Recent orchestra concerts attended (film/classical)

sdtom wrote
My recording of #2 is Bernstein and the N.Y. Philharmonic and I appreciate the work greatly.

sdtom wrote
Mine was purchased on LP and I did the transfer myself sometime ago.

The concert last night was excellent! The program was as follows:

Huray for Hollywood!
March from Adventures of Robin Hood
Suite from Jane Eyre
'Flight to Neverland' from Hook

INTERMISSION

Concerto for Viola and Orchestra
The Adventures of Mutt

INTERMISSION

March from Superman
Selections from Far and Away
Raider's march
Excerpts from Lawrence of Arabia


The highlights of the program were in my experience the suite from Jane Eyre and the new Concerto for Viola. The performances were stunning and Williams conducted with such inspiration, and a sensitivity on the podium I didn't even know he had. He was clearly enjoying himself and his conducting was about as precise and crystal clear as many of his film scores. I think many here will be pleased to hear that the concerto is composed in a romantic idiom very similar to much of his film work. It is perhaps one of his least experimental concert works to date. The outer movements are slow, emphasizing the lyrical abilities of the soloist, while the second movement is a classic Williams scherzo with a fun timpani/viola duet in the middle that also features a couple of fun timpani glissandi towards the end.

The opening movement evolves around an enchanting melody, which is in character similar to the theme from Memoirs of a Geisha but with a much broader structure as well as a sensitive developement section. Cathy Basrak, the soloist, performed this theme wonderfully and with great nobility in my opinion. The exposition of the theme also had some delightful solistic comments from the flute (most notably), horn, and oboe. My only critisism for the entire work would be the early and in my opinion intrusive tutti climax only a few minutes into the movement. The exaggerated Hollywood-like orchestration spoiled that particular section for me, and I also failed to appreciate why it was even there in the first place. This lack of patience in Williams' approach to form is in my opinion perhaps his greatest weakness. Thankfully though, it didn't last too long. The preparation of the cadenza was somewhat unusual in that the orchestra discretely faded out instead of building tension and dramatic expectation like we usually get to hear. Although the cadenza was difficult with intricate double stops, it seemed more a quiet meditation than virtuosic statement, something I greatly appreciated. The ending of the movement was again wonderful and truly had Symphony Hall in tears.

The final movement was also meditative, in a way similar to the final movement of Five Sacred Trees. It opened with the viola on its own and was soon joined by the harp, which for the occasion was moved right in front of the podium for better communication with the soloist and Williams. The movement later re-explored the theme from the first as well as revisiting the flute/viola combination. The audience reception resulted in a well deserved standing ovation and I believe the work to be one of Williams' greatest accomplishments. I would rank it even higher than the Mikos Rozsa concerto for viola, for those who are familiar with that. It is one of the most lyrical and most heart-felt and sincere works he has done. Perhaps in time it will prove to be one of the greatest contributions to the modern viola repertoire. At least it left me deeply touched.

Adventures of Mutt was a joy. Williams was smiling ear to ear and it seemed obvious that he loves conducting it. The humour in that piece is just incredible, and in my opinion one of the best arrangements he has ever concieved. The last section of the program consisted mainly of the obligatory must-do film themes. Williams seemed very tired and the performances weren't top class. The tribute to Maurice Jarre was however lovely and a worthy ending to a lovely evening!

- Mark