Brockton Symphony does very well with dynamic new properties
The only fault to find these days with the Brockton Symphony Orchestra's
programming is that they rarely play recent music. Sunday afternoon's
concert at Brockton High School saw the group rectify this oversight -
and for good measure, they even threw in a landmark masterpiece from the
early 20th century.
Thomas Oboe Lee, the symphony's composer-in-residence, saw his freshly written "Concerto for Orchestra" receive its world premiere. Its five, interlinked movements sport subtitles derived from Thelonius Monk tunes, but apart from some jazz-tinged chords in the chorale-like central movement, there's little here that overtly suggests Monk's stylistic approach.
In fact, this concerto is a fine example of a "new tonalist" selection, a contemporary piece that uses triads instead of gritty dissonances as its harmonic basis. Lee's genius here lies in making this sound world both inimitable and charming in the best sense of the word. Imaginative, appealing, and substantive, it's a fine listen.
There are two reasons that semi-professional orchestras rarely attempt Igor Stravinsky's watershed, turn-of-the-century opus "The Rite of Spring" - its instrumental forces are gargantuan and its performance demands are daunting. The former problem can now be solved by utilization of Jonathan McPhee's capable rescoring for standard-sized ensemble, which was heard Sunday afternoon.
It is a major tribute to conductor Jonathan Cohler and his charges that the presentation they gave was for all practical purposes flawless.
Apart from a few, minor balance concerns and a single, brief, shaky ensemble moment early on, this was a truly splendid achievement any orchestra would be proud to call their own - exciting, powerful, vigorous, primal.
Special mention goes to Emilian Badea (bassoon), Jessica Lizak (alto flute), Mie Shiraishi (English horn), Ana Catalina Ramirez (bass clarinet), Torben Hansen (clarinet), David Lanstein (timpani) and Aya Kaminaguchi and Jeb Kulevich (percussion) for particularly laudable efforts. And Cohler's stickwork in the Stravinsky was of virtuoso caliber.
Sandwiched between these sizable bookends were three solo vehicles, spotlighting performers of every age group imaginable. Ten-year-old Momo Wong played the finale to Peter Ilyich Tchaikovsky's "Violin Concerto in D Major" with prowess and professionalism light-years beyond her modest age.
Flutist Arielle Hansen, a Harvard University student, stepped out from her Brockton Symphony principal's chair to give a scrumptiously toned, spotlessly fingered performance of the "Hungarian Pastoral Fantasy" by Franz Albert Doppler.
And internationally known keyboardist Amira Acre, who will appear in May at the symphony's new chamber music series, gave a welcome preview of her prodigious abilities in Camille Saint-Saëns's "Piano Concerto No. 2 in G Minor." Her playing, while well controlled technically and emotionally, brimmed with energy and drive.
Led by Cohler or (in the Doppler) by guest conductor Alexander Brash, the orchestra furnished a sturdy platform for its guests.
This program will be repeated at Boston's Jordan Hall on the evening of February 25. If all goes equally well there, Beantown listeners will learn what Brockton audiences already know - that Cohler and company are something special, whether they're playing standard fare or the latest music.
