The Virginia Symphony Orchestra closed its Williamsburg series with a dynamite program in William and Mary’s Phi Beta Kappa Hall, Thursday. It’s always a pleasure to hear orchestral events in PBK, where that used to be the norm.It’s comfortable, convenient and acoustically fine.However, scheduling issues have limited its use by the orchestra, which made this concert all the more desirable, especially given the program.
Probably for most, the most intriguing piece played was the Philip Glass Concerto for Violin No. 1, here with VSO concertmaster Vahn Armstrong as soloist.This Glass, his first orchestral composition not aligned with more theatrical efforts, pulses with excitement and energy.The work is not unlike many, if not most, of his minimalist efforts in relying on repetitive, often highly rhythmic patterns and variations that build on each other, the impact of which is appealing hypnotic.
Whether or not you’re a Glass fan (and many people are not), the difficulty of his works and this concerto in particular cannot be denied.It’s tough and requires the utmost of attention, and with subtle variations and changes in pattern from measure to measure, there’s no room for error or loss of focus.
Despite it being a concerto for violin, it’s a virtuoso piece for all involved.JoAnn Falletta superbly navigated the complex score, effectively balancing the orchestra, which was in top form, with Armstrong’s seemingly non-stop violin lines.The results were exemplary, especially those of Armstrong who seemed to be quite a bit more comfortable with the modern mode than the more standard or traditional fare he’s played in the past.
The enthusiastic reception given Armstrong and the orchestra was well justified, its excellence illustrating why this piece is considered one of Glass’ most popular works.
An additional treat was hearing Puccini’s “Preludio Sinfonico in A Major,” an early work penned to gain acceptance into the Milan Conservatory.Written when 18, the signs of a master of melody were already evident in “Preludio.”Although a non-operatic work, it was a prelude to a career that established him as one of the form’s great opera composers.One can hear snippets throughout the highly lyrical, richly harmonic composition that suggest future operas and, in fact, operas already written by the likes of Wagner.The performance given it by the orchestra completely caught and embraced “Preludio’s” sweeping, romantic sensitivities.
The program opened on a snappy note with Rossini’s effervescent Overture to “An Italian Girl in Algiers.” Falletta and company relayed the work’s spirit and joy, especially in shaping those marvelous Rossini crescendo that start from nowhere and build and build in intensity and giddiness.
The fine fare finished with Dvorak’s Czech Suite in D Major.It’s trademark Dvorak all the way through its five movements, native Bohemian folk tunes crafted into one dance-like delight after the other. The Czech Suite is a gentle work that is filled with mood-setting melody, the full nature of which was sensitively shaped by the orchestra and Falletta, providing a perfect ending for this season series closing.
John Shulson, a Williamsburg resident and former professional musician, has been covering the arts for over 40 years. He makes a guest appearance in Margaret Truman’s “Murder at the Opera.”
