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

This is an online only review - no other format is available.
Permission is granted to print and distribute this review in any format.

Italian artistic richness...
... and a British reflection upon it
Thursday, January 5, 2006
By Paul M. Somers

New Jersey Symphony Orchestra, Douglas Boyd (conductor), Brennan Sweet, Rebekah Johnson (violins), Carole Whitney (cello), Robert Wagner (bassoon). "Italian Jewels." Rossini: Overtures to La scala di seta and Guillaume Tell; Corelli: Concerto Grosso in F major, op. 6, no. 2; Tippett: Fantasia Concertante on a Theme of Corelli; Respighi: Ancient Airs and Dances for the Lute, Set 1; Vivaldi: Bassoon Concerto in A minor, RV 497. Bergen PAC, Englewood.

Oddly enough, the highlight of the New Jersey Symphony Orchestra's "Italian Jewels" concert was by the British composer Sir Michael Tippett. His Fantasia Concertante on a Theme of Corelli immerses itself in the Italian musical virtues of melody, rich and varied texture, and expressiveness.

Though the orchestra is divided in two and there is a *concertino of two violins and cello, the division does not lead to *antiphonal writing but to richer layering. While the music is clearly in Tippett's own voice, one can hear elements which show up also in Vaughan-Williams' Fantasia on a Theme of Thomas Tallis and in Britten's Serenade. Tippett's is a work which I suspect will reward further hearings.

Conductor Douglas Boyd's strength all evening was his ability to create tranparency, allowing everything to be heard clearly. This was particularly helpful in the Corelli Concerto Grosso in F major, op. 6, no. 2, which preceded Tippett, for the theme he used as the basis for his Fantasia was from this Corelli work. The original Corelli achieved its tranparency largely because Mr. Boyd insisted on baroque-style straight-toned playing. The NJSO could have been an early music group on stage as the *ripieno, so well did the players understand the style.

The concertino for both Corelli and Tippett was the assistant principals of the first and second violins and the cellos. The violinists, Brennan Sweet and Rebekah Johnson, had much more music with with to shine, and shine they did. But it was the very ease and subtlety with which Carole Whitney covered the important bass line that allowed her contribution to be less noticed.

Principal bassoonist Robert Wagner was not only a soloists but also the host of the concert, coming out before the oncertmaster's appearance to talk to the audience. He assured them that the "mask" he wears when he plays is to compensate for the weakening of his soft palette as a result of treatment for a tumorous condition in his throat, sort of a "Phantom of the Bassoon" thing. What a wise thing to do, for though he wears it every time he plays, this was his first time in front of a big audience in quite awhile, and there would have been questions.

Wagner's performance of Vivaldi's Bassoon Concerto in A minor went against every preconception and stereotype associated with the instrument. He was lyrical and *legato, his flashy technique supported by a liquid sound. If the piece at times lives up to C. P. E. Bach's complaint that Vivaldi writes a good bass line then puts it in the solo voice, in this instance Wagner's smooth style turned bass lines into melodic utterances.

Respighi's Ancient Airs and Dances for the Lute is a most effective re-invention of early music, right up there with Stravinsky's Pulcinella. Respighi even takes the step of using a harpsichord to get the "ancient" effect. While during the Corelli and Vivaldi harpsichordist Robert Wolinski was a very effective *continuo player, he had some wonderful solos thanks to Respighi. Yet my favorite moments were the deliciously executed *bell-tones in the horns.

The Rossini overtures were opposites in effectiveness. Boyd took La scala di seta so fast it was barely playable in some parts and sounded rushed and breathless rather than exciting. On the other hand, good ol' William Tell was as grand and sweeping as can be. The lush five-part *divisi cello opening sang, the "rain drops" presaging the storm were crisp dots of sound, and the conductor allowed the storm itself to be quite wild on its own terms, not trying like some to crank it up to Wagnerian or Straussian level. When the famous finale began with Garth Greenup's trumpet call (why did I suddenly crave a bowl of *Cheerios?) there was an excited buzz in the audience, and why not? It was a great way to end a happy evening.