Beethoven & Mozart

Springfield Symphony Orchestra
Symphony Hall, Springfield, MA
www.springfieldsymphony.org
March 13, 2010
by T.C. Larsen

From pregnant silence came the rumor of druids, a shimmering, misty pianissimo in the strings - a shadow of silence. The solo trumpet played the "Question" from exile in the Mahogany Room. The commentary of "the fighting answerers," a quartet of flutes stationed in the balcony, filtered to the audience - notes of sonic awe and mystery. This display of dynamic restraint and control in the Springfield Symphony Orchestra's rendition of Ives' The Unanswered Question was the harbinger of many beautiful moments presented throughout the evening.

Beethoven's demanding fourth piano concerto received similar attention to dynamic concerns and natural expression. The opening pianissimo played by was breathtaking. This graceful whisper led to an animated, elegant, and surprisingly humorous conversation between pianist and the orchestra. Maestro Rhodes fulfilled his role as moderator of this dialogue with ease, deftly melding the interactions and dynamic balances of pianist and orchestra with clarity and passion.

Large in scale and demanding in detail, the extant portions of Mozart's unfinished Mass in C minor provide a remarkably satisfying work. The Chorus, beautifully prepared by Director Nikki Stoia, rose to the occasion by singing with lovely timbre, vigorous enunciation, and an admirable clarity of articulation of line. Despite occasional intonation problems during iterations of motives traded between the two soprano sections, and some dynamic imbalances between the small tenor section in divisi and the aggregate size of the other sections, the overall contribution of the Chorus was delightful and highly praise worthy. All four soloists are to be complimented for artful singing, each one contributing to an evening already ravaged by rampant beauty. Mary Wilson deserves special praise, addressing the technical demands and considerable size of her role with graceful ease and beauty of vocal production. Moreover, she set the audience at ease with the demeanor of an experienced story teller fully at home within the narrative.

Rachmaninoff & Brahms

Springfield Symphony Orchestra
www.springfieldsymphony.org
Symphony Hall, Springfield
by Debra Tinkham

The house was full, the orchestra was charged and Maestro Keven Rhodes made his usual exuberant entrance for an action packed evening.

Gaetano Donizetti's Robert Devereau Overture, premiered in the mid-19th century, displayed deliberate patriotic percussion and theme. Being a love triangle - make that a quadrangle - this opera originally had no overture until Donizetti added it for a Paris debut. It was a short and sweet start for a night of some heavy music.

Moving right along to a Springfield Symphony Orchestra first was Sergei Rachmaninoff's moody Piano Concerto No.1 in F-Sharp minor. Maestro Rhodes described it as, "a relatively youthful work of Rachmaninoff's, it has all his hallmarks: great melodies, tremendous excitement and incredible virtuosity."

Alexander Ghindin, a Russian native, who at the age of 35 and already a major player on the international piano scene, performed with the SSO in a riveting rendition of typical "Rach-style." Gindin's beautiful hand style certainly gave the "old Steinway," the orchestra and Maestro Rhodes a workout. The Vivace movement opened with heavy brass, conjoined with Ghindin's rapid finger movements up and down the keyboard. Although short and melodic, the Andante movement demonstrated a nice harmony between piano and bassoon. This was a nice change from your typical solo instruments. The Allegro Vivace finale was "show-off" time for Ghindin as well as the orchestra. You either know this stuff or you don't; no second guessing. It was loud and moving and melodic and exhilarating. Of course, Ghindin received a standing ovation.

The finale was Johannes Brahms' Symphone No. 2 in D Major. The Allegro non troppo (first movement of four) brought out Brahms' melancholy mood, and was even more evident as the second movement (Adagio non troppo) transitioned into a minor key. Throughout this work, Brahms incorporated the use of many (solo and group) instruments, as is displayed in the Allegretto Grazioso (Scherzo). By the fourth movement, the orchestra had blasted to a fantastic fanfare. The only thing missing on this evening were fireworks.

Barber & Tchaikovsky

Springfield Symphony Orchestra
Symphony Hall, Springfield
SpringfieldSymphony.org
by Debra Tinkham

Kick off your shoes, put your feet up and relax for a quick review of the Springfield Symphony Orchestra's 66th season gala performance with Maestro Kevin Rhodes, now in his 9th season, and guest Janet Sung, performing Samuel Barber's violin Concerto Op 14, on a c. 1600 Maggini violin.

