THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Saturday, September 9, 1995 TAG: 9509090317
SECTION: LOCAL PAGE: B2 EDITION: FINAL
TYPE: Music Review
SOURCE: LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT
LENGTH: Medium: 57 lines
In its season-opening concert Friday evening at Chrysler Hall, the Virginia Symphony played to its strengths in works by Kodaly and Sibelius.
Conductor JoAnn Falletta drew from her players sounds that were warm, rich, touching, playful, powerful. She has developed a large palette of orchestral colors, which she mixes carefully and tastefully.
The full range of the orchestra's possibilities was heard in Sibelius' Second Symphony.
From the first movement's opening fragments, to the grandiose conclusion of the last movement, for which Falletta saved the loudest, fullest sound, every interesting combination of instruments was used to its full potential.
But it was not just a series of beautiful sounds. The complicated score made sense, thanks to well-chosen tempos and convincing connections between the many sections. Even the long second movement with its many musical ideas had a dramatic shaping that was not hard to follow.
The transition from the third movement to the finale worked particularly well. Falletta used the lengthy repetition of material in the finale, which some would call a weakness in the symphony, to increase tension and excitement up to the final cut-off.
Similar strengths were found in the concert's opening work, Kodaly's ``Dances of Galanta.''
Rhythmic flexibility was carefully controlled, but not so much as to sound unnatural. This comfortable rubato was found not only in the many solo lines, such as clarinetist Patti Carlson's important solos, but also in music for the full orchestra.
Beethoven's Piano Concerto No. 2, although a very different kind of piece, had the same precision - soloist Christopher O'Riley's clean playing was matched by the instruments.
The quick theme and figuration of the last movement had a brilliant sparkle. The first two movements were approached both by soloist and conductor from an almost Romantic perspective, more associated with music of a generation or two after Beethoven. Tempos were on the slow side and phrases were played quite legato.
This approach deprived the first movement, marked ``con brio'' (with vigor and spirit), of much of its energy.
While some may find this playing style questionable in early Beethoven, it worked quite well in O'Riley's encore, a prelude by Rachmaninoff. His careful control of tone and balance made this a musical picture equal to the riches of the orchestral works which surrounded it. MEMO: MUSIC REVIEW
The Virginia Symphony opened its season Friday at Chrysler Hall,
conducted by JoAnn Falletta. The concert will be repeated tonight at 8.
by CNB