passion was generated by the orchestra.

Pure bliss completed the concert beginning with Debussy’s Prelude to "The Afternoon of a Faun" which Maestro Cumming had described as "one of the most perfect pieces ever written" and in response to the opening notes of a poetic flute said, "Wherever that is, take me there!" Only a slight pause separated its ending with the beginning of Ravel’s "La Valse," a tightly crafted piece that echoed the not-so-innocent political dance leading to the First World War, its brutality exemplified by drums rumbling like distant thunder which built geometrically into the cacophony of senseless war represented by waltzing gone amok.

This evening was a triumph for the HSO.

All-Gershwin Program

Tanglewood, Lenox
August 26
By Shera Cohen

Summer is officially over. Although there are remaining weeks on the calendar, the rumor that summer is still with us is a lie. Here is the fact. The final musical note, the last cheers, and the fourth standing ovation at Tanglewood’s culminating concert mark the true end to the season.

Knowing that today was the last (but just for this year) of orchestral excellence at Tanglewood was a bittersweet occasion. Conductor Keith Lockhart led his Boston Pops in one of its most exciting concerts to date. Playing before a full shed and full lawn, there was little doubt that everyone present left with a smile and perhaps humming. A combination of several factors made this concert a huge success, with none being more important than any of the others; i.e. The Pops, Lockhart, Gershwin, familiar music, Brian Stokes Mitchell, a cool day, and no rain.

Three of Gershwin’s most famous works made for one-half the program. Pianist Jean-Yves Thibaubet laid his fingers on the keyboard to, undoubtedly, create the sounds exactly as Gershwin intended for “I Got Rhythm” and “Rhapsody in Blue.” Each piece included solo sections, and balancing acts between dramatic and humorous, slow and fast, and symphonic and jazzy music. Gershwin, who died at age 39, was certainly a genius, and it is sad to think what else he could have written besides these two classics and “An American in Paris.” The latter ended the afternoon at Tanglewood. Even without images of Gene Kelly in our heads, this piece deserves its lofty and honored place in music history. The Pops and Lockhart also +deserved their numerous standing ovations.

The other half of the performance were Gershwin songs led by two of current Broadway’s best – Marin Mazzie and Brian Stokes Mitchell. Most of the music was light, as the two sang solos and duets. Mitchell had fun with his audience. Also, he can probably hold a note longer than any living singer. He’s handsome, charismatic, and a PBS favorite.

A couple of words of advice – instead of lamenting summer’s departure, remember Tanglewood’s music in the woods. For those only reading what they missed, there is always next year.