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Beginning with Rimsky-Korsakov's Russian Easter Overture, Op. 36, the Kansas City Symphony performed three characteristic examples of Russian orchestral repertoire in their aptly named program "Russian Spectacular."

Gentle woodwinds and resonant pizzicati on the low strings filled Helzberg Hall as the Overture introduced themes from Russian Orthodox liturgy and pagan musical references set in unconventional meters. Although the orchestra launched a captivating start, the effect was brief and the general sound of the orchestra was slightly feeble in the first half of the piece; the brass section lacked oomph in the delivery of the fanfares. However, the orchestra caught its wind halfway through and proceeded strongly as the piece moved from one climactic moment to another.

Tianwa Yang, a young violinist with an ever-growing international fame, took the stage for Glazunov's Concerto in A minor for Violin and Orchestra, Op. 82. Yang captured the audience in the first notes of the piece with astounding musicality. She delivered each musical phrase with drama, character, and purpose—unquestionably mature for her 23 years of age.

Born in Beijing, Yang began studying violin at age four and won six competitions as a child. At age ten she was accepted into Beijing's Central Conservatory of Music. She recorded Paganini's 24 Caprices at age thirteen receiving the title of the youngest interpreter of these compositions in the world. In 1999, Isaac Stern invited Yang to study with him in the U.S.

Yang exhibited a physical connection with the violin as she swayed and bounced with the melodies. Her impressive technique manifested itself in a performance of complex violin techniques that she executed immaculately. The orchestra showed a good balance with the soloist providing a solid musical base for her to rely on.

Yang indulged the audience with a lovely encore. After her performance she met with the attendees for an autograph session. Yang expressed her enjoyment of performing at the Kauffman Center for the Performing Arts and described her experience as, "Just amazing!" She complemented the acoustics of Helzberg Hall in allowing musical dynamics, from pianissimo to forte, to shine equally.

The second half of the night was devoted Shostakovich's Symphony No. 10 in E minor, Op. 93. The composer wrote his tenth symphony after the death of Stalin as a celebration of his long-awaited musical freedom. The KC Symphony excelled in this performance. Starting with a sublime legato in painstakingly soft dynamics, the opening clarinet solo was hypnotic, and the clarinet section blended flawlessly.

The KC Symphony performed this work with such energy and commitment that the first half of the concert was almost forgettable. After the intense Allegretto movement the audience couldn't help uttering celebratory remarks. The orchestra particularly thrived in the tutti passages as they moved through radical dynamic changes.

The low strings, especially the contrabass section, delivered high-level musicality; not only in this work, but also throughout the concert. The night could easily be entitled "pizzicato spectacular" for each work included extended pizzicato sections that were delivered in precise synchronicity resulting in a single heartbeat produced by many.

Players showed good chemistry with the conductor Carlos Miguel Prieto, and were remarkably responsive to his joyful direction. The selection of Russian composers for the program showcased a historical student-mentor relationship and a timeline. Rimsky-Korsakov who was the teacher of many a Russian composer also discovered Glazunov's talent and tutored him. Later on, Shostakovich became a student of Glazunov. In this sense, the program was educational for already knowledgeable audience.

Although at first I was skeptical of the extravagant title "Russian Spectacular", it proved to be appropriately chosen. The performance lived up to the expectations generated by the title of the night, and was awarded with an extended standing ovation from the audience that called Maestro Prieto to stage three times.

REVIEW:
Kansas City Symphony
Russian Spectacular
November 25–27, 2011 (Reviewed Friday, November 25)
Helzberg Hall, Kauffman Center for the Performing Arts
1601 Broadway Blvd, Kansas City, MO
For tickets visit http://www.kcsymphony.org

Top Photo: Kansas City Symphony (Photo by Chris Lee)

By Nihan Yesil

Classical, New Classical, Jazz, Theatre Contributor
Nihan Yesil is a composer/performance artist and currently a candidate of M.M.Composition at the UMKC Conservatory. She composes both acoustic and electroacoustic music and has a strong interest in experimenting with the perception of sound and language.

Nihan started studying classical music with her father, M. Emin Yesil, at an early age and earned a bachelor's degree in Jazz Composition in Istanbul, Turkey, studying with Lawrence D. "Butch" Morris, Ali Perret, and Aydin Esen. She participated in festivals and artist residencies inclduing the Henry Mancini Institute, Czech-American Summer Music Institute, Brevard Music Festival, Electronic Music Midwest Festival, Women in New Music, Oregon Bach Festival Composers Symposium, Escape to Create Artist-in-Residence Program and I-Park Artists' Enclave Residency where she also served as a selection committee member for the composition program. Her compositions have been performed at number of venues both in Turkey and the U.S.

Her favorite activity is experiencing or witnessing any form of artistic creativity. Nihan is a big fan of the Internet and keeps several blogs where she presents her unsolicited opinion on different subject matters.