Oundjian is a keeper...

As part of its recognition of the 100th anniversary of Leonard Bernstein’s birth, the ASO has scheduled several of his works throughout the year. It provides a great opportunity to hear and assess the works of the quintessential American composer, who, in recent years, is not heard quite as frequently as he once was. Bernstein’s strength was that he synthesized the cultural atmosphere of the time (including Pop music and Jazz) and applied the rigors of his musical genius to morph it into pieces for large orchestras. In contrast to other composers who delicately incorporated folk or Pop music into their works, Bernstein’s references are not subtle – he doesn’t just include themes or melodies – he adopts the energy, instrumentation, rhythms and colors of the popular culture. The Three Dance Variations from Fancy Free are good examples of the way in which this music, composed in 1944, is musically linked to the 1940s New York City zeitgeist. This, combined with his fairly limited orchestral palette, results in many pieces that often sound strikingly similar. The Dance Variations are bright, brassy, bold and rhythmically driven, but all too sonically familiar to anyone who has heard Bernstein’s other compositions. The Variations pieces were composed for the Ballet Theater and choreographer Jerome Robbins, and were the musical backdrop for three men competing to impress their female audience by each individually dancing a gallop, a waltz, and a danzon. Oundjian kept a brisk pace throughout the work and the ASO performed with enthusiasm, which ratcheted up the music’s already high energy.  For the complete review, go here:  https://bachtrack.com/review-saint-saens-bernstein-atlanta-s

Photo credit:  Dane Sponberg.

Very brief note...

AMC has been under the weather and has not been reviewing up to full potential.  AMC did manage to see the first half of the Atlanta Symphony Orchestra's all Vaughn Williams concert.

"The Lark Ascending" is a brilliantly beautiful romance for violin and orchestra.  The violin soloist was David Coucheron concertmaster of the ASO.  Coucheron has a big, big tone more suited to being a soloist with an orchestra than, say, a first violin in a string quartet.  He at times seems to lack a certain subtlety.  He is technically strong an will likely grow into a bit more sensitivity.  This was a fine performance, with the ASO's playing nearly flawless.

The Symphony No. 4 has a edge that is not seen in the melodies of Vaughn Williams more popular works.  It is aggressive without being strident.  It is late romantic without failing to register the time in which it was written (1936).  In the third movement there is a theme that seemed to have been borrowed by Jerry Goldsmith in the theme for "Star Trek Next Generation."  This was another great ASO performance.

Funkadelia....

Atlanta Music Critic must admit to being in something of a funk since returning from Paris.  Maybe it is the subpar weather or maybe the muse has amicably separated from AMC for awhile.  But, in the spirit of "the show must go on" AMC will struggle through some brief reviews. 

Roberto Abbado returned to the podium of the Atlanta Symphony Orchestra. AMC thinks he might have time on his hands since the lockout in Minnesota and maybe he, like others from the Minnesota Orchestra and the St. Paul Chamber Orchestra, will find greener pastures elsewhere.  Should Robert Spano leave, Abbado would be a great replacement.  The ASO responds well to him.  The orchestra seems tighter and more controlled. 

 Notes for this program appear at: https://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2012-2013/Coucheron-Mendelssohn.aspx.  The highlight of the program was Concertmaster David Coucheron as soloist in the wonderful Mendelssohn violin concerto.   Recently on public radio, Bill McGlaughlin (http://en.wikipedia.org/wiki/Bill_McGlaughlin) opined that the Mendelssohn might be the greatest of all violin concertos.  It is surely melodic, beautifully orchestrated and its feet are firmly planted in early romanticism.  Coucheron was outstanding.  He is virtuosic, has a great dynamic range, never gets trampled by the orchestra, has great intonation, and he has great stage presence.  What more could AMC ask for?  He was wonderful and is still early on in his musical career.  He has a great future ahead of him, either as a concertmaster or a soloist.  The program also included Berio's Rendering for Orchestra, which is comprised of Schubert's sketches for his tenth symphony connected with some of Berio's own music.  It is an intriguing work- just as the Schubertian pieces were getting into full swing, Berio's pieces would introduce themselves.  The first time AMC heard this, it was as if the orchestra had fallen apart.  Was this necessary for Berio to do?  AMC is not sure, but then many thought that the Pei Pyramids at the Louvre were not necessary either, but they are now accepted as part of the landscape.  Maybe that will happen with the Berio also.  The final work on the program was the William Tell Overture.  Rossini's piece is a real potboiler and can really rouse and audience.  The ASO audience was no different and was showed its gratitude with the obligatory Atlanta standing ovation. 

Jun Markl was the guest conductor in the next trio of concerts.   For more about the conductor, go here:   http://en.wikipedia.org/wiki/Jun_M%C3%A4rkl.  So if Abbado declines should Spano leave, then Markl should be very close to the top of the list.  He is an elegant conductor who moves around the podium to focus on each section of the orchestra that he wants to guide.  He also conducted the Pastorale from memory. For program notes about this concert, click here: https://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2012-2013/Beethoven-Pastorale.aspx 

The Ravel, in AMC's humble opinion, is one of the most elegant pieces ever written.  To be played successfully, the orchestra must be light and polished.  To quote a famous line, "Mission Accomplished."

The Mozart B-flat Major concerto for bassoon and orchestra featured ASO principal bassoonist Carl Nitchie, who performed the piece strikingly well.  Nitchie does not have the stage presence of Coucheron, but he certainly has the technical chops to be a successful soloist.  I am pleased that ASO management is featuring the symphony's principals more opportunity to be soloists.  This maybe be the third (or fourth?) this season.  The already noted Pastorale was beautifully performed.  The orchestra was together and inspired.  Even the horns acquitted themselves with nearly error-free paying.  Much of the credit for this suave performance should be given to Maestro Markl.  AMC never heard so many positive comments from patrons about a performance.  They were effusive in their praise.  Good for Mr. Markl.  May he return quickly. 

Thanks to all of the musicians, benefactors, patrons, and volunteers who made these programs possible. 

Maybe next time.....

The Georgia Chamber Players (GCP) is made up of three principals from the Atlanta Symphony Orchestra (Coucheron, Harris and Rex).  Competent musicians all.  The program, titled "Viennese Masterpieces," presented two staples of the chamber music repertory.  It was a congenial performance but it was not without its issues.  There were major intonation problems in both pieces, particularly from Ms. Yang and Mr. Rex.  Ms. Yang also had some noticeable bowing problems that created some mild screeching.  Mr. Coucheron, arguably the superstar of the ASO, has a very strong and aggressive playing style.   He tends to dominate, which can be more than a minor problem in a chamber ensemble.  His conception of the music and his performance style seem to make his part the centerpiece of the music, whether or not it should be.  This is exacerbated by the sometime reticent playing of Messrs Rex and Harris.  I noticed a similar difference in style and interpretation when Coucheron and Rex played the Brahms Double Concerto last year at the ASO.  The former was bold and brash, while the latter was rather mild. 

Only when Mr. Fleming joined the chamber group was there someone who could counterbalance the first violin part.  He, like Coucheron, uses a great deal of bow, producing a broad and rich sound.

The GCP are a significant part of the classical music scene in Atlanta, especially with the apparent demise of the Music on the Hill Series.  Possibly their next concert will be more focused and rehearsed.

Thanks to all of the benefactors, patrons, musicians, and volunteers that help make this concert possible. 

Here is a video of this concert provided by www.atlantamusiccritic.com.  http://youtu.be/zOv48IFzyL8