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Philharmonic escalates from mild to wild
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The Boise Philharmonic continued its fall 2007 series with a performance coined “Magic of Folktale,” Oct. 19 and 20. The orchestra was led by guest conductor Andrew Constantine and featured the music of Mendelssohn, Beethoven and Stravinsky.
The concert opened with the overture from Mendelssohn’s “Hebrides.” The work was inspired by a journey along the Scottish coastline. The orchestra’s nautical style came alive in the overture. The work had a calming effect at its beginning, building to a climax that was inspired from Mendelssohn’s vision of a boat nearly crashing along a rocky shore. The overture of “Hebrides” closed with a sudden, uplifting end.
Beethoven’s inspiration for “Violin Concerto in D” came in part from a personal friend who was also an extremely talented violinist. The work showcased a solo by guest violinist Augustin Hadelich.
Hadelich studied for years in both Italy and the United States, with a graduate diploma from Julliard. He played a Stradivari violin, circa 1683. From the first touch of his bow to the string, it was obvious to the audience that the violin was in the hands of a master. The clarity of tone and richness of sound brought out from the violin by Hadelich were astonishing.
Beethoven’s “Concerto” is, without question, a showcase for the string section of the orchestra but still uses woodwind and brass instruments in supporting roles. The “Concerto” nearly ignores the percussive section of the orchestra.
Its first movement opens softly but quickly hastens, incorporating several extended violin solos.
The second movement is cinematic in tone. It brings to mind visions of flying over the top of a mountain and soaring down
into it.
The “Concerto” transitioned into its third movement without a pause. The third movement contrasts the first two movements due to its dance-like form. The string section was finally given a bit of a break, as the third movement repeated its theme in various forms, utilizing each set of instruments in the orchestra in turn.
Hadelich’s playing stunned the audience. He received an extended standing ovation at intermission because he rewarded the appreciative crowd with an impromptu Bach solo.
Russian composer Igor Stravinsky’s “Petrouchka” occupied the second half of the concert.
It was much different than the smoother previous works. The orchestra filled itself out with a large percussion section, a piano and a harp.
Constantine introduced “Petrouchka” with highlights of the various themes to which the audience would be exposed.
“Petrouchka” is a piece of music composed as an accompaniment to a ballet that tells the story of a puppet love triangle.
Constantine’s orchestra played short segments from the work to introduce each character of the ballet for the audience, so they could develop an idea of what would have been happening if there was an
actual accompanying ballet performance.
Constantine humorously pointed out a piece of the work where one character of the ballet attempts to cut a coconut in half with his sword, but is unable to do so. “Petrouchka” had many jazz-like qualities.
The Boise Philharmonic series continues in mid-November with a concert featuring Ravel, Mozart and Copland.
BRIAN MARSHALL
Special to the Arbiter
