|
Please note: Throughout Classical New Jersey Society reviews some words are found preceded by an asterisk (*). This indicates that the word is defined or discussed in the IOW (In Other Words) section of our website. If you are looking for a special definition or discussion, click on the alpha-clickbar below or the actual word, if it is hyperlinked. A | B | C | D | E | F | G | H-I | J | K | L | M | N | O | P-Q | R | S | T | U | V | W | X-Y-Z |
Colonial's
Usual Interesting Programming
Farewell
to Yehuda Gilad
Saturday,
May 7, 2005
By
Reena Esmail
Colonial Symphony, Yehuda Gilad (conductor), Barry Centanni (marimba), Jenny Chang (violin), percussion students from Montclair State University. Paul Somers: Evolving Chaconne; Ney Rosauro: Marimba Concerto; Haydn: Violin Concerto no. 1; Mendelssohn: Symphony no. 4 in A major ("Italian"). Community Theatre, Morristown.
Because the concert included a work by Classical New Jersey Society director Paul M. Somers, it was arranged through an intermediary for a composition student from the Juilliard School, a person who knows no one involved in the concert, to write the review.
When Yehuda Gilad lifted his baton to conduct not only the final concert of the Colonial Symphony of Morristown's 2004-2005 season, but what would be his final appearance with them, their rich history together was apparent. The orchestra's sound was pristine and tight as it could be, the musicians were involved and present to the music, and the energy in the auditorium was high.
The Symphony's and Gilad's commitment to the performance of new music was apparent. Percussionist Barry Centanni dazzled the audience with his performance of Ney Rosauro's Concerto for Marimba and Orchestra, a completely riveting fusion of soaring classical melodies and driving Brazilian rhythms. Centanni's brilliant virtuosic flare was enhanced by the fact that he arranged the concerto himself, combining two versions written by the composer - one with a percussion accompaniment and one with strings - which resulted in fascinating textures.
Paul M. Somers' work, Evolving Chaconne, which was commissioned by the Colonial Symphony, was also premiered. Somers' idea was to take the traditional chaconne (a repeating bass line that remains static while the piece develops) and "turn it on its head," by slowly metamorphosing the bass line, one note at a time in a subtle but steady rhythm of change. The result, a work in four connected movements, paid tribute to the chaconne in a more modern but still melodious and beautiful way. The third movement, using only the string section, was warm and sparkling, and the fourth movement, which the composer described in a pre-concert interview with Martin Bookspan as "a gigantic riot of a march" was just that.
The Colonial Symphony's command of standard literature was equally convincing. In their performance of the Mendelssohn "Italian Symphony," the orchestra displayed its camaraderie and singularity of purpose. The sound of the ensemble was seamless, multidimensional, and intense. Mr. Gilad's deep commitment to and belief in this orchestra at their last concert together was conveyed even through his baton.
Fifteen-year-old violinist Jenny Chang was the soloist for Haydn's Violin Concerto no. 1. With only a few days to prepare the concerto for performance with an orchestra (she stood in for Howard Zhang, who suffered a hand injury shortly before the concert), Ms. Chang's enthusiasm and involvement in the music coupled with the string orchestra's centered and crisp accompaniment made for a successful performance. She was a winner of the American String Teachers Association (NJ) concerto competition.
The Colonial Symphony looks forward to its next season under new conductor Paul Hostetter, beginning on December 3rd, 2005 with a concert titled "Dance and Fantasy."