Sung's youthful appearance made it inconceivable that she could be so elegant, so emotional and so talented. The story behind this Concerto is that Barber was commissioned by a man to write a good piece of violin music for his adopted son. As the tale continued, Barber sent two of the three movements to the young violinist and they were considered "too simple." The third movement - to get even - was technically difficult. Sung performed this sweet but complicated masterpiece with ease and grace.

The Allegro (first movement) pushed Sung and her violin to the limit in high tones. The Andante (2nd movement) started with a long break for Sung, while absorbed in the tension between the oboe and strings. Finally, the Rondo - presto (very fast) was electrifying, with some very fancy finger work. Without a doubt, Sung deserved her standing ovation.

Tchaikovsky's Symphony No 3, Op 29 in D Major offered five movements of motion, diversity, broken chords, small doses of melody, divvied up and bouncing around to various instruments. Tchaikovsky was often faulted for his predictability but Symphony No 3 is anything but predictable. Rather, it reflects the composer's world of darkness.

"Rhodes Reflections" stated "… four of Tchaikovsky's most major works rarely get played. Among those is tonight's Symphony Nr. 3, The Polish."

Again, the audience at Symphony Hall thanked Maestro Rhodes for his energy and optimism in putting it all together and bringing such talented musicians to Springfield.

Dionne Warwick

Springfield Symphony Orchestra
Symphony Hall, Springfield, MA
www.springfieldsymphony.org
by Eric Sutter

Elegant, graceful and soulful... these words describe popular music icon Dionne Warwick. Through Motown, the British Invasion, Heavy Metal, the 70's singer-songwriter era, Disco and the Big 80's she has weathered the musical storm with class and integrity.

Nightfall in Springfield brought guest maestro Sean Burton to conduct the Springfield Symphony. The evening began with a drum roll into the "Star Spangled Banner." It continued with "The Barber of Seville Overture" by Rossini with the strings and woodwinds mighty expression of passion accented by a flute solo. Then came two selections by Stevie Wonder with "Isn't She Lovely" and "You Are The Sunshine of My Life." An 80's drum beat led to the theme song from "Fame" with the soothing sound of strings which lulled the piece into a wonderful crescendo of percussive happy rhythm.

Dionne Warwick's selections were like a stroll down memory lane of heartache, harmony and heavenly sounds. Songs like "Close To You", "Walk on By" and "Anyone Who Ever Had A Heart" brought a warm assurance of the past. The night was cherished as the audience perked up to sing "I'll Never Fall in Love Again." Some of these are defining moments in music and Warwick's alto voice, although weathered, was still magical. "Message to Michael", "Say A Little Prayer", and "Alfie" demonstrated how her beautiful voice is like a violin with its lilt and fall between notes. The strings supported the Brazilian music she interpreted as her back up band employed a bosa nova rhythm with congas, shakers and drums. "Do You Know The Way to San Jose" was pitched nicely and featured an extended piano solo. Warwick hit and held some high notes on "I'll Never Love This Way Again." "What The Word Needs Now" became the perfect audience sing-along to close. Her encore was breathtaking... her landmark recording to fight AIDS, "That's What Friends Are For."

Opening Night

Springfield Symphony, Springfield, MA
Saturday, October 3, 2009
www.springfieldsymphony.com
by Debra Tinkham

Despite a difficult year, Maestro Kevin Rhodes trumped off the 66th opening night red carpet gala with the orchestra playing, and the audience singing, The Star Spangled Banner. Already impressed by the energy emanating from Rhodes, the orchestra and the audience were ready for a dynamic evening. Of course, the lovely Concertmaster, Masako Yanagita, did her usual graceful entrance and continuation of tuning the orchestra.

Richard Wagner's Ride of the Valkyries, Franz Liszt's Mephisto Waltz No. 1, and Liszt's A Faust Symphony were on the menu. Rhodes took a variation on his usual "Saturday Night Live" extravaganza. In Rhodes words, he "…decided to do something completely different than ever before in the history of the symphony." Wagner's Ride of the Valkyries, a very familiar melody, featured lots of brass, with wonderful dynamics. His piano version of Mephisto's Waltz was, to say the least, incredible. The man expects perfection and does nothing less.

