Brahms' First Symphony, Holst's "Planets," Tchaikovsky's "Pathetique" Symphony — such vivid, sizable masterworks are the cornerstones of orchestral literature, constituting the favorite listening experiences of many audience members.
Sunday afternoon's Brockton Symphony Orchestra concert at Brockton High School reveled in the antithesis of such fare, programming music that was witty, sardonic or subtle.
"Le Tombeau de Couperin" by Maurice Ravel is both a dapper pleasure and a double-layered tribute. While its movements were conceived as eloquent salutes to various of the composer's friends who perished in World War I, the ghost of Rococo genius Francois Couperin haunts it throughout.
Jonathan Cohler's splendid interpretation was buoyant and energetic, lavishing careful focus on color and texture. The orchestra sparkled here, offering crisp, effervescent playing that rivaled its best efforts.
Special kudos go to oboist Toni Marie Marchioni and flautist Arielle Hansen for their fine solo work.
Several talented young cellists have appeared as featured guests with the symphony over the years. Seventeen-year-old Jacqueline Choi proved she belongs with the best of them in a stirring presentation of Dmitri Shostakovich's wry "Cello Concerto No. 1." Her sound quality, while hall-filling, was never ugly or strained. Polished finger technique, secure intonation and a lovely vibrato characterized her accomplished playing.
Accompaniments are a specialty of this orchestra, and the one provided by Cohler and company, while supportive, was loaded with personality. Had the second movement's doleful celesta solo been given on the proper instrument instead of a steely glockenspiel, it would have been flawless.
The Eighth Symphony of Ludwig van Beethoven is, like all this composer's even-numbered symphonies, an underrated entity that is not heard as often as it should be. Beneath its archaic skin, replete with a Joseph Haydn inspired minuet and finale, beats a progressive and sophisticated heart.
Cohler's tempos, faithful to the printed score and much faster than those usually heard, proved revelatory, allowing Beethoven's long-range phrasing to emerge. The players put the music forth cleanly — no mean task at these speeds — and infused plenty of whimsy and bustle into the music's tissues.
