THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Monday, September 30, 1996 TAG: 9609300034
SECTION: LOCAL PAGE: B5 EDITION: FINAL
TYPE: MUSIC REVIEW
SOURCE: BY LEE TEPLY, SPECIAL TO THE DAILY BREAK
DATELINE: NORFOLK LENGTH: 63 lines
It was Beethoven's Fifth Symphony that drew a full house to Chrysler Hall on Saturday. And it was the Virginia Symphony's performance of this piece that brought the audience to its feet in enthusiastic approval the moment the last notes sounded.
While this is not an unusual response to this symphony, probably the most popular piece of classical music, there were good reasons to cheer this particular performance.
Guest conductor Lukas Foss led a solid interpretation with tremendous rhythmic energy. He had a dramatic approach, the kind that brought attention to the work when it was new, and that keeps it sounding fresh today. His clear conducting got precise attacks and clear articulation, even in the third movement's tricky fugue.
Playing with more excitement than they had earlier in the evening, the strings led the performance, which was nicely colored by the winds, both as a well-blended group and in their many solo lines.
If there was a weak spot in the symphony, it came at the transition into the last movement. There was not much suspense and, when the triumphant chords of the finale rang out, the orchestra was not quite together. But any insecurities passed quickly and the exultant conclusion had its intended effect.
Foss has not built his long career solely on conducting. He also is one of this country's leading composers. The symphony's program opened with his ``Ode for Orchestra,'' a 1944 piece that reflects the tragedy of World War II.
As in the Beethoven, Foss led a carefully controlled performance, bringing out the changing stresses of his irregular rhythms. It was a correct, but cautious, approach to a potentially powerful work. In loud sections, Foss's clenched fists drew from the orchestra the desired musical tension, but also seemed to prevent the release of the full force of climaxes. In the quiet ending, he relaxed his grip, allowing the calmer mood of hope to spread.
Putting on the third of his musical hats, Foss played the solo piano part of the J.S. Bach Concerto in D Minor. The performance was a curious combination of purely conceived, one might say ``neo-Classical,'' piano lines and more full-bodied, even ``Romantic,'' string sound with heavy bass tone. This approach resulted in balance problems, with the piano solo frequently obscured by the orchestra.
Only five instruments were used to accompany the soloist in the slow second movement, eliminating the balance problem. But even here, the piano was rarely allowed to sing out. It was an extremely introspective approach, which drew the audience into the personal world of the performers.
In the fast outer movements, the strings lost the rhythmic precision that Foss gave when he was on the podium. Despite his fine playing, somewhat blurred in rapid passagework, the overall effect was a bit sloppy, with a noticeable tendency to push ahead out of control. ILLUSTRATION: GRAPHIC
MUSIC REVIEW
What: The Virginia Symphony, with guest conductor/pianist Lukas
Foss
Where: Chrysler Hall
When: Saturday evening
Note: Lukas Foss conducts his music tonight at 8 in Chandler
Recital Hall at Old Dominion University, part of the Ludwig Diehn
Recital Series. by CNB