San Francisco Classical Voice

After this stirring opening, the percussionists bowed out to make room for the evening's true soloist, flautist Janet See. Stepping forward from the ranks of the orchestra (where she is principal flute), See performed Mozart's well-loved Concerto in G major. Written as part of a commission for doctor and amateur musician Ferdinand Dejean, whom Mozart met in Mannheim, the concerto hardly sounds like an amateur exercise. The first movement, Allegro maestoso, opens with a rousing theme heavy on dotted rhythms, with second violins and violas providing lively syncopation. The stage set, See's dulcet flute floated in with the same theme, extending it further with many reaches toward the high G near the end of the Classical flute's range. Her tuning was impeccable. Her lovely tone was a special pleasure in the delicate Adagio ma non troppo. The last-movement Rondo is a delicate minuet, gracefully danced by Maestro McGegan on the podium. The flute playfully wove in and out of the figurations described by the orchestra.

The importance of music in the Viennese theater was highlighted in a performance of the incidental music to Voltaire's tragedy Zaïre by Michael Haydn. It is only too bad that we were not informed of where in the play the music occurred. But even removed from its dramatic context, the music was very enjoyable. The set opened with a stirring theme and variations. The third variation featured a beautiful Boccherini-esque solo for principal cellist Tanya Tomkins. Oboists Marc Schachman and Gonzalo Ruiz provided beautiful counterpoint in the sixth variation. Much to the delight of the listeners, the Turkish percussion reappeared (sans fezzes). An extra-loud jingle at the end brought spontaneous applause. The same thing happened at the end of the Allegro molto, when a tempestuous descent into the minor sent the percussion into jingling overdrive.

My favorite part of this sampling from Haydn was the extremely affective Largo, especially when played as touchingly as did Marc Schachman did. This dramatic miniature featured an extended solo for the Classical English horn, an instrument I had not had the pleasure to hear before. Cantabile passages for the English horn, accompanied by little ripples from the second violins, alternated with passages of true recitative. Schachman's enunciation was stirring, telling a story fraught with tragedy.

The program closed with a symphony by Paul Wranitzky. Though his name is all but unknown today, Wranitzky was extremely popular in late 18th-century Vienna. His fifty-odd symphonies are representative of an age addicted to the symphony, with literally thousands written in the Classical period. The selection of the evening, a symphony in D major, had a number of unusual and entertaining features. An opening Adagio-Allegro molto exhibited the Haydnesque penchant for a slow introduction. That slow intro burst into a stormy fast section with some very ear-tickling harmonic progressions. The little slices of chromaticism made for a very grand pie indeed. The second movement, called Russe (Russian) by the composer, made use of a clucky folk-like melody in a gavotte rhythm. The folksiness was enhanced by crowing bassoons and celli. Another folksy movement, a Polonaise, featured scrunchy sul ponticello effects from the violins. Both of the dance movements were in a complex form that was quite surprising.

Wranitzky's final movement also featured a slow introduction, with the woodwind section (complete with clarinets) setting a gorgeous scene. The lyricism of the introduction was pleasantly contrasted by a rollicking Allegro in 6/8 measure, inspired by a brassy fanfare. Trumpets and drums featured largely in this last whirlwind, vigorously conducted by McGegan. The energy was contagious, leading to a head-banging finale. A jolly experience indeed, and a pleasant evening to spend with Philharmonia Vienna — that is, Baroque.