Sunday, March 5, 2017
A kaleidoscope of diverse and talented soloists and a
broad-ranging program, led by two conductors, combined to produce a spirited
and intriguing concert by the Metropolitan Orchestra of Saint Louis this
weekend in their home venue at First Presbyterian Church in Kirkwood.
In his remarks to the audience, Conductor Laureate Allen
Carl Larson explained the uniqueness of several of the featured works, as well
as the characteristics and challenges of the solo instruments involved. Today
it is more important than ever to provide education and background to
listeners, which is one of the most important and attractive components of
MOSL’s concept and mission. Not only does the orchestra provide background and
knowledge, but it also offers a “Share the Music Stand” program in which gifted
students are paired with orchestra members at rehearsals and concerts. This is
music education at its very finest: veteran
performers in the orchestra teaching by example, and students learning by
doing.
Harpist Megan Stout opened the program as soloist in the
“Danses sacree et profane” (Sacred and Secular Dances) by Claude Debussy, a
beautiful work showcasing the strength, agility and sheer beauty of the
instrument, for which Stout was amply suited. Benjamin Britten’s remarkable “Serenade
for Tenor, Horn and Strings”, featuring Peter Ulffers, horn, and tenor Keith
Boyer. Drawing upon verses from major
British poets, the cycle of songs requires performers with a wide range and
warmth of tone. Ulffers and Boyer melded a beautiful lyrical counterpoint
together; without such smoothness and rich sonority, this work would be cold
and lifeless. But that was certainly not the case. Britten’s score calls for
both a field horn (no valves) as well as the modern concert horn. The opening and closing sections of the work
are played offstage by the field horn, creating a roving and dreamlike effect
that provides a tonal backdrop to the poetry proclaimed by the tenor.
The program continued—without intermission, which seemed
entirely appropriate for such a musical showcase—with clarinetist Jeanine
York-Garesche performing the “Five Bagatelles for Clarinet and Strings” by the
20th century composer Gerald Finzi, arranged by Lawrence
Ashmore. The descendant of Italian Jews
who settled in England, Finzi is well known for his numerous choral and vocal
works. The Five Bagatelles are a beautiful set of short capricious works, full
of melodic ingenuity and expressing various moods. Along with all the featured soloists on the
program, York-Garesche performed not only with a flowing, liquid tone, but also
consummate technical skill. All musical instruments, and all human voices, must
“sing,” meaning they must perform with expression, dynamics, proper phrasing,
rich tone and must be able to give the music wings to take flight on its own.
All the featured soloists at this concert were able to successfully embody
these characteristics.
The first three works on the program were conducted by
Conductor Laureate Allen Carl Larson, perhaps the single guiding force behind
the establishment of the Metropolitan Orchestra, ably assisted by Music Director
Wendy Lea. In addition to his musical leadership that molds the entire ensemble
into a cohesive, dynamically balanced whole, Larson also functions as an
educator and commentator to the audience. Added to that is his deep commitment
to nurturing young musicians. These traits combine to create an impressive
mission statement for the orchestra.
Assistant Conductor Andrew Peters concluded the concert with
Franz Schubert’s Symphony No. 5 in B-flat Major, completed in 1916 when the
composer was only nineteen. Since Schubert died at 31, somehow his inner spirit
knew that he needed an early start. This symphony displays Schubert’s uncanny
ability to produce tuneful and soulful melodies, easily recognizable yet always
original. The task of the conductor is to make sure that each melody must ring
out clearly and sail into the listener’s ears. Peters projected a solid
understanding of Schubert’s ideas and how they intermingle, making this work an
excellent send-off for the enthusiastic audience.
The winning combination for this program was its mixture of
varied instrumental and vocal soloists, a wide historical range of musical
styles, inclusion of works that appealed to audiences yet here and their gave
just a bit of harmonic and melodic challenge, an affordable admission price, a
hall that is large enough to accommodate yet still provides an intimate
setting, and careful yet brief explanations and introductions of the pieces.
This is what symphony orchestras were meant to be, and why they are critical to
the cultural life of every community.
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