LSO Review of December 14, 2004 Concert

The concert traditionally known as "Baroque by Candlelight" and performed every December by the Longmont Symphony Orchestra has always provided an entertaining and uplifting evening. It remains the hidden gem of the LSO season, featuring works that music director Robert Olson would not typically program on one of the regular subscription concerts at Vance Brand Auditorium. Until this year, Olson's programming for the concert had most heavily featured music of the early eighteenth century (or late Baroque), with an occasional "classical" period work from Mozart or Haydn thrown in. This year, he chose to program a complete late Mozart symphony and a vocal chamber work by a twentieth-century Latin American, along with a new piece by resident conductor Brian St. John, leaving no room for Bach and Vivaldi, and necessitating the name change.

The concert took place December 14th at Longmont's First United Methodist Church, which, as usual, was filled to capacity. The church sanctuary is an ideal venue for a chamber orchestra concert, with fine acoustics and attractive lighting. Olson is quick to point out the limited rehearsal time he always has for this concert, but that was not at all evident in the excellent reading of Mozart's "Linz" Symphony, No. 36. The opening movement was crisp and exuberant, and the slow second movement featured lovely work from the LSO strings. Olson took the repeats in both the opening and closing movements. This was as well as the LSO has played all season, and in many ways more impressive than several larger works on the Vance Brand programs. Since late Mozart is by no means easy to bring off, the orchestra is to be commended for that.

While the "Linz" was clearly the highlight of the evening, another special moment was provided by soprano Maureen Sorennson. Having warmed up with Schubert's "Ave Maria" before the intermission, she returned to perform the first section of "Bachianas Brasileiras #5" by Brazilian composer Heitor Villa-Lobos. The work is scored for soprano and a choir of cellos. The cellists played beautifully and warmly, but Sorennson was simply phenomenal here. Her diction of the Portuguese text (a language not often tackled by classical singers) was impeccable, but it was the softly hummed ending, with a perilous piercing high final note, that enthralled the audience the most.

The other offerings were somewhat more lightweight. St. John's piece, a double concerto for mandolin and mandola (a lower-pitched mandolin tuned like a viola) with string orchestra, was pleasant enough, but rather repetetive, and lacking in virtuosic display. St. John played the mandola, and was joined by notable mandolin player Steve Mullins. While the string writing was gratifying, one wished that the composer/performer had given the featured instruments a little more to do. The aim for a "Baroque" sound was largely successful.

Before Sorennson came on to perform the Villa-Lobos, the orchestra opened the second half of the program with the "Toy" Symphony, which was once thought to be by Haydn, but is probably by Leopold Mozart. The piece itself is negligible, but seeing some LSO musicians playing the "toy" instruments was great fun, and it helped to introduce the evening's holiday theme. As always, the concert ended with holiday carols featuring audience participation, but not before Sorennson had another chance to delight those in attendance. She introduced the carol portion with an utterly gorgeous rendition of Adolphe Adam's ubiquitous "O Holy Night," singing the second verse in the original French. Reserving the familiar and optional high note in the final phrase for the last verse, Sorennson paced the carol's climax with precision. At the concert's end, the soprano also introduced the final audience carol, "Silent Night," by singing the first verse in the original German.

Olson may downplay this concert because of rehearsal times, but the fact of the matter is that it never disappoints on an annual basis. As the orchestra's only "chamber" concert, the LSO should showcase it more, or perhaps include it in certain subscription packages. The Mozart symphony and the Villa-Lobos may end up being highlights of the entire LSO season. Quite simply, the "candlelight" concert is a terrific event, or which Olson, the LSO, and the community should be proud. The symphony returns with its annual Family Concert featuring the Longmont Youth Symphony on January 29 at the Brand Auditorium in Skyline High School. For tickets and information, call (303)772-5796 or visit www.longmontsymphony.org.

