RSS 2.0 FeedJune 29, 2011, Cover Stories, Classical
Daunting and dazzling final performance at the Lyric
The choice of a lean concert program clocking in at just under an hour and half proved the old adage of quality over quantity. The Kansas City Symphony was thrilling, impressive and delightful in their final Friday night performance at the Lyric Theatre.
Opening with Mendelssohn's popular Hebrides Overture, Maestro Stern’s Orchestra shaped the piece in ways that brought out lines I had never caught before in performance. Instead of another ho-hum rendition of one of the canon’s staples, Hebrides became as Mendelssohn originally intended it: mercurial, harrowing, and as beautiful as the Scottish coast. From the measure-long snippets to the stormy conclusion, the ensemble was focused and balanced. The sixteenth-note unison string work in the final moments was especially impressive for its clarity in the cellos and basses.
Guest violin soloist Stefan Jackiw, joined the group to continue the Scottish-themed first half with Max Bruch’s Scottish Fantasy. Jackiw capitalized on the fluidity of the folk-song based piece with Stern and the orchestra following him through the rubatos and most of the tricky Scotch snap rhythms. Although not quite a concerto, Bruch’s feature gave ample time for Jackiw to show off. His intonation was unwavering throughout. The third movement found the audience transfixed and afraid to break Jackiw’s spell as he wove the “I’m a-doun for lack o’Johnnie” melody over the Bruch’s lush harmonies. The final movement was suitably rousing when the snappy “Scots wha hae” locked in after miscommunications in the first couple ritardandos.
But it was with Tchaikovsky’s Symphony No. 4 that the Kansas City Symphony truly excelled. Although Nos. 5 and 6 rightfully get all the glory, No. 4 is structured in such a way to force audiences out of their seats upon its conclusion. Replete with Tchaikovsky’s nearly maniac reiterations, chromatic extensions, and sequence, this work, after the first movement, is nothing but one giant push to the end. Tempos were dauntingly fast throughout, but never derailed. The third movement was delightfully charming as the strings played pizzicato. This was marred only by one over-zealous bass player hammering his fingering too aggressively. The fourth movement allowed the brass, and especially the trombones, to unload in sonic fireworks. It was that brazen display of bravado, which Tchaikovsky dubbed as “happiness,” that lead headlong to the final thunderous end and a well-deserved standing ovation.
Concerts performed at this level show that Kansas City can be a world-class symphony. Here’s to many more exactly like this as they take to the Helzberg Hall stage in the new Kauffman Performing Arts Center next season.
REVIEW:
Kansas City Symphony
Season Finale Tchaikovsky’s Fourth
Friday and Saturday, June 17 and 18, 2011 (Reviewed Friday June 17)
Lyric Theatre
1029 Central, Kansas City, MO
And
Sunday, June 19, 2011
Carlsen Center for the Performing Arts
12345 College Blvd, Overland Park, KS
For tickets call 816-471-0400 or visit http://kcsymphony.org
Editor-in-Chief; Traditional and New Classical Contributor
Lee Hartman holds degrees from the University of Missouri-Kansas City (D.M.A., M.M.) and the University of Delaware (B.M.). At the University of Delaware, he received a Dean's Scholar position enabling him to pursue an individually designed academic program combining music education and composition. At the University of Missouri-Kansas City he served for three years as the Assistant Director to Musica Nova, the conservatory's new music ensemble, while teaching a variety of composition classes.
In 2007 he was invited to both the Iceland Academy of the Arts in Reykjavík, Iceland and the Sichuan Conservatory in Chengdu, China to give lectures and master classes in composition. In the summer of 2009, Hartman served as an orchestra manager for the Aspen Contemporary Ensemble and Aspen Opera Theater Center for various performances. He serves on the National Executive Committee of the Society of Composers, Inc. as Submissions Coordinator. His primary composition instructors include James Mobberley, Chen Yi, Zhou Long, Paul Rudy, John Beall, and Jennifer Margaret Barker. He currently teaches music theory at the University of Central Missouri and general music classes at Park University having previously taught at UD (2007–08) and UMKC (2006–07).
His compositions can be found at http://www.leehartmanmusic.com
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