Gliere, Tchaikovsky, Rachmaninoff

Springfield Symphony Orchestra
Symphony Hall, Springfield
May 17, 2008
By Donna Bailey-Thompson

During the pre-concert talk, Music Director Kevin Rhodes described the opening piece as "good, clean fun." Indeed! "The Russian Sailor’s Dance" (from "The Red Poppy") by Reinhold Gliere (1875-1956) began with fortissimo umpah, umpah and never slowed. Triple time! Syncopation! In the midst of such excitement, there were strains of Russian folk music, a partial phrase from perhaps "The Volga Boatman" and fragments of a particular tune, one of many, that claimed the public’s affection at the beginning of World War II for lively, heroic Russian songs. The program, billed as "A Russian Spectacular" was off and whirling.

Into "Serenade (for Strings)" by Tchaikovsky (1840-1893), seduced by the first notes, light, fanciful, strings dancing, tending an invitation, "Come into my music. You’ll like it." Six bass fiddles! During the second movement, the more familiar waltz dominated. The lilting melody encouraged visualization of dancing couples affecting the exaggerated posture of professional dancers – hesitating, dipping, swaying. The Elegie was appropriately reflective, the serenade melody renewed. Music swelled – climbing, climbing – such suspense before unwinding and culminating in a reverie. A similar mood continued in the fourth movement, evolving into a happy mode underscored by lush violas. According to the program notes, the composer wrote, "...I am terribly in love with this Serenade." Peter Ilyich’s "Serenade" is pure, refreshingly devoid of maudlin sentimentality.

"Symphony No. 1 in D Minor" by Sergei Rachmaninoff (1873-1943) opened assertively. Soon the ascension of violas, higher and higher, was continued by the first violins. Trumpets startled with sharp punctuation. There was slashing, crashing, then melodic teasing, a fitting score for a 1940's Warner Brothers’ pot boiler. Throughout this substantive work, drama prevailed, culminating in the final movement with cymbals, snare drum, trumpets, the pageantry of a militant processional, providing Springfield’s incomparable Maestro Rhodes with an arobic workout and the audience with an infusion of Russian soul.

Ravel, Rachmaninoff, Brahms

Hartford Symphony Orchestra
The Bushnell, Hartford
February 16, 2008
By Donna Bailey-Thompson

This Valentine-inspired program featured Ravel’s intricate orchestrations, Rachmaninoff’s scoring skills, and Brahms’ transformation of melancholia into musical majesty. The Hartford Symphony’s salute to romance provided beauty and bite, euphoria and sadness, the skill of a sensitive pianist, all under the baton of guest conductor Tania Miller.

Imagine Tania Miller growing up in Saskatchewan (pop. 1000) who at age 35 is in her fifth season as Music Director of the Victoria Symphony Orchestra. Maestra Miller won the audience’s admiration for her mature, definitive conducting skills; and for her warmth as an engaging young woman, she earned a piece of its heart.

Maurice Ravel’s "Le Tombeau de Couperin" is what impressionistic painting sounds like – shimmering, lush, vivacious, guarded, poignant, muted – particularly when the composer is roiling with emotional pain due to World War One, the deaths of six friends, the passing of his beloved mother, and the effects of brutality on French culture. Sergei Rachmaninoff’s "Rhapsody on a Theme of Paganini" is a collection of variations on one particular theme composed by the legendary violinist Niccolio Paganini. It’s what the scratchings of an algebraist might resemble when trying one hypothesis after another in search of the ultimate equation. But a brainstorm directs the mathematician towards a radically different approach which brings forth an interim possibility of heavenly proportions. The piano artistry of guest soloist Anne-Marie McDermott, tempered by respect for the piece, thrilled the audience.

The Symphony No. 4 in E minor by Johannes Brahms, in four movements, was written while he was warding off depression. Sometimes the music brightens, almost as if he doesn’t dare to feel happy. Ah, the fullness of Brahms! Maestra Miller evoked the orchestra to step up their involvement with the music without compromising their discipline. The repetition of ta dum, ta dum, foretells that something big this way comes. Can it be forestalled? Maybe. No, sorry, it’s inevitable. And this great composition swelled to a majestic, controlled conclusion. The audience was pulled to its feet.

Rachmaninoff and Mahler

SSO
Symphony Hall
Springfield
September 29
By Donna Bailey-Thompson

The opening night gala of Springfield’s Symphony Orchestra offered an evening of contrasts – in apparel, from glittery chic to tailored casual – and in music, either heart-embracing or mentally-challenging. Under the baton of Kevin Rhodes (a gift from the universe to the SSO and to Springfield) the performance demonstrated that the SSO is a musical force worthy of accolades, regardless of how affected (or disaffected) one may be by the program.

Guest artist pianist Ralph Votapek’s interpretation of Rachmaninoff’s beloved Piano Concerto No.2 in C Minor (remember "Full moon and empty arms..."?) filled Symphony Hall with one musical hug after another. His disciplined technique rendered a clean concerto, as opposed to muddied sentimentality, thus enhancing its passion. His cascading notes were waterfalls of crystals. In emotional sync with the orchestra, this full-bodied concerto was an ideal de-stressor that could put shrinks out of business.

Whereas Gustav Mahler’s Symphony No.5, performed brilliantly by dedicated musicians, could have passed as the stream of consciousness of an emotionally conflicted mental health client. Much of Mahler’s music is polarizing; some have said that it engenders "fierce adoration to outright dislike." It’s not for sissies. The opening trumpet fanfare heralded that important music was to follow – doleful, tormented, a touch of a waltz, more anguish. Throughout this long symphony, Maestro Rhodes’ cajoled the musicians to honor the details. The final passages shot the audience to its feet and the conductor off the podium who after kissing the hand of the Concertmaster, immediately sprinted into the horns (I think: my sightlines were compromised) where he hugged musicians. Meanwhile, the applause continued, smiles everywhere. Kevin Rhodes and his devoted musicians had delivered a winning concert.

The Valley Advocate’s full page ad in the program declares in white ink on black, "We think the Maestro is the man." They got that right.