Rhodes ricocheted back and forth from Mephisto Waltz No. 1 to A Faust Symphony. While explaining the major, minor and diminished chords to the audience, (which probably most did not understand) Rhodes stated that Liszt was, "A rock star before we had rock music." He is dedicated, a man with high energy, engaged and entertained. This is Rhodes 9th season with the SSO, although there are rumors that he may have a new employers -- the Hartford Symphony Orchestra. That would be a terrible loss!

His narration, explanation and display of virtuosity on the piano, led the audience to a better understanding that Faust's sad and depressing display of Mephistopheles' love of Gretchen and, in the end, Mephistopheles' ultimate redemption and, in Rhodes words, "carried off to heaven in a Hollywood style."

Rhodes never quits, never runs out of energy. We just hope he won't run out of desire to remain in Springfield.

Springfield Symphony Orchestra

65th Anniversary Concert
Symphony Hall, Springfield
by Shera Cohen

In the distant future, it is possible that audiences will recall the SSO's 2008/09 season as one of its best in decades. In particular, the Grande Finale, will be marked in the symphony program books as a banner concert. Apparently, it wasn't enough to just schedule "Carmina Burana" – which is oftentimes the sole selection on many orchestras' programs. SSO, Maestro Kevin Rhodes, et al, started the evening with Richard Strauss' "Also Sprach Zarathustra" (aka "2001, A Space Odyssey").

The Strauss work commenced with a rumble of music, swelled, and later ebbed and flowed. Percussion on one end of the see-saw balanced with harp strings on the other. Several tease endings preceded the ultimate closing in this long and big piece. Rhodes was always in command of his musicians, one-half second ahead of every note in his instruction. The man and his team worked in perfect synch.

Looking at the stage after intermission, one could see the orchestra spilling out to both sides, complete with two pianos. The setting became a three-quarter thrust arena with the SSO, its Chorus (tenors, baritones and bass), and South Hadley Children's Chorus center stage; the SSO Chorus and Pioneer Valley Symphony Chorus' sopranos stage right; and the latter two groups' altos stage left. The soprano and alto sections sat and stood in the logue, creating a physical and musical vastness to the upcoming "Carmina Burana."

From the first loud and harsh bang of drums to soft and southing strings, lush songs of the soloists to the largess of the 300+ chorus, "Carmina" is and always will be a standout piece. Carl Orff's "Carmina" offers constant contrasts in musical styles, tones, and moods. At times dramatic, then humor follows. Trumpets blast pomp and circumstance, then strings flow operatic. To tackle the difficulty of this marvelous, exhausting, awesome, and sometimes strange epic, is a huge task. "Carmina" is in the proverbial class by itself, with the reputation as one of the most illustrious choral/symphonic works of the 20th century. For the full house at Symphony Hall, their immediate standing ovation applauded more than music, but an experience.

Springfield Symphony Orchestra Opera Gala

Symphony Hall, Springfield
April 25, 2009
by Shera Cohen

Within the past few months both the Connecticut Opera and the Berkshire Opera closed their curtains forever. Were these statements about today's economy? Have dollars spent on the arts in general, and opera in particular, been far less than in the past? Probably and sadly so. Yet, the Springfield Symphony's Opera Gala saw a near-capacity audience at Symphony Hall. Obviously, those who appreciate opera are there in large numbers.

The SSO promised a gala and that's what they delivered with the full orchestra donned in black and white, Maestro Kevin Rhodes center stage with baton in hand, nine exceptionally professional vocal soloists, and the chorus of 120 synchronized singers. The audience was dressed to the nines - a wonderful and unusual sight in this era when the arts are oftentimes thought of as mere entertainment.

Of the hundreds of operas and thousands of arias ever written, Rhodes, et al picked the exact selections and program order that made the evening's performance perfect. Needless to say, works by Puccini and Verdi made the list, followed by Mozart, Wagner, Strauss, and Bizet. The conductor jovially dubbed the program "the all time great hits of opera." While the subjective votes are still being tallied as to what is "great," it is obvious that pieces like "Un Bel Di," "Habanera," "Nessun Dorma," and "La Donne Mobile" were offered, each excellently sung by soloists.

One stand-out selection was "Viens Mallika" from "Lakme." The opera may not be as well known as "La Boheme," "Il Trovatore" or "La Traviata" (each represented at the gala), yet this gently flowing female duet was exquisite.

