|
SYMPHONY REVIEW
Outstanding U.S. Debut And Impassioned Mahler
October 7, 2000
|
By Jerry Kuderna
The Fremont Symphony concert last Saturday provided more than an evening of fine music making. It marked the American debut of a truly outstanding violin talent, 22-year-old Zeljko Pavlovic. A native of Sarajevo, he could not have timed it more perfectly. While every newspaper worldwide placed the fall of Milosovic on its pages, Pavlovic, with the fine support of conductor David Sloss, was celebrating with his own special brand of fireworks in the Mendelssohn violin concerto.
Not that it was merely the same razzle-dazzle that we expect in this popular work. Pavlovic played with all the assurance one could ask for and dispatched the technical demands with ease. Indeed his technique is so fine and effortless that after the first few minutes, I forgot it was a warhorse and remembered what a lovely piece of music it is.
One of Pavlovic's secrets is that he does not try to compete with the orchestra. He simply plays in tune. This causes everyone to listen, with the result that the balance was perfect. The intimate Smith Center at Ohlone College has such unifying acoustics that I would believe that this was the effect throughout the theater. The tempo of the second movement was a little faster than usual, but the line was admirably sustained and, coupled with laser intonation and expressive yet discreet vibrato, made for a very satisfying experience.
In contrast to frenetic "virtuosity" that substitutes speed for spirit, the finale was brilliant but never rushed. Instead, all the notes could be heard, conveying a singing line. This brought to mind a phrase usually applied to pianists of a bygone era-- an aristocrat never hurries. Indeed, one orchestra member mentioned during the intermission that at the first rehearsal, he was reminded of Fritz Kreisler, there was such natural elegance in Pavlovic's playing. I had to agree.
Gustav Mahler's First Symphony, the main orchestral offering, received an impassioned reading faithful to the spirit, if not always to the letter of the work. Make no mistake, the Fremont Symphony, a professional group, and Sloss are certainly up to the demands of this difficult work. I felt the provincial "folk" qualities in the music came across better than are sometimes heard in more polished performances. The stamping laendler rhythms of the second movement had "mud on their boots," and the bizarre funeral march sounded as if a village klezmer band were included. My main reservation was with the dynamics. I longed for more real pianissimos, not to mention the frequent triple pianos indicated in the score. The first movement especially needs very careful attention to this if the "nature sound" is to be convincing. Everyone knows what a huge sound comes at the climaxes of Mahler's symphonies If the misterioso passages had been quieter, the fortissimos would have been that much more shattering. But these are minor quibbles when the aching nostalgia of the fourth movement and the consoling lyricism of the "Lindenbaum" section of the slow movement come out as convincingly as in this performance. Unfortunately, I missed the program opener, Stravinsky's Greeting Prelude, 30 seconds of canons on the "Happy Birthday" theme. But the young Pavlovic's debut more than compensated. (Jerry Kuderna is a pianist who teaches at Diablo Valley College and is a host (with Sarah Cahill) of the Berkeley TV program, Stop, Look, and Listen.) ©2000 Jerry Kuderna, all rights reserved |