The brilliant soloist for the evening (about the same age as the conductor!) was Leila Josefowicz who first appeared at Severance Hall some nine years ago. She has been very involved with the Adams concerto for several years, and the reason for this is easily apparent to the listener. She and this particular piece of music might have been created for each other, so well do they match. It is very nearly perpetual motion throughout, and Ms. Josefowicz throws herself and her Guarnerius del Gesu violin into the rigorous demands with no hesitation.
One could be deceived by the beginning: a lovely melodic line in the solo violin lies over the muted chugging rhythms in the winds and the two synthesizers called for by the composer. A bit of acceleration is provided by the percussion and pizzicato orchestral strings before a turn-about sort of cadenza. Normally a place for the soloist to display technical wizardry, this one is instead a respite, allowing everyone to catch their breath.
Without pause, we’re swept into the second movement which is vaguely reminiscent of the Pachelbel Canon with its repetitious ground bass. This Chaconne is not quite the same as that other, but it is close, and is accompanied by the lower winds noodling or growling around, while the solo violin is heard over all in a lovely melodic theme. Orchestral strings and synthesizers lead to a rather quiet ending.
But then! Hang onto your seats, as the final movement Toccare turns into perpetual motion again, but this time even more so. It could almost be called furioso. At times it sounds slightly disjointed, although the effect is done purposely. The synthesizers return to create an interesting combination of sounds with the tympani, and, suddenly—it ends.
Mr. Gaffigan was a careful and watchful collaborator, holding the rather large forces together with the soloist. This was no small task, considering the vivacity of the music. Soloist and conductor received loud and long applause from the clearly appreciative audience.
Aaron Copland created a suite from his music for the ballet of Martha Graham that she titled Appalachian Spring. Originally for small chamber group, the suite is for full orchestra with piano and a variety of percussion. It is also slightly shorter than the dance score. This is the version we heard for these concerts.
Music of Copland is almost always instantly recognizable as such, whether for large or small groups of instruments. Regardless, it’s always charming and easy to enjoy and appreciate. At the center of the work is a quartet of first-chair winds; flute, oboe, clarinet and bassoon. This afforded an opportunity to hear the new assistant principal flute, Marisela Sager and new prinipcial oboe, Frank Rosenwein, plus two veterans: principal clarinet, Franklin Cohen and assistant principal bassoon, Barrick Stees. They played as though they‘d been playing together in this way for years. The brass made a regal chorale of the Shaker tune “Simple Gifts.”
The Symphonic Dances, Opus 45, of Russian favorite Sergei Rachmaninoff demonstrated anew how this orchestra defines the term ‘silken strings’. The lush melodies and harmonies of this work seem tailor-made for our orchestra. The music is at once exotic, sensuous and Russian to the core, even though the composer had lived in the US for nearly twenty-five years when he composed this work, his last. He looks back to his early works, and even incorporates music of his Catholic childhood, the Dies Irae and Alliluya.
He did however, employ one contemporary device: the instrument most often associated with jazz—alto saxophone—has a prominent part in the first movement. The melodic solos were performed by Howie Smith, on the faculty at Cleveland State University.
The second movement is a ‘sad waltz’(valse triste) and featured more instrumental solos from concertmaster William Preucil and the English horn of Robert Walters. As though having worked through the sadness, the movement ends almost happily.
The third and final movement is the longest, and the composer pulls out all the stops. It’s rhythmic, melodic, and brilliantly orchestrated. In addition, there are the Russian touches—the bells, for instance, and the majestic Dies Irae from the brass. After the Alliluya, the work ends in crashing chords by the entire ensemble. There were immediate shouts of “bravo!” for the young conductor who seemed somewhat dazzled by the response.
For tickets or information about upcoming concerts, call (216) 231-1111, or visit the orchestra’s web-site: http://www.ClevelandCrchestra.com
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)