The Williamsburg Symphony Orchestra continues to impress with its blue ribbon roster of important international artists, the most recent being David Shifrin, clarinetist of considerable note. And, in his appearance in the Kimball, Wednesday, a clarinetist of lots of notes.
Shifrin has a proven track record of one of the major players of the instrument internationally. He’s played, as a principal, with major orchestras around the world, not to mention performing as a recitalist, and he’s been a guest artist with the top tier chamber ensembles everywhere. He’s collaborated with many of today’s most talented contemporary composers, among them John Adams, John Corigliano, and Ellen Taaffe Zwilich; he’s been nominated for several Grammy’s and has won lots of awards.
That he was here was a treat, as was the performance he delivered of Mozart’s Clarinet Concerto in A major, one of the best known and most popular works in the literature. From the moment he took to the stage and began to play, it was apparent we were in for an expressive performance. The obviously affable Shifrin, who seemed to thoroughly enjoy the experience, played with his whole frame. He constantly moved up and down, this way and that, emphasizing musical lines with physical movement; it truly was an example of music in motion.
As for the Mozart, Shifrin treated it as an old friend, comfortably relaying the pleasantries of the piece, from the lyricism of the opening to the heartfelt gentleness and delicacy of the soothing Adagio to the playful Rondo and its flurry of passagework. Shifrin’s performance was marked by razor sharp technique, exceptionally clean and concise phrasing, and a luxurious, rounded sound that was songlike throughout his spectrum of sound, the lower register particularly noteworthy for its depth and richness. The sound balance achieved between Janna Hymes and orchestra and Shifrin combined to make this a special moment for the WSO and its audience.
The “Mozart Magic” program opened on an unusual note with Heitor Villa-Lobos, a somewhat self-taught musician, who evolved into a composer of note and musical color. He absorbed influences of any music he encountered, everything from Brazilian street music to primitive sounds found in the interior of Brazil and just about every composer he heard. Among the latter were Rubenstein, Beethoven and Bach, the latter famously etched into “Bachianas Brasileiras.” He was also taken by Mozart’s craft and wrote the Sinfonietta No. 1 in memory of him. Based on several Mozartian phrases, the Villa-Lobos was an enjoyable work that offered an effervescent Allegro, an extended Andante of darkly sentimental nature, and a closing Andantino that grew from a reverentially quiet start to a boisterous close. Hymes and company delivered it with polish and precision.
The evening closed with Mozart’s Symphony No. 40, subtitled the “Great G Minor” symphony. From its opening phrases, its familiarity was evident, being one of those most frequently played pieces on classical radio stations everywhere. One of his last three symphonies, it is notably dark in tone. It opens with a sense of agitation that prevails through an Andante that starts more brightly before turning somber, a Menuetto that is cast in darkness despite a dance-like feel, and a closing Allegro of restlessness and angst.
The emotional underpinnings, however, don’t detract from fulfilling listening. Under Hymes, the WSO carefully shaped Mozart’s concise lines into the polished gem it is, their first class playing showcasing Mozart’s brilliance and providing a very satisfying close to a smartly programmed evening.
Shulson, a Williamsburg resident, has been covering the arts for over 40 years. He makes a guest appearance in Margaret Truman’s “Murder at the Opera.
