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.

Springfield Symphony Orchestra

Symphony Hall, Springfield
by Debra Tinkham

Springfield Symphony Orchestra's full-to-capacity house featured a bevy of rhapsodic rhythms with a diverse menagerie of fairly contemporary composers and performers. At the top of the program, with Mexican composer and violinist, Silvestra Revueltas' Sensemaya, and, at the bottom of the program was French composer Maurice Ravel's "…only masterpiece" "Bolero."

The "meat" in the middle featured German composer Paul Hindemith's "Symphonic Metamorphosis On Themes of Carl Maria Von Weber." This modern, symphonic four movement thriller featured a lovely oboe solo in the Allegro movement, as well as a purely beautiful flute solo in the (II) Turandot: Scherzo movement.

Much could be said for this musically packed evening, but if Hindemith were the peanut butter part of the program (yummy), then Sergay Rachmaninov's Rhapsody on a Theme of Paganini" is the jelly. Rachmaninov and Paganini , in one sentence is a mouth full, to say the very least. Now you ask can it get better? The answer is definitively yes!

Young pianist, Aviram Reichart, an Israeli born genius, frequently performs for the leading orchestras of his country, in addition to such places as Japan, Korea, Dominican Republic, South Africa, Germany and the United States.

Paganini's variations, by themselves, are a study of virtuosic calisthenics, then along comes Rackmoninov throwing in a bunch of rather clever harmonization's, "Rack rhythms" (eccentric) and, of course the usual moodiness (borderline depression), which plagued the composer, performer and pianist most of his life. Reichart played Rackmoninov and Paganini masterfully. He was talented and emotional; serious and serene. He had a very close connection to his orchestra and a reverently respectful relationship with Maestro Kevin Rhodes.

The evening was a night of masterful music, packing more power than most lay people could or would learn in a lifetime. Bravo, SSO.

Springfield Symphony Orchestra

Bernstein, Gershwin, Prokofiev
Springfield Symphony Hall
September 27, 2008
By Donna Bailey-Thompson

From the beginning – our "National Anthem" – through Bernstein, Gershwin, and Prokofiev, the Springfield Symphony Orchestra under the energetic direction of Kevin Rhodes never sounded better. It’s an open secret, indeed one to brag about, that Rhodes has continuously raised the bar and the musicians continue to meet the challenge. Rhodes’ enthusiasm energizes musicians and audiences alike. The payoff is a maturing orchestral cohesiveness of which Springfield is rightly proud.

Maybe every concert should open with Leonard Bernstein’s "Overture to Candide". Such a happy score! Boisterous! Bam! Boom! Bam! The orchestra went a mile a minute, lifting spirits as well as memories of the youthful Bernstein on Omnibus, sharing his love and knowledge of music with uncounted millions.

Those who attended the pre-concert talk had already met guest soloist Norman Krieger and learned that when as a boy of seven he attended a Hollywood Bowl concert, music became his passion. Now a seasoned performer, his technique is embedded deep within his being. Perhaps he’s honored as a musician’s musician. Such seemed to be true during George Gershwin’s "Concerto in F for Piano and Orchestra": eschewing flamboyant pyrotechnics at the piano, he became an integral part of the orchestra.. From its beginning, the Concerto demanded attention. Kettle drums, jazzy rhythm. Flights of fancy morphed into the blues of a wailing trumpet; there was a conversation with the piano. Then a new rhythm made dancing feet itch. The climax was a booming end.

The opening movement of Prokofiev’s "Symphony No. 5 in B Flat Major" was busy yet languid, ideal music for black swans, heavy with percussion, ponderous, an appropriate complement for the ongoing financial deliberations in Washington. With the second movement, it was as if a system was purged and a race was on. All the strings were plucked simultaneously. There was a brass frenzy. An abrupt ending stunned the audience. Within the third, the mood became lugubrious, writhing pain, churning souls. Then with the final movement, storm clouds dissipated and wholesomeness was resurrected. The thunderous finale released an outpouring of applause. The celebration of the SSO’s 65th year and the 2008-2009 season were launched.

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.

