HSO Stuns with Beethoven show
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Before the performance, Gaylin addressed the audience to discuss the nature of the pieces and his own personal feelings about their interpretation. He believes that it is very difficult to talk about Beethoven, a composer who is both complex and lyrical, brooding and pleasing. Gaylin especially noted that the reason he selected the third Leonore Overture instead of the more famous second was because in the third, Beethoven's ability to be a refined, or distilled, composer really comes out. The piece is nearly abstract; it is pared down, in all ways, to its essentials.
Gaylin also introduced the audience to Alan Carmel, a member of the HSO board, and a sponsor of the orchestra along with his wife Arlene, who provided the audience with, most memorably, a pithy quote by Sir Simon Rattle, a British conductor, about what a task Gaylin is taking on in conducting Beethoven: "Anyone who conducts a performance of Beethoven and doesn't have to go to an osteopath afterwards, has something wrong with him." Indeed, an entire concert of pieces by one of the greatest and most variably interpreted composers of all time is a brave endeavor.
The Leonore began with an unusual series of descending scales. The piece is, however, meant to be strange and fantastical. In the context of Fidelio, the opera from which it came, this piece sets the mood for a woman, dressed as a man, to try and rescue her husband in Spain. The violin sections' parts were a little hazy at times, but during the points of dialogue between the strings and the flutes, the notes were very precise and crisp. The dialogues integrated easily and beautifully throughout the orchestra. Gaylin was very involved with this piece. He swung his arms broadly from his tense shoulders, keeping the orchestra engaged and lively. The result was astonishingly distinct dynamic variations. However, there were moments when sections carrying the harmony drowned out those with the melody and the overall cohesion of the piece suffered. On the other hand, the piece contains many repeated passages and the orchestra did an excellent job of keeping them from being redundant. The mark of a mature group is one that can create aural variation and intrigue from literal similarity on the score. The HSO made this piece completely their own.
The other great highlight of the performance, the Emperor Concerto, featured piano soloist Clipper Erickson. Erickson's skill was astounding. Although his part was fairly simple, with many ascending and descending scales, he certainly held force and leadership over the orchestra. Even the conductor seemed to pay deference to Erickson's commanding skill by toning down his energetic movements and subtly letting the piano lead the way. The notes from the piano seemed almost to roll out of Erickson's fingers. It was clear that he has both emotionalized and intellectualized his piece. His performance was intense and sensitive. At times he focused fiercely on his fingers, at others he moved freely with the music, staring off into space. The orchestra interacted well with him, carrying the melody with energy when necessary, and allowing the piano to take control at the appropriate times as well.
Overall, this piece was done fantastically. By the end both the orchestra and Erickson had the audience hanging on every note, excited to hear more.