Tag: milanov

Columbus Symphony delights in Viennese triumvirate

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Rossen Milanov, conductor
Columbus Symphony Orchestra
Ohio Theatre
Columbus, OH
January 20, 2023

Beethoven: Leonore Overture, Op. 72b
Mozart: Symphony No. 36 in C major, K425, Linz
Haydn: Symphony No. 100 in G major, Hob. I:100, Military

Haydn, Mozart, and Beethoven are all but synonymous with the classical style, and this weekend’s Columbus Symphony program offered one sterling example from each of these Viennese masters (and although indelibly associated with the Austrian capital, none were in fact natives). Beethoven produced no less than four overtures for his sole opera Fidelio; the third, bearing the opera’s original title Leonore, opened the program. Ripe with operatic drama, it functions well as a standalone concert piece – and in the opera house, it has become a long-standing tradition to inject this version between scenes in the second act.

 Rossen Milanov and the Columbus Symphony, photo credit Corinne Mares

Somber beginnings gave rise to dramatic tension, thoughtfully paced by Milanov. Offstage trumpets sounded as a fanfare, suggesting narrative details of the source material, and the work ended in brassy splendor. Slow introductions were par for the course in Haydn’s symphonies, but rather rare for Mozart’s output. He employed such a device for the first time in the Linz symphony (No. 36), a technique he would only revisit twice (nos. 38 and 39). It made for a stately opening, setting up the effervescent main subject of the movement proper, given with airy clarity.

The Andante made for a gentle interlude, though punctuated by insistent brass and timpani. A most elegant of minuets followed, with Milanov’s baton bringing emphasis to the sprightly triple meter. The finale was lithe, lean, and joyous – one of Mozart’s most untroubled creations.

The introduction to Haydn’s Military symphony was given with clarity and careful articulation; the main theme was established with the unusual scoring for flute and oboe, and matters proceeded with a refined charm. Over two centuries later, the Allegretto which gives this symphony its moniker is still so striking and wonderfully surprising with its ceremonial percussion and brass fanfare. Such a movement is a hard act to follow, but the minuet was full of wit and charisma, with playing from the well-rehearsed CSO boasting the requisite transparency demanded by this repertoire. A vigorous return of the percussion made the finale an especially exciting affair.

Columbus Symphony opens new year with hearty Russian program

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Rossen Milanov, conductor
Bella Hristova, violin
Columbus Symphony Orchestra
Ohio Theatre
Columbus, OH
January 6, 2023

Rimsky-Korsakov: Suite from The Snow Maiden 
Prokofiev: Violin Concerto No. 1 in D major, Op. 19
Shostakovich: Symphony No. 6 in B minor, Op. 54

The Columbus Symphony’s first program of 2023 surveyed three giants of the Russian repertoire – Rimsky-Korsakov, Prokofiev, and Shostakovich. A suite from Rimsky’s opera The Snow Maiden opened, an appealing selection of highlights, though its twelve minute duration barely scratches the surface of the expansive opera – a work which the composer considered his finest. The Introduction brimmed with a quintessentially Russian melancholy. “Dance of the Birds” unmistakably portrayed the subject material from this master of orchestration, and “Dance of the Buffoons” – the most recognizable excerpt – made for a rollicking close.

Bella Hristova, Rossen Milanov, and the Columbus Symphony, photo credit Corinne Mares

Prokofiev’s First Violin Concerto brought forth music director Rossen Milanov’s Bulgarian compatriot Bella Hristova – who was graciously on hand for a pre-concert interview with the conductor. Dreamy, meditative material opened, with a beguiling melody from the soloist. The movement gathered momentum, making relentless technical demands without being an overt display of showmanship. A thorny though brief scherzo as the concerto’s centerpiece showed the composer in a more recognizable guise as an enfant terrible. Severe challenges by and large met with aplomb, one nonetheless wanted cleaner intonation when the scoring reached high into the soloist’s register.

The finale served as the most wide-ranging segment of this compact concerto, at its endpoint landing on dreamy material in the spirit of where it all began. As an encore, Hristova offered the Bulgarian folk song “Ratchenitsa”, quipping that it would “break the mood of that gorgeous ending” – which it surely did, but in the best way possible!

Shostakovich’s Sixth Symphony dates from 1939, right on the cusp of World War II. It’s a powerful statement to be sure, but a perplexing work, not in the least because of its unusual structure: three movements, beginning with a vast Largo that occupies more space than the latter two fast movements combined. A searching melody in the low strings opened, not quite grounded. Sparse textures prevailed in this deeply personal, unembellished statement, sustaining a desolate atmosphere. A particularly striking moment came when string trills were pitted against strident brass.

The following Allegro was light-hearted, playful fare by contrast, gaining enormous vigor with its bombastic percussion. A oblique