Midcoast Symphony Orchestra
Franco Center, Lewiston
Oct. 22, 2016
by Christopher Hyde
As a hopeless Romantic, I went to the Franco Center Saturday night expecting to hear live performances of three of my favorite works— the “Light Cavalry” Overture, the Rachmaninoff Piano Concerto No. 2 and Brahms’ Symphony No.1 in C-minor.
What I was unprepared for was the quality of the performances by the Midcoast Symphony under the direction of Rohan Smith. They would have done credit to any well-known professional orchestra; from an “amateur” ensemble they were little short of miraculous. I urge any music lover who can get there, to attend a repeat of the program at the Orion Center in Topsham today (Oct. 23) at 2:30.
It reminded me of Schopenhauer’s paradox, to the effect that we admire those who practice an art for money and denigrate those who do it for love, calling them “amateurs.”
The von Suppé, which I believe was sometimes played on “The Lone Ranger” in addition to the “William Tell” Overture, is the epitome of a canter cross-country with some light excuse. As the general said of fox hunting; “all the excitement of war and only a quarter of its danger.” It is pure delight, with just the hint of a melancholy center to contrast with the beginning and end.
The overture, of course, is a popular war horse of the repertoire, but difficult to do well at an exciting tempo. The Midcoast’s swash-buckling rendition was well-nigh perfect.
The Rachmaninoff, equally familiar, was equally well played, with Jonathan Bass at the piano tossing off coruscating clouds of notes, matched in brilliance by the orchestra. There was a little tug-of-war about tempo at the beginning, but that only added to a suspenseful performance as the composer, knowingly aided by Smith, teased the audience with hints at the final movement’s “Full Moon and Empty Arms.”
After the Center’s traditional crepes and wine during intermission came the greatest test of any orchestra, a Brahms symphony. In this performance, Smith succeeded in conveying the composer’s debt to Beethoven (and Bach), without compromising the forward thrust of the score.
The symphony is full of pitfalls, from lush orchestration to demanding percussion parts to pizzicati by the full swing section, all of them negotiated without a hitch. What one really worries about, however, are the heavenly horn calls preceding the ode to joy of the final movement. Those of principal Carolyn Kanicki were enough to bring tears to your eyes. The other players in the all-female section are Beth Almquist, Cynthia Harkleroad and Sarah Rodgers.
Brahms may not outdo Beethoven in his own “Ode to Joy,” but he achieves the same triumphant effect without the last resort of composers—the human voice.
Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at email@example.com.