The orchestra and chorus were given two pieces in which to shine - The Polovtsian Dances from "Prince Igor" and "Il Trovatore's" Anvil Chorus. The woman who no one sees onstage is Choral Director Nikki Stoia, whose leadership is evidenced by the resulting sounds of her large chorus. Add Rhodes' humorous pithy synopsis of each opera, and one word describes the experience of the gala - bellissimo!

Springfield Symphony & George Takei

Symphony Hall, Springfield
by Shera Cohen

"Flights of Fantasy," the Springfield Symphony Orchestra's final pops of the season, was called "the combination of a symphony concert and a Star Trek convention." This might be an odd mix, but consider the source. The man who made such a bold statement was George Takei, aka Mr. Sulu of "Star Trek" fame.

The full house was treated to an atypical event. This concert format was different from the expected, as was the maestro. Oftentimes, guest conductors are hired for pops, with Kevin Rhodes taking the baton for formal symphonic performances. Well, Rhodes was very much present and enthusiastic. It is obvious that his musicians like and respect the man at the podium. Rhodes' mundane repartee and skilled leadership is appreciated just as much by the audience. Rhodes’ introduction to the concert was, "Music can take you into magical worlds." He was right, proving so with significant help from the orchestra and Takei.

Many consider "movie music" less important than works of symphonic masters. Listen again. Composers Jerry Goldsmith and John Williams are familiar names not just for their prolific work but for their outstanding talent. The SSO concert included "Star Trek" (Goldsmith) and "Star Wars" (Williams).

A section of the concert's first half was a Q&A with Rhodes and Takei. While talk about Japanese detention camps (Takei's childhood in the U.S.), gay rights (his recent marriage), and dubbing foreign films ("Godzilla") was interesting, the time could have been better spent making music. Nearly everyone has heard the "Star Wars" theme, but not everyone has heard and seen it live, where it is better and bigger. It's just a little unfortunate that the wonderful SSO didn't have the opportunity to fill the beautiful Symphony Hall with more magical sounds from outer space.

"The Lord of the Rings Symphony" was the post-intermission performance. The long piece seemed incredibly difficult yet flawless, meshing Takei's baritone voice narration and creation of character voices with the SSO instruments' voices. The words and music, sometimes together and other times separate, created strange new (Tolkien) worlds - infinitely beautiful to the ear.

Springfield Symphony & Corey Cerovsek

Mozart, Vivaldi, Mendelssohn
Symphony Hall, Springfield MA
March 14, 2009

By Donna Bailey-Thompson

Just like families, not all symphony programs are harmonious. The SSO's "Symphonic Seasons" program featuring the distinct sounds of Mozart, Vivaldi, and Mendelssohn, demonstrated that when the musical chemistry is in tune, the audience's pleasure is sensed long before the applause begins.

The title of Mozart's "Adagio and Fugue in C minor" doubled as a roadmap: the orchestra – all strings only – began with alacrity, so merry and bright – and then eased into waves of soft phrasing that invited contemplation and perhaps even levitation beyond the confines of Symphony Hall. Maestro Kevin Rhodes and the dedicated musicians were in tuneful sync.

Much of the evening's pre-concert excitement centered on the return of violinist Corey Cerovsek performing – again – Vivaldi's "The Four Seasons." Each of the seasons (Spring, E Major; Summer, G minor; Autumn, F Major; Winter, F minor) is a concerto, a complete experience, separated by brief pauses. Beyond Cerovsek’s exacting technique, what seemed to impress audiences in particular was his ability to memorize "all those notes." An intense standing ovation persuaded Cerovsek to play what he described as "short and sweet" – an arresting display of pell-mell dexterity that catapulted the audience to clamor for more until he raised his 1728 Stradivarius and announced the next piece was a "slow movement" – of what? Unintelligible words but no matter: his tour de force accomplishment was secure.

