Last night we played the first of four concerts of the latest Classical Series (3 shows here in Portland, and one run-out to Salem). It’s a big program. Usually we start at 7:30 on Saturday evenings, and I pretty much expect to be walking in my front door around 10:00 p.m. Last night I was getting in my car around 9:50 – the concert was a solid 2 hours plus. It’s a pretty demanding program for all parts of the orchestra (except for the percussion section, who after the MacMillan a few weeks ago get a reprieve).
First, the brass section came out and played the Copland Fanfare for the Common Man, lined up amidst the string seats for visceral sonic impact rather than in their seats at the far rear of the stage. It’s a brief but demanding blow for our shiny brethren.
Next was the Barber Souvenirs, further proof that Samuel Barber never wrote an easy piece for orchestra. You’re always having to think about something – either it’s technically difficult, or it’s easy but rhythmically tricky – it’s never both parts easy at the same time, but often both parts difficult at the same time. Aside from those quibbles from the players’ perspective, the piece is a delight for the audience (and the performers, once they get their shit together).
And to close the first half (an unusual three piece half), Liszt’s Second Piano Concerto with Brazilian pianist Arnaldo Cohen. It was stunningly played by a pianist who I had not had the pleasure of hearing before, and he gave a charming encore of what must have been a Brazilian piece – I’ll try to find out tonight what it was. I’m not a huge Liszt fan, but the audience loved it.
After a much-deserved intermission, we came back for the Bizet Symphony in C major, an early piece which is a delightful, frothy confection – unmistakably French. It’s a piece that you’d turn to after listening to too much Wagner, Mahler, or Brahms. It clears the palate and delights the ear. Unfortunately, it also demands the utmost from the orchestra – especially the violin sections. The first violins virtually play a violin concerto’s worth of notes in the Finale – and they did a great job last night. The highlight for me was the gorgeous, golden, spun phrasing of Marty Hebert in the huge oboe solo in the second movement.
And last, but certainly not least, we had Liszt’s ultimate pot-boiler, Les Preludes. The brass got to rest their chops after the Copland, and proceeded to lay waste to the lower strings and most of the concert hall. I mean this in only the most positive function of “laying waste to”. Did I mention that by the middle of this piece I was almost unable to move my fingers anymore? Well, it’s true. If I had no self-respect left, I’d make a sound file to demonstrate what I sounded like during one of the most difficult sections last night, but I still have a little bit left, so I won’t do that.
All in all, it’s an eclectic program, a bit old-fashioned, and I like that aspect of it. There’s a lot for the audience to listen to, and there’s something for everyone. On the downside, it’s a longish concert, and very fatiguing for the orchestra. Ok, enough whining.
Hope to see you there…