Tag Archives: Hindemith

Midcoast Symphony Rises to Three Challenges

Midcoast Symphony Orchestra
Franco Center, Lewiston
Oct. 21, 2017
by Christopher Hyde

I heard the glorious final bars of “The Fairy Garden,” the last piece in Ravel’s “Mother Goose Suite,” as I was ascending the stairs to the auditorium of Lewiston’s Franco Center. (A recent survey showed that a majority of Midcoast Symphony Orchestra supporters preferred 7:00 to 7:30 as a concert starting time. I didn’t get the memo.)

It was an appropriate beginning to a program of masterpieces in orchestration. Perhaps masterpieces is not the exact word. The works chosen by conductor Rohan Smith were more like a test to determine how much an “amateur” orchestra could handle. The members of the Midcoast, privatum et seriatum, passed with flying colors.

The Ravel suite, his orchestration of a set of four-hand piano works, ranks with his transcription of “Pictures at an Exhibition” in subtlety , tone color and innovation, ending with a climax that shakes the rafters.

The Hindemith “Metamorphoses on Themes by Carl Maria von Weber,” is equally demanding, but more eclectic. Hindemith seems to be trying to outdo his contemporary Bartok in unusual instrumental combinations and a heavy-handed use of percussion. (The percussion section has always been one of the Midcoast’s most reliable.)

Hindemith, however, lacking the genius of Ravel or Bartok, overloads his score, sometimes to the point of muddiness, when no one can decide which way to go. A fermata or two would be nice. HIs choice of von Weber melodies also seems odd. There are many of that composer’s tunes that would be more suitable for orchestral variations.

All is redeemed, however, by the final march-like tune from von Weber’s incidental music to “Turandot,” which supposedly stems from China. Wherever it came from, it crowns the entire work, and the Midcoast attacked it with renewed gusto. I haven’t head he final fugue rendered any better.

The instrumentation of Dvorak’s Symphony No. 6 in D Major, while more traditional, is almost as dense, seeking to emulate his mentor Brahms and his predecessor Beethoven. Could I also have detected a smidgen of Tchaikovsky-like whirling snow music? The  flavor, however, is distinctly Dvorak, even in this, his first published symphony. He is not quite as daring in his use of Czech folk materials (except in the Furiant), but there is more than a hint of the “Slavonic Dances.”

The symphony exposes strings, woodwinds, brass and percussion shamelessly, including the Brahms-like French horn, but there was not a single off-color note. Bravo!

I urge anyone interested in well-performed classical music to attend today’s (Sunday, Oct. 22) repeat performance at the Orion Perfuming Arts Center in Topsham, 2:30 sharp.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

A Symphony Worth Standing For

Portland Symphony Orchestra
Merrill Auditorium
Apr. 12, 2016
by Christopher Hyde

Audiences at Merrill Auditorium are notorious for giving standing ovations to solo performers, deserved or not, but not so much to symphonies. On Tuesday night, the custom was reversed.

Portland Symphony Orchestra principal hornist John Boden’s fine performance of the Hindemith Concerto for Horn and Orchestra received sustained applause, but no cheers. The Tchaikovsky Symphony No. 5 in E Minor (Op. 64) concluded with the most riotous, shouting ovation that I have heard in years.

The difference was guest conductor Stefan Vladar, who plays the orchestra like a giant Bösendorfer, (formerly the world’s largest and most prestigious piano). Vladar brings the passion,elegance and grace under pressure of a concert pianist to the role of conductor. His disciplined energy was evident from the first bars of the Mendelssohn’s “The Hebrides” (Fingal’s Cave), Op.26.

Vladar transformed an atmospheric work that often seems like plain vanilla into an exciting panorama that mirrored the young composer’s fascination with the changing vistas of the rocky Scottish coast. The secret was dynamic contrasts in volume and texture, and from agitato to dolcissimo and back again, over a strong, precise rhythm.

As a veteran of many hard-fought battles between pianist and conductor, he is also very good at supporting a soloist, as shown by the fine balance of the Hindemith concerto. That composer’s unusual orchestration, such as horn against piccolo and the final susurrations and conversation among equals of the finale, were brought out effectively.

Following intermission, one felt a little anxious for Boden who, after a grueling concerto, returned for one of the most exposed horn solos in the repertoire, the opening of the andante cantabile in Tchaikovsky’s Fifth. Like everything else in this stellar performance, it went off without a hitch.

The symphony was a perfect testimonial, if one is needed, to the necessity of live music. From the beginning clarinets which, after the opening measures return as a delicate obligato to the principal theme, to Boden’s horn calls, there emerged a multitude of fine details that could never be heard in a recording. And the final, titanic clash between the evil “X” and the life force, would have blown every speaker in the house, if the volume could ever have been turned up that high.

Somewhat too exciting for a young girl…but worthy of a sustained uproar, every section of a great orchestra performing in an exalted state.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.