The communication between SSO's conductor and musicians was apparent during Mendelssohn's "Scottish" Symphony No. 3, in A minor. Mendelssohn's emotional appreciation of his visit to Scotland was lovingly and meticulously performed. The movements were interconnected; their moods followed natural bridges to the next musical interpretation of sweeping moors, rugged crags, churning clouds, sudden sunshine, and tumultuous history. The SSO's professional growth was especially evident. Unlike major symphonies with a majority of full-time musicians and extended rehearsal opportunities, SSO's first rehearsal for a Saturday concert begins two days earlier, on a Thursday. Knowing their polishing time is precious, everyone arrives prepared. Rhodes' high standards inspire the musicians to exact more of themselves. The result is a win-win for the musicians and audiences. Now "celebrating 65 years of live music," the Springfield Symphony Orchestra is recognized as one of New England’s crown jewels.

Springfield Symphony Orchestra & Peter Serkin

Symphony Hall, Springfield
February 28, 2009
By Donna Bailey-Thompson

Although the music selected by Music Director Kevin Rhodes for SSO’s first concert of 2009 was distinctly different, one from the other, the overall effect was artistically compatible. Each composer – Respighi, Bach, Beethoven – developed his own unique sound to create not merely harmony but moments of humor (Respighi), precision (Bach), and the sublime (Beethoven).

Respighi’s "The Birds" began and ended with a rhythm worthy of inspiring the dancing feet of mincing courtiers; in between, the composer brought to musical life feathered friends worthy of an ornithologist’s scholarship. Respighi transformed the bird calls with musical cunning: his "The Dove" was not the pristine white of peace but a pair of ground-feeding, dull brown mourning doves, cooing an oboe lament, that dissolved into nothingness as they flew skyward. However, "The Hen" was barnyard savvy, a possible prototype for the comical "Pick-A-Little, Talk-A-Little" busy-bodies in "The Music Man;" and oh-oh, watch out, the rooster’s arrival was heralded by the combined blasting of trumpet and clarinet. "The Nightingale," shy, hidden, its sweet calls of a flute were a harbinger for romance. Finally, "The Cuckoo" appeared with a Disney-like shimmer; its signature two notes continued with such abundance that the woods seemed full of Black Forest clocks. Truly, "The Birds" was an enchanting collection.

Guest artist Peter Serkin, his tall frame accentuated by his erect posture, performed the Bach Keyboard Concerto in D minor, BMV. 1052 with elegance, not as a finger exercise, but as a story complete with dialog and high drama. Following Intermission, he returned to enthrall the packed house with Beethoven’s Piano Concerto No. 2 in B Flat Major. Those who attended Maestro Rhodes’ pre-concert talk could spot Beethoven’s take-no-prisoner attitude when he boldly shifted from the key of C to B flat. During the Adagio, Serkin played a series of single notes with such simplicity and emotional restraint that their beauty moved hearts to ache. His playing met the audience half way, thus creating a collaborative adventure, as if saying, "We came through that melancholia, now we may go on."

Under the energetic Rhodes’ inspired leadership, the SSO’s performance earned an enthusiastic standing ovation.

Spectrum & SSO

Symphony Hall, Springfield
February 7, 2009
By Eric Sutter

Imagine entertainment that beat the winter blues into the ground: four incredible singers, all experienced stand alone soloists, who combined their smooth voices to create Spectrums' beautiful harmonies backed by the Springfield Symphony Orchestra under the direction of guest conductor Jonathan Lam.

The joy began with the Springfield Symphony Orchestra's performance of "Love's Theme" by the Love Unlimited Orchestra. The audience was captivated by an evening of Spectrums' renditions of the best of Motown, leading off with classic Temptations' hits such as "Get Ready", "The Way You Do The Things You Do" and a Four Tops medley that consisted of "Same Old Song", "Standing In The Shadows Of Love" and "Bernadette" all with the hand clapping, rolling arms and exciting dance steps that moved the audience too. Dressed in blue sports coats and white pants, Spectrum performed a neatly choreographed "Under The Boardwalk" (The Drifters). Other stirring songs had the audience singing -- "Ooo Baby Baby" (Smokey Robinson and the Miracles), "LaLa...Means I Love You" (Delfonics) and "Rubberband Man" (Spinners).