LSO's "CANDLELIGHT" CONCERT BROADENS CONCEPT December 14, 2004 Holiday Theme Retained in Annual Event By Kelly Dean Hansen The concert traditionally known as "Baroque by Candlelight" and performed every December by the Longmont Symphony Orchestra has always provided an entertaining and uplifting evening. It remains the hidden gem of the LSO season, featuring works that music director Robert Olson would not typically program on one of the regular subscription concerts at Vance Brand Auditorium. Until this year, Olson's programming for the concert had most heavily featured music of the early eighteenth century (or late Baroque), with an occasional "classical" period work from Mozart or Haydn thrown in. This year, he chose to program a complete late Mozart symphony and a vocal chamber work by a twentieth-century Latin American, along with a new piece by resident conductor Brian St. John, leaving no room for Bach and Vivaldi, and necessitating the name change. The concert took place December 14th at Longmont's First United Methodist Church, which, as usual, was filled to capacity. The church sanctuary is an ideal venue for a chamber orchestra concert, with fine acoustics and attractive lighting. Olson is quick to point out the limited rehearsal time he always has for this concert, but that was not at all evident in the excellent reading of Mozart's "Linz" Symphony, No. 36. The opening movement was crisp and exuberant, and the slow second movement featured lovely work from the LSO strings. Olson took the repeats in both the opening and closing movements. This was as well as the LSO has played all season, and in many ways more impressive than several larger works on the Vance Brand programs. Since late Mozart is by no means easy to bring off, the orchestra is to be commended for that. While the "Linz" was clearly the highlight of the evening, another special moment was provided by soprano Maureen Sorennson. Having warmed up with Schubert's "Ave Maria" before the intermission, she returned to perform the first section of "Bachianas Brasileiras #5" by Brazilian composer Heitor Villa-Lobos. The work is scored for soprano and a choir of cellos. The cellists played beautifully and warmly, but Sorennson was simply phenomenal here. Her diction of the Portuguese text (a language not often tackled by classical singers) was impeccable, but it was the softly hummed ending, with a perilous piercing high final note, that enthralled the audience the most. The other offerings were somewhat more lightweight. St. John's piece, a double concerto for mandolin and mandola (a lower-pitched mandolin tuned like a viola) with string orchestra, was pleasant enough, but rather repetetive, and lacking in virtuosic display. St. John played the mandola, and was joined by notable mandolin player Steve Mullins. While the string writing was gratifying, one wished that the composer/performer had given the featured instruments a little more to do. The aim for a "Baroque" sound was largely successful. Before Sorennson came on to perform the Villa-Lobos, the orchestra opened the second half of the program with the "Toy" Symphony, which was once thought to be by Haydn, but is probably by Leopold Mozart. The piece itself is negligible, but seeing some LSO musicians playing the "toy" instruments was great fun, and it helped to introduce the evening's holiday theme. As always, the concert ended with holiday carols featuring audience participation, but not before Sorennson had another chance to delight those in attendance. She introduced the carol portion with an utterly gorgeous rendition of Adolphe Adam's ubiquitous "O Holy Night," singing the second verse in the original French. Reserving the familiar and optional high note in the final phrase for the last verse, Sorennson paced the carol's climax with precision. At the concert's end, the soprano also introduced the final audience carol, "Silent Night," by singing the first verse in the original German. Olson may downplay this concert because of rehearsal times, but the fact of the matter is that it never disappoints on an annual basis. As the orchestra's only "chamber" concert, the LSO should showcase it more, or perhaps include it in certain subscription packages. The Mozart symphony and the Villa-Lobos may end up being highlights of the entire LSO season. Quite simply, the "candlelight" concert is a terrific event, or which Olson, the LSO, and the community should be proud. The symphony returns with its annual Family Concert featuring the Longmont Youth Symphony on January 29 at the Brand Auditorium in Skyline High School. For tickets and information, call (303)772-5796 or visit www.longmontsymphony.org.