San Francisco Classical Voice

SYMPHONY REVIEW Dynamite Performance Of 20th Century Music

January 20, 2001

By Kenneth Harrison

It was Jeffrey Kahane, his Santa Rosa Symphony, and violinist Hillary Hahn who drew me to the hot and stuffy Luther Burbank Center theater Saturday night to enjoy what turned out to be a wonderfully planned and executed concert of mostly 20th century music. Two landmarks, the Concerto for Orchestra by the late Witold Lutoslawski and the Violin Concerto by Edward Elgar, were the pillars of this wonderfully prepared and presented musical event.

The evening's main event was the Elgar Concerto, played flawlessly and sensuously by the prominent American violinist Hillary Hahn, who teaches us once again that American musicians are second to none. Hahn, at 20 a young American beauty, rose to the demands of the piece, playing with a fervor and yet a reserve that allowed me to draw my own inference about the emotionalism that embarrassed and simultaneously pleased the composer. Hahn's technique was impeccable, her intonation flawless, and her tone magnificently luxurious.

If I were to focus on one particularly moving moment, it would be the cadenza in the third movement. Her opulent but delicately controlled sound, accompanied by the quiet strumming of the string section, left me breathless. American orchestras that do not engage these American musicians should be ashamed of themselves!

She was also particularly fortunate in having Kahane's carefully structured accompaniment. It is clear that his career as a pianist has taught him a great deal about how to accompany, itself an art lacking in the leadership of some other metropolitan Bay Area ensembles. When not playing, Hahn continues to appear deeply involved in the performance, following the musical events in the orchestra with care and interest.

If there were any faults in this particular performance, they would include the apparent difference in understanding the placement of the beat as between soloist and the wind sections. Hahn plays very rhythmically and on top of the beat, while Kahane's brass and woodwind sections play rhythmically but behind the beat. This eternal orchestral problem was again made evident by the juxtaposition of these two musical forces. And, alas, the trombones did not deport themselves well in their difficult third-movement passages. But the overall force of the performance rendered these problems moot.

Powerful, Dramatic Lutoslawski Concerto

The first half of the concert concluded with the powerful Concerto for Orchestra by Lutoslawski. From the dramatic opening by the tympani (Andrew Lewis—in tune, in time, and with wonderful resonance), it was clear that Kahane and his forces were going to meet the challenge. Kahane obviously has a healthy respect for rhythmic integrity. The difficult string passages were actually played! The woodwinds were particularly impressive in the performance, notably the oboes and flutes. The brass chorales were gloriously blended.

There is an acoustic problem in this theater, however, that subdued the sound of the second violin and cello sections and resulted in poor balance between these sections and their stringed colleagues. The violas, sitting on the outside (as well they should), were particularly impressive.

There are elements of this piece that on the surface seem derivative. Portions of the Nocturne remind me of passages from Peter Grimes, and the formal outline of the last movement, with its highly developed passacaglia, are reminiscent of the last movement of the Brahms Fourth Symphony. But Lutoslawski's own genius allowed him to take from these sources whatever he might and still weave his own unique musical tapestry. Furthermore, this dynamic performance made the piece belong to the Santa Rosa Symphony. This is a group from which more should be heard. Their programming even includes (gasp!) American music and soloists on most every concert. Bravo!

The concert began with a Corelli D Major Concerto Grosso. Violin soloists Joseph Edelberg and Karen Shinozaki played nicely, and the performance included the requisite inaudible harpsichord, played by Kahane, and a theorbo (of all things!), equally inaudible, played by Michael Leopold. Perhaps it is time for an Allen harpsichord and a Barcus-Berry pickup of the theorbo bridge if we really want these instruments to be heard in modern performances in 1500-seat halls such as the LBC. Otherwise, break out the gut strings, short necks, and Baroque bows, for that is the only way these guys are going to have a fighting chance.

This concert will be broadcast on quasi-classical KDFC (FM 102.1 ) at 10PM on March 10. It would be well worth your time to listen and record (for your own use, of course). It was a dynamite show!

(Kenneth Harrison is a retired professor of music theory and instrumental music. He is a professional violist, and was for many years associated with the Cabrillo Music Festival as Associate Conductor, Principal Violist, and Personnel Manager.)