LSO Review of Oct. 15, 2005 Concert Kelly Dean Hansen

When former Longmont Mayor Leona Stoecker took the microphone at Vance Brand Auditorium on Saturday night, shortly after having taken the baton, she eloquently emphasized what a treasure for the city the Longmont Symphony Orchestra really is. The rather disappointing size of the crowd for the orchestra’s season-opening concert added a certain weight to her words.

Stoecker had gamely beat time to a performance of the familiar “Colonel Bogey March” after being named the winner of the orchestra’s “Super Conductor” fundraiser. As always, the Super Conductor selection displayed a certain degree of silliness, but Stoecker’s following speech, in addition to accurately characterizing the orchestra, also effectively introduced the mood for the evening’s program, in which music director Robert Olson and the musicians more than validated what was said.

Beethoven’s only violin concerto, while an utterly sublime and gorgeous work, is often difficult to get right. The unusual length of the opening movement and the challenge of finding an appropriate opening tempo are only the beginning.

The piece demands intense concentration from the orchestra and the soloist. Olson and guest violinist Roman Nodel put together a highly respectable and musically sound rendering of the concerto.

Nodel had a clear sense of the musical language of the work, as reflected in his decision to use the wonderful cadenzas by Fritz Kreisler.

When he was at his best, the result was phenomenal, particularly in the slow movement. His performance, however, was marred by an obvious early entrance in the otherwise terrific reading of the joyous finale — one that disturbed a good moment for the LSO horns — and some intonation issues in the first movement.

The second half of the concert, however, had no such issues. Olson led the overachieving musicians in two 20th-century works of incredible difficulty. The conductor verbally introduced the “Sinfonia da requiem” by Benjamin Britten. The powerful work, whose three movements use titles from parts of the liturgical mass for the dead, is an effective picture of the horrors of war, as well as both the agony and peace associated with death.

The orchestra did not miss a beat in its exciting performance of this continuous score. The more unusually prominent instruments, such as saxophone and piano, were seamlessly integrated into the texture. The percussion section was particularly impressive in the frantic central “Dies irae” movement, and the mood was effectively changed to one of resignation and acceptance at the end of the final “Requiem aeternam.” The audience responded enthusiastically to the piece, much to Olson’s surprise and delight.

Even more impressive was the final work on the program, Ravel’s “La Valse.” While inspired by the Viennese dance, the piece is indelibly French and unmistakably modern. In other words, it is much more challenging to play than Johann Strauss. Olson’s pace was quick and exciting, and the orchestra responded with brilliant playing across the board.

The greatest thing about Longmont Symphony concerts is the conductor’s (and the orchestra’s) refusal to allow the organization’s status as a semi-professional community ensemble to compromise innovative and challenging programming.

Stoecker’s words become more relevant when works by composers such as Britten and Ravel are played so well, and when the conductor can take as much credit for a great performance of a concerto as can the soloist.

The orchestra continues its season at 7:30 p.m. Nov. 12 with guest pianist Catherine Millis. The concert features works by Mendelssohn, Rachmaninoff, and Stravinsky. For tickets or information, call 303-772-5796, e-mail symphony @qwest.net or visit www.longmontsymphony.org.

Kelly Dean Hansen is a graduate assistant and instructor in the Department of Musicology at the University of Colorado at Boulder’s College of Music.

LSO rises to challenges in opener By Kelly Dean Hansen Special to the Times-Call When former Longmont Mayor Leona Stoecker took the microphone at Vance Brand Auditorium on Saturday night, shortly after having taken the baton, she eloquently emphasized what a treasure for the city the Longmont Symphony Orchestra really is. The rather disappointing size of the crowd for the orchestra’s season-opening concert added a certain weight to her words. Stoecker had gamely beat time to a performance of the familiar “Colonel Bogey March” after being named the winner of the orchestra’s “Super Conductor” fundraiser. As always, the Super Conductor selection displayed a certain degree of silliness, but Stoecker’s following speech, in addition to accurately characterizing the orchestra, also effectively introduced the mood for the evening’s program, in which music director Robert Olson and the musicians more than validated what was said. Beethoven’s only violin concerto, while an utterly sublime and gorgeous work, is often difficult to get right. The unusual length of the opening movement and the challenge of finding an appropriate opening tempo are only the beginning. The piece demands intense concentration from the orchestra and the soloist. Olson and guest violinist Roman Nodel put together a highly respectable and musically sound rendering of the concerto. Nodel had a clear sense of the musical language of the work, as reflected in his decision to use the wonderful cadenzas by Fritz Kreisler. When he was at his best, the result was phenomenal, particularly in the slow movement. His performance, however, was marred by an obvious early entrance in the otherwise terrific reading of the joyous finale — one that disturbed a good moment for the LSO horns — and some intonation issues in the first movement. The second half of the concert, however, had no such issues. Olson led the overachieving musicians in two 20th-century works of incredible difficulty. The conductor verbally introduced the “Sinfonia da requiem” by Benjamin Britten. The powerful work, whose three movements use titles from parts of the liturgical mass for the dead, is an effective picture of the horrors of war, as well as both the agony and peace associated with death. The orchestra did not miss a beat in its exciting performance of this continuous score. The more unusually prominent instruments, such as saxophone and piano, were seamlessly integrated into the texture. The percussion section was particularly impressive in the frantic central “Dies irae” movement, and the mood was effectively changed to one of resignation and acceptance at the end of the final “Requiem aeternam.” The audience responded enthusiastically to the piece, much to Olson’s surprise and delight. Even more impressive was the final work on the program, Ravel’s “La Valse.” While inspired by the Viennese dance, the piece is indelibly French and unmistakably modern. In other words, it is much more challenging to play than Johann Strauss. Olson’s pace was quick and exciting, and the orchestra responded with brilliant playing across the board. The greatest thing about Longmont Symphony concerts is the conductor’s (and the orchestra’s) refusal to allow the organization’s status as a semi-professional community ensemble to compromise innovative and challenging programming. Stoecker’s words become more relevant when works by composers such as Britten and Ravel are played so well, and when the conductor can take as much credit for a great performance of a concerto as can the soloist. The orchestra continues its season at 7:30 p.m. Nov. 12 with guest pianist Catherine Millis. The concert features works by Mendelssohn, Rachmaninoff, and Stravinsky. For tickets or information, call 303-772-5796, e-mail symphony @qwest.net or visit www.longmontsymphony.org. Kelly Dean Hansen is a graduate assistant and instructor in the Department of Musicology at the University of Colorado at Boulder’s College of Music.