Rossini, Chopin, Brahms

Springfield Symphony Orchestra
Symphony Hall, Springfield
April 25, 2008
By Donna Bailey-Thompson

What a satisfying program, one that began with Music Director Kevin Rhodes pre-concert comments about what we were about to hear. Chopin’s Piano Concerto No.2, F minor "is beautiful from beginning to end." His talk focused on Brahms’ Symphony No. 3 in F Major, "the least played of his four symphonies" and his favorite, "if one can say such an insane thing."

The first few seconds of Gioacchino Rossini’s (1792-1868) sprightly Overture to "La scala di seta" (The Silken Staircase) featured screeching violins reminiscent of Hitchcock’s horrific shower scene. What followed was not a slashing knife but background music suitable for a flock of hummingbirds whose geometric flight pattern continuously surprises.

Pianist Claire V. Huangci’s spirited playing of Frederic Chopin’s (1810-1849) concerto was the evening’s piece de resistance. She glided onto the stage wearing a frothy white strapless gown with a full bell-like skirt sprinkled with sparkling ,mini stars. The orchestra’s long introduction heightened anticipation. When her cue arrived, she attacked the keys – clean, sharply-delineated chords and passages – serving notice that she was in charge, a girl just 18, playing Chopin’s concerto as if she were channeling him or Lizst. From the high registers, clusters of descending notes sounded like a delicate clinking of crystal cubes. During interludes ideal for profound thinking, Huangci's nimble fingering loosed hundreds of butterflies into meadows of wildflowers. With her third curtain call (even the orchestra applauded), she graciously returned to the piano to play Mozart’s intricate and rousing Turkish March, further energizing an enthralled audience. Of all the glowing comments overheard by the smitten at intermission, the most-often expressed was, "A tour de force!"

Under the energetic direction of Maestro Rhodes, the full-bodied tones of Symphony No. 3 in F Major by Brahms (1833-1897) were brought forth. The composer’s virtuosity was showcased along with the need by Rhodes to mop his head, face and neck. During the third movement, the plaintive melody was woven like a dance – disappearing briefly before reappearing. Brahms indulged his pleasure of the theme by gifting future audiences frequent repetitions of the exquisite melancholic theme. He knew a good tune when he heard it.

The Smothers Brothers & Springfield Symphony Orchestra

Symphony Hall, Springfield
April 12
By Shera Cohen

Tommy is age 70 and Dickie is age 68. Yet, the Smothers Brothers performance might as well have taken place in the 1960s. The “boys” never skipped a beat in impeccable timing, topical humor, irreverence, and their well-known stage personas. By the way, each aged very well.

Tommy’s trademark stupidity and naiveté bounced off brother Dickie’s exasperation and seriousness just as they had done throughout the past 50 years. Yes, a half-century! The audience got exactly what they expected in style, comedy, and music. Which was more perfect – the material or the delivery? It’s a toss up. Each went hand-in-hand to create a terrific show.

There was simply too much to remember for this critic to write, because the performance was extremely fast-paced and funny. Among the highlights were the following: the trilogy of “dog songs” coupled with a lame dog joke; the feigned gratefulness to perform in Springfield; and Tommy’s avocation as a trained pilot. As his brother commented, “Just because you accumulated thousands of skymiles, it doesn’t make you an airline pilot.”

Sometimes, it’s forgotten that the brothers are also very skilled musicians. With Tommy on guitar and Dickie on bass, their music and voices (Dickie, the better singer) make for an important part of the act – that is until Tommy always interrupts. The duo never managed through an entire song, but that’s what the routine is all about.

When music segued into comedy, that was the best of the routines; i.e. a tender Spanish song reverted to German, then yodeling (Tommy’s the culprit, of course). Another “normal” melody turned its notes to “Dueling Guitars,” only this time guitar vs. piano.

Special appearance by The Yo Yo Man (Tommy) and Voice of Yo (Dickie) had both back and forth on stage performing yo yo tricks and extemporaneous commentary. Who would think that a yo yo could be that much fun to watch?

A video of the brothers’ lives capped off the evening. The longest section showed excerpts from “The Smothers Brothers Comedy Hour,” including anti-Vietnam scripts, commentary by Pat Paulson, and being axed in the prime of the series. Thank goodness, the boys never really went away.

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.