Mr. Kahane Departs On A High Note

Performance:
Stravinsky Rite of Spring, Rachmaninoff Symphony #2
Location: The Wells Fargo Center for the Arts, Santa Rosa

by Nina Shuman
North Bay Classical Music, May 19, 2006

Although Stravinskyâs Rite of Spring and Rachmaninoffâs Symphony No. 2 were written within a few years of each other in the decade preceding World War I, they represent two very different aspects of the Russian nationalist movement, with Rachmaninoff steeped in the sacred orthodox liturgy, and Stravinsky drawing on traditional pagan folk melodies.

Thus began Maestro Jeffrey Kahaneâs pre-concert talk before this, his last performance with the Santa Rosa Symphony prior to his moving on to the Music Director position in Colorado. He explained that he chose these two monumental works to close the season, dispensing with any guest concerto soloist, in order showcase the orchestra. Both pieces require tremendous virtuosity and give every instrumental section of the orchestra the opportunity to shine.

Mr. Kahane is a consummate, thoughtful musician and an articulate speaker. On this occasion, he kept the background talk brief in order to allow more time for questions from the audience. The expressions of gratitude for his contributions to this community that preceded each question made it feel like a privilege to be present on this landmark evening. One can only hope his successor will be as adept at encouraging audience involvement. Perhaps the most touching moment came in the applause following one gentlemanâs expression of thanks to Mr. Kahane for standing up for democratic principles in a time when our country has been deeply troubled.

Stravinskyâs The Rite of Spring is without question the single most influential musical composition of the twentieth century. As the centenary of its premiere approaches, it still presents formidable technical challenges to performers. Conceived as a ballet in which a chosen sacrificial virgin dances herself to death, its use of dissonance, polytonality, and intricate meter changes transform the entire orchestra into an extension of the percussion section. Part I is ãWorshipping the Earth.äPart II is ãThe Great Sacrifice.ä

This performance was notable for individual contributions from the woodwind, brass, and percussion sections. The most prominent and familiar solos are from the bassoon and alto flute, the latter an infrequent but delicious addition to the standard woodwind group. Special mention must be made of the fine playing by Ms. Laura Reynolds, English horn, Mr. Mark Wardlaw, Eb clarinet and Mr. Doug Morton, D trumpet.
Also impressive was the ensemble precision of the trumpets in their fast tonguing passages, and Mr. Allen Biggsâ bass drum roll at the beginning of The Dance of the Earth. The trombones got a little too wild in this last section of Part I, drowning out the rest of the orchestra.

Part II begins with the Introduction to The Great Sacrifice. It would have benefited from more legato playing to create a sense of mystery and ritual. Again, there were exquisite moments: the muted trumpets, the violas playing sul ponticello, Ms. Wanda Warkentinâs brief cello solo. What was missing throughout, for this listener, was a feeling of inevitability and connectedness. Both conductor and orchestra seemed to be working a little too hard, playing from measure to measure without finding the overarching phrase of the piece as a whole. They did maintain superb concentration in Grand Sacred Dance, bringing the work to a rousing close.

Rachmaninoffâs Symphony No. 2, on the other hand, showed the Santa Rosa Symphony at its finest under Mr. Kahaneâs direction. This was a performance from the heart, with conductor and orchestra displaying tremendous commitment, enthusiasm, passion and refinement. Although the winds, brass and percussion have plenty to do, this piece is a showcase for the strings. And did they play!

From the entrance of the first violins in the opening movement and throughout the piece, the strings sounded lush, smooth, and energized. There were beautiful solos from concertmaster Mr. Joseph Edelberg, with lovely countermelodies in the French horns, and tasteful use of portamento in the violins during the trio section of the second movement. The third movement was distinguished by mellow support from the brass, with especially subtle shading in the tuba, and sensitive solos from the bassoon and English horn.

The clarinet was sharp, but otherwise had a luscious tone. The fourth movement tends to ramble, but at this point we are just grateful for having been sated with Rachmaninovâs timeless melodies. For Maestro Kahane, the orchestra, and the Santa Rosa community, it is difficult to imagine a more fitting finale to an illustrious tenure.