Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: TUESDAY, November 14, 1995 TAG: 9511140110
SECTION: EXTRA PAGE: 1 EDITION: METRO
SOURCE: SETH WILLIAMSON SPECIAL TO THE ROANOKE TIMES
DATELINE: LENGTH: Medium
Stephen Stein, Conductor in Residence of the Houston Symphony Orchestra, directed an all-hit program of Mozart, Dvorak and Michael Torke. As one of the five short-list candidates for the job of music director and conductor, Stein could end up doing all the concerts next year.
This concert was notable in that Stein brought with him the latest thinking of the early-performance practice gurus concerning Mozart. Until now, the RSO has had little contact with the musically chic early performance movement, but Stein gave the Civic Center crowd a distinctly longer-than-usual Jupiter Symphony, with every conceivable repeat taken - even down to the da capo section in the finale.
Stein appears to be an entirely competent conductor, who mostly got what he wanted from the musicians. He is an expressive, not to say dramatic conductor - though from the rear, at least, he appears to have an idiosyncratic way of communicating his cues to the players.
Maestro Stein had an advantage that finalist number one, David Wiley, lacked: a thoroughly appealing contemporary piece. When the U.S. Olympic Committee commissioned a piece for next year's summer games from Michael Torke, they undoubtedly told him to produce something immediately accessible.
Mission accomplished. "Javelin" may not be music for the ages, but it's definitely classical music for the masses (one RSO section leader called it "an easy-listening fanfare"). Think film music in the style of John Williams, with lots of big, noble themes, tender woodwind interludes and pounding excitement from the percussion section. Torke could score the next Indiana Jones film if he wanted. The RSO's performance was generally good, though the woodwinds could have used more help.
Stein's newly expanded Mozart was actually nothing new to CD buyers who've kept up with the various early performance recordings of the master's symphony cycle. His philosophy seemed to be, "If there's a repeat, take it."
It was overall a fine account of the Jupiter in the earlier movements. But for me, at least, everything in this work points to the final movement, when the five major themes are sounding simultaneously. It's one of the most sublime moments in all of Mozart - which is saying something. It seemed this movement was too lethargic in spots to be truly sublime, without as much dynamic contrast as it needed.
The second half of this meat-and-potatoes program was devoted to the great Symphony No. 8 of Antonin Dvorak, loved by many Dvorak aficionados even better than the New World symphony. From start to finish, Dvorak's Eighth is the apotheosis of Bohemian melodiousness. All told, Stein and the RSO gave us a beautiful and moving Dvorak that well earned the standing ovation it quickly received. Though the work overflows with solo opportunities, the horn, trumpet, flute and clarinet sections played especially beautifully.
Gripes? Just one: the RSO violins, not to put too fine a point on it, simply don't play together sometimes. At moments the first and seconds are a fraction of a beat off; sometimes the rhythmic disagreement is confined to the seconds. Whatever the reason, it makes the RSO sound less than its best when what should be crisply articulated runs have a mushy, sloppy edge to them. It's the kind of problem a full-time resident conductor will want to pay attention to.
During his standing ovation after the Dvorak, Maestro Stein was presented with a bouquet, which he in turn gave to violinist Linda Plaut.
Seth Williamson produces feature news stories and a classical music program on public radio station WVTF (89.1 FM) in Roanoke.
by CNB