Wearing red sequined jackets and black slacks, the quartet opened the second half with "Reach Out, I'll Be There" (Four Tops). "Backstabbers" featured some visually stunning dance moves and the audience reveled at the sight as the group built the dramatic tension to a high point -- group founder Cushney Roberts' leap from the stage into the audience, still in song and dance mode. The Drifters' "Up On The Roof" featured smooth soul singing with the nearly full audience in a swoon. David Prescott hit high marks in sound with the Stylistics' "You Make Me Feel Brand New". The Temptations' "Just My Imagination" with it's dreamy lyrics and melody showcased a nice electric guitar solo by James Davis that was complemented by the string section of the orchestra. Tex Richardson on grand piano and keyboards provided a warm textural component to the overall sound of the night as the orchestrater of the music. They closed with the sing-a-long "My Girl" (Temptations) and a rhythmically rousing "Can't Help Myself" (Four Tops). A standing ovation led to an encore, "Soul Man" (Sam and Dave).

Happy 50th Anniversary, Motown!

At the Copa & SSO

Symphony Hall, Springfield
By Shera Cohen

Gary Mauer, solo performer with the Springfield Symphony Orchestra as back-up “band” – and what a fabulous back-up it was – did great justice to Barry Manilow in his “At the Copa” tribute. This first in the season’s SSO Pops Series staged an excellent flowing balance of the crooner’s most recognizable music. Interspersed were vignettes about the pop singer’s unexpected and slow rise to fame, fortune, and millions of female (especially) followers.

Mauer did not look, dress, or sound like Manilow. He didn’t walk the stage, run down the aisles, or work the room a la Manilow. None of these look-alike and act-alike methods was attempted. That was a good choice. Whatever listeners think of the “real McCoy,” even naysayers would agree that the voice, delivery, and staging of Manilow cannot be duplicated. So why try? Manilow does a show, with a capital “S,” and Mauer did a concert. One welcome similarity was the enunciation of the lyrics – thank you. The two presentations are decidedly different, and each man is talented in his own ballpark.

Mauer arrived with a lot of impressive credentials from Broadway and touring companies. It was no surprise that he had appeared in such mega-hits as “Phantom” and “Les Miz,” since both musicals require excellent trained voices, wide range of interpretation, and a strong hold of those long finale notes. While at times in the first part of the concert the sound system on the singer’s mic was too strong, this flaw was corrected. Mauer had his own style with a few variations in arrangements. He especially shined for the upbeat “Could It Be Magic,” thoughtful “I Made It Through the Rain,” and emotional “This One’s for You.” The latter was written as a memorial to his grandfather – not his typical love song – and in knowing this, had more depth of meaning.

Conductor Nyela Basney was fine and unobtrusive at the podium. Yet, one could not help but wonder where Kevin Rhodes was. He was missed. Mauer’s work was a sincere tribute to Barry.

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.

Mozart & Mendelssohn

Springfield Symphony Orchestra
Symphony Hall, Springfield
February 9, 2008
By Donna Bailey-Thompson

The music of a revered classicist opened the evening’s performance – the Overture to the opera, "Cosi fan tutte" ("women are all the same"), a lively five minutes, composed when Mozart was 33. His Symphony No. 29 in A Major followed, written when he was 18. During Music Director Kevin Rhodes’ pre-concert talk, he mentioned that Mozart could "imagine the entire piece in his head" before beginning to write. Honored by admirers as the most accomplished composer ever, the Mozart sound is readily recognized which is rather amusing inasmuch as he often mimicked others’ music. However, his unique essence cannot be eclipsed because often even his slow passages described by one Mozart aficionado as "pure silk."consist of millions of notes. That’s an exaggerated number but not by much.

Following intermission, Mendelssohn’s richly melodic Symphony No. 4 in A Major – The Italian – filled Symphony Hall with Romantic strains (revised by Mendelssohn in 1834 and not discovered until the 1990s). Of particular beauty were the French horns in the third movement. By presenting familiar passages followed by their revisions, the audience could play Holmes to Maestro Rhodes’ Dr. Watson. Not so fast! Without in-depth familiarity with the original score, pinpointing any changes was difficult to impossible with one exception: the revised final movement is a heightened triumph of whirling rhythms that brought the audience to its feet.

Here’s another nugget shared by Rhodes during his pre-concert talk: strictly speaking, Classical is not a blanket adjective but refers to music composed between 1730 and 1820. Other named periods begin with Medieval (476-1400) followed by Renaissance (1400-1600); Common (1600-1750); Romantic (1815-1910); Modern/Contemporary (1900-2000). Perhaps eons from now there’ll be assigned a contemporary avant garde classical period which will have been a stepping stone for an au courant classical body of work. And the beat goes on.