UTAH SYMPHONY, Libby Gardener Concert Hall, University of Utah, Thursday.
The Utah Symphony's Connoisseur Series gives audiences an opportunity to hear the orchestra in a different, chamberlike setting. But even with that objective in mind, Thursday's concert explored some interesting and charming angles of the concept.
The first half — which was by far the most charming — pared the orchestra down to its absolute minimum requirements for an unusual and enjoyable concert experience.
The evening began with Bach's brisk, rhythmic Brandenburg Concerto No. 3. With only one player on each part, the interplay between the voice and counterpoint of each instrument was really set in relief. Further, the personality and playing style of each performer could be clearly heard as the melodic lines took their individual twists and turns. The performers sounded as if they were having a great time, and the enjoyment was infectious. Conductor Scott O'Neil sat down for this piece — at the harpsichord, that is, from which he conducted the other players.
The experience was further enhanced by the concert practice of having all violinists and violists standing up as they played. Although this is a popular piece that is frequently heard, hearing it in this fashion gave it a fresh vitality, almost as if it were new.
The same could be said for the one that followed, Copland's "Appalachian Spring." Also a popular work, it almost seemed like a different piece when reduced to a 13-member ensemble. The pared-down orchestration achieved an intimate simplicity that in many ways sounded truer to the spirit of the music, and probably was truer to Copland's original concept (since that's how it was originally orchestrated). Of particular note was the theme-and-variation section "Simple Gifts." After hearing it like this, it's hard to imagine being satisfied with the larger version again.
The second half of the concert took a different approach on chamber-orchestra playing. Enlarging the ensemble somewhat, it began with Copland's "Quiet City," much of it focusing on Nick Norton's trumpet playing, with the rest of the orchestra taking something of a back seat. Norton did a beautiful job with the solo, which was further accentuated by the perfectly suited acoustics of the Libby Gardener Concert Hall. Holly Gornik also deserves mention for her oboe playing. (Incidentally, neither player was recognized in the program for their prominent roles.)
The piece that followed, Stravinsky's "Danses concertantes," also utilized a larger orchestral force and seemed to focus on various color and sound combinations between different instruments, particularly those that can be had with an ensemble such as this. While interesting, it tended to be more abstract than the others and harder to warm up to; it lacked the charm of the first half and the wistful, nostalgic beauty of "Quiet City."
E-mail: rcline@desnews.com