Classical
This term's programme by the Oxford University Orchestra seemed rather ambitious, a showpiece originally written to display the virtuoso talents of American orchestras combined with two not insignificant works must have put a strain on rehearsal time. The concert began with Bernstein's Overture to Candide and OUO's performance lacked the sparkle this piece demands. Although the woodwind parts came through with unusual clarity, the trombones and trumpets were either too weak or sounded too much like a sea-side band. The horns were, as usual, overwhelmed by the percussion section placed directly behind. Strings, especially the violins, were on good form, but there were simply too many of them. The unsympathetic acoustics of the Sheldonian meant that tuttis were muffled and rather disappointingly, the conclusion was just noise. Sluggish tempos did little to help the situation.
Gershwin's jazzy tone poem An American in Paris was much more successful. The orchestra got off to a cracking start; the strings, although there were still too many of them, were initially sharp, as were the percussion, clearly delighting in their quirky contribution. Horn playing was magnificent, both in terms of technical accuracy and quality of sound. Likewise, the rest of the brass, despite a few slips, were very enjoyable, especially the trombone contribution from Blair McMurren. Once again, however, some detail was lost in the tuttis and there were a few occasions where the slips in ensemble became distracting. Solo string playing was a little disappointing in places. Still, all sections seemed to revel in Gershwin's playful, evocative writing. Stark avoided making this piece ramble on, as it so easily can. This was an enjoyable interpretation of a mediocre work.
The highlight of the evening was yet to come. Bartok's concerto for orchestra is fiendishly difficult to play. The Introduzione went very well indeed, the weight and depth of the lower strings compensating for the untidiness of the violins and violas. Despite the expected technical slips - brass and woodwind were occasionally taxed by their parts - this movement went very well indeed. The ensuing Pair Play got off to a rather untidy start - brass having problems of ensemble throughout - and never fully recovered. The slack tempos, obviously adopted to allow players to cope with their parts, robbed this movement of any intensity. Still, the horns and bassoons made valuable and interesting contributions, as did the low strings.
The third movement went better. The Harps and Timpani, as well as the majority of the woodwind, stood out. Overall, this movement was certainly involving, despite the lack of technical security. Stark's tempos here struck a superb balance in supporting the orchestra, whilst still bringing out the painful elements in this elegy. In fact, it was during this movement that you were made aware of his control, he led the orchestra and they trustingly followed him. The fourth movement was not quite as successful, seeing the return of slow tempos, although this was well supported by the orchestra. The strings proved they could be both weighty and delicate, and the entire orchestra relished the parody of Shostakovich's Seventh symphony.
The finale, the real test for an orchestra's technical abilities, was a bit of an anti-climax. For the strings, the notes often fly by, and here I think the violins and violas actually benefited from the Sheldonian's acoustic, which largely covered up their technical deficiencies. The playing alternated from tight and secure, to messy and confused. Not surprising considering the demands in certain parts of this movement. The orchestra were obviously tiring, the horns especially. Still, apart from the rather under-whelming brass playing, the coda went well enough, some interesting detail brought out.
The less than capacity audience responded warmly to what was, considering the difficulties, a valiant and enjoyable attempt at Bartok's showpiece for orchestra. I look forward to hearing their performance of Strauss's Four Last Songs next term in the same uncomfortable venue.
14th Feb 2002