The first weekend in October saw the first concert of the Jackson Symphony Orchestra's 61st season, presenting a program entitled "Strange Bedfellows." This rubric encompassed works by six composers who all were born within ten years of each other at the beginning of the 19th century, and who collectively helped establish what we often refer to as music's Romantic period. The opening work was by the oldest, and perhaps the strangest of the six, Hector Berlioz, the composer who, after Beethoven, was arguably the most significant figure in codifying the modern orchestra. His Roman Carnival Overture was lustily played by the ensemble, and featured excellent English horn solos by Matthew Yuknas as well as strong statements by the brass, led by first trumpet Joel Shaner. Berlioz's individual orchestration style also permitted the JSO viola section, led by Clyde McKaney, to shine in ways not often afforded by the standard repertoire.
The rest of the first half featured the finale to Felix Mendelssohn's E minor Violin Concerto, played by Xie Min, the orchestra's concert master who led the orchestra on a merry chase with an energetic and expressive interpretation of the solo part, as well as selections by Verdi and Wagner, two dramatically contrasted giants of 19th century opera. Both composers dealt in these works with transgressive love, but while Verdi?s Duke from Rigoletto expresses a certain terse amusement about his conquests in the aria, Questa o quella, Wagner needs considerably more time and effort to move heaven, earth and a large orchestra, in justifying his couple's coupling in Tristan und Isolde. We were treated in the former to the wonderfully characteristic singing of tenor Richard Fracker, while the orchestra limned the latter in the opera's Prelude and Liebestod. Strong string playing, along with trenchant wind work, helped bring this music to life, and wonderful solo work from all the wind principals added extra emotional impact.
The second half of the program featured music by, about, and for, Robert Schumann and Frederick Chopin. Guest soloist Ian Hobson was front and center for the entire second half, opening with his solo performance of Chopin's second Ballade, a work dedicated to Schumann. The orchestra joined him for a performance of Schumann's A minor Piano Concerto, and Hobson closed with an encore by Schumann, entitled "Chopin," from his set of piano pieces, Carnival. Hobson's playing of all three works was shapely and compelling, drawing wonderful tone from the instrument in both soft passages and loud, and guiding us surely through the maze of key relationships relating the three works to each other. The orchestra matched him stroke for stroke, with excellent ensemble work, as well as striking solos in the winds. Clarinetist Andrew Sprung stood out in his lengthy solo at the beginning of the first movement's development section, and the horns, Stephen Foster and Jessica Pierce, contributed lively work at the recapitulation of the finale. Beautiful playing was heard throughout the concert, with moments made wonderful by Tess Miller, principal flute, and Heather Peyton, principal oboe.
Andy Mead
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GO CLYDE!!!
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