THE VIRGINIAN-PILOT
Copyright (c) 1997, Landmark Communications, Inc.
DATE: Monday, January 13, 1997 TAG: 9701120301
SECTION: DAILY BREAK PAGE: E5 EDITION: FINAL
TYPE: MUSIC REVIEW
SOURCE: BY LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT
LENGTH: 57 lines
SATURDAY EVENING at Chrysler Hall in Norfolk, the Virginia Symphony was led by guest conductor Philip Greenberg in a program that had the typical combination of short opener, showy concerto and substantial symphony.
Still, the particular pieces - and the performances given by the orchestra and solo pianist Brian Ganz - offered a most satisfying blend of technical display and musical depth.
From the very beginning, the orchestra showed that it was prepared by jumping into the tricky patterns of Carl Nielsen's Overture to ``Maskarade.'' This sparkling little piece was a welcome change from the usual opera overtures - by Mozart, Rossini, Verdi, Smetana, etc. - that are played to open programs.
The orchestra was energized, offering plenty of bounce as string players scampered through difficult figuration and rolled through dancelike tunes. The winds added just the right amount of power to mark significant events and to cap the conclusion.
Ganz took center stage in Chopin's Piano Concerto No. 1, playing with all the dexterity one would want. He kept both the graceful ornamentation of slow melodies and the brilliant flourishes of the bravura finale crystal clear.
With careful use of rubato, a crucial aspect of this composer's music, Ganz's playing was a model of good taste and good timing. He gave the music a flexible shape that seemed quite natural.
The orchestra did its least effective playing in this piece. The first movement's long introduction was little more than perfunctory.
As accompanists, they stayed well back from the piano, never covering it, but also neglecting to support it with matching dynamic shaping. While there is plenty of historical precedence for this approach - in the 19th century, virtuoso pianists took new concertos from city to city, where the local orchestra did little more than sight-read them at performances - modern audiences expect more subtlety from the accompaniment.
In contrast, their playing in Tchaikovsky's Sixth Symphony was both filled with details and intensely powerful. Greenberg drew an emotional reading out of the orchestra that had tender moments, a sturdy march and a conclusion heavy with despair.
While this was a triumph for the whole ensemble, individuals and sections stood out. Clarinetist Patti Carlson's solos were played with a dark, brooding quality that suited the music. The viola and cello sections played with rich tone and secure intonation.
The long symphony had many memorable moments, among them the way the brass brought the orchestra to life after the slow introduction, the wild counterpoint in the development of the first movement and the well-controlled irregularity of the meter in the second movement.
As it had for the pianist in the concerto, the audience quickly rose to its feet to show its appreciation for the marvelous conclusion to a great evening of music. ILLUSTRATION: MUSIC REVIEW
Virginia Symphony, Saturday evening at Chrysler Hall, Norfolk