THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Saturday, November 11, 1995 TAG: 9511110538
SECTION: LOCAL PAGE: B3 EDITION: FINAL
SOURCE: BY LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT
LENGTH: Medium: 56 lines
On Friday evening, the string section of the Virginia Symphony was featured in works by Arnold Schoenberg and Gustav Mahler. Seated near the edge of the Chrysler Hall stage, their sound projected with fullness and warmth, both necessities in this repertoire. And they responded to Music Director JoAnn Falletta's direction with precision and flexibility.
Not too many years ago, one would have been wary of a program that depended so much on the strings for its success. Without the winds to support them, their every weakness would have stood out. The lack of variety in tone color could have been a problem, as could the diminished potential for dynamic climaxes.
But in Schoenbergs's ``Transfigured Night,'' as arranged by the composer for string orchestra, not one of these problems was perceived. Each group of instruments - violins, viola, cellos, basses - was unified with its own rich tone and faultless intonation. The sections were well-balanced, blending with each other harmoniously, and standing out as separate units with important melodies.
WHRO's Raymond Jones read the piece's story to the audience before the music began. But it was only the framework: As the music unfolded, each listener was free to imagine their own details and come to their own conclusions. Falletta paced the long work with a sure sense of dramatic timing. The players followed her free rubato and brought out every detail as directed. It was truly an example of great commitment and collaboration.
Much the same spirit was evident in Mahler's Fourth Symphony, especially in the slow third movement. To the warm string sound, the winds added details in their solos and power in combination.
Concertmaster Vahn Armstrong, who played many brief solos throughout the evening, was featured in the second movement, an ironic scherzo. His intonation was always fine, and his sound carried nicely into the room.
Soprano Linda Hohenfeld joined the orchestra for the symphony's last movement. Her tone was clear and childlike, as the music required. She sang with a simplicity and sincerity that was most effective. Her diction was also quite good, although neither text nor translation were printed.
The concert's opener, the overture to Mozart's ``Don Giovanni,'' although energetically played, did not fit in the musical world of the rest of the program. As good as it was, it was soon forgotten when the very different language of a much later musical world took over. ILLUSTRATION: CONCERT REVIEW
The Virginia Symphony
at Chrysler Hall
Friday at 8 p.m.
Another performance is tonight at 8.
by CNB