Hopkins Symphony Orchestra romances enraptured audience
Jed Gaylin and the Hopkins Symphony Orchestra dazzled the audience in Shriver with two energetic yet vastly different pieces.
The Hopkins Symphony Orchestra, conducted and directed by Jed Gaylin, performed two different shows for the price of one this past Saturday night in Shriver Hall. The first piece, Beethoven's Piano Concerto No. 4, featured Rachel Franklin as the guest pianist. Gaylin and Franklin returned to familiar territory, as both attended the Peabody Conservatory to earn their doctorates in musical art. The second part of the concert featured a performance of Hector Berlioz's radical departure from the period, Symphonie fantastique.
Beethoven's Piano Concerto No. 4 began the evening with Dr. Franklin at center stage. This endearingly quiet piece featured a revolutionary composition, especially the opening which defied the established protocol of the time. After it was written, the work was subsequently shelved for nearly 30 years after Beethoven premiered it himself. The concerto engrosses the mind with subtle yet substantial arrangements. Dr. Franklin introduced the essence of the piece simply and elegantly. She absorbed herself in the performance, her motions providing insight into the theme of the music. A particularly memorable moment was Dr. Franklin's invigorating solo that ended the first movement. Her soft, gentle sweeps carried the mind away to the grand concert halls of yore in Paris and Vienna.
The orchestra provided a very fluid and skilled accompaniment for Dr. Franklin. Dr. Gaylin's conducting enhanced the piece with beautiful execution. His expertise and experience shone through in his control of the orchestra's dynamics. The orchestra was accurate, responsive, and performed well despite the seemingly cramped conditions on stage. The stage appeared barely able to contain the members, and the addition of musicians for the second piece further cluttered the stage. There were other minor nuances about the setting, a portion of a projection screen jutted obtrusively out above stage and a stack of classroom seats were visible in the back corner. However, these minor nuances did little more than avert the eyes during intermission. The acoustics of the hall provided a nurturing environment for the performance. There was an even balance in sound and the instruments in the rear of the stage could be heard well. The impression left by the concerto serves as a reminder as to why this piece survives through the centuries.
The Hopkins Symphony Orchestra, conducted and directed by Jed Gaylin, performed two different shows for the price of one this past Saturday night in Shriver Hall. The first piece, Beethoven's Piano Concerto No. 4, featured Rachel Franklin as the guest pianist. Gaylin and Franklin returned to familiar territory, as both attended the Peabody Conservatory to earn their doctorates in musical art. The second part of the concert featured a performance of Hector Berlioz's radical departure from the period, Symphonie fantastique.
Beethoven's Piano Concerto No. 4 began the evening with Dr. Franklin at center stage. This endearingly quiet piece featured a revolutionary composition, especially the opening which defied the established protocol of the time. After it was written, the work was subsequently shelved for nearly 30 years after Beethoven premiered it himself. The concerto engrosses the mind with subtle yet substantial arrangements. Dr. Franklin introduced the essence of the piece simply and elegantly. She absorbed herself in the performance, her motions providing insight into the theme of the music. A particularly memorable moment was Dr. Franklin's invigorating solo that ended the first movement. Her soft, gentle sweeps carried the mind away to the grand concert halls of yore in Paris and Vienna.
The orchestra provided a very fluid and skilled accompaniment for Dr. Franklin. Dr. Gaylin's conducting enhanced the piece with beautiful execution. His expertise and experience shone through in his control of the orchestra's dynamics. The orchestra was accurate, responsive, and performed well despite the seemingly cramped conditions on stage. The stage appeared barely able to contain the members, and the addition of musicians for the second piece further cluttered the stage. There were other minor nuances about the setting, a portion of a projection screen jutted obtrusively out above stage and a stack of classroom seats were visible in the back corner. However, these minor nuances did little more than avert the eyes during intermission. The acoustics of the hall provided a nurturing environment for the performance. There was an even balance in sound and the instruments in the rear of the stage could be heard well. The impression left by the concerto serves as a reminder as to why this piece survives through the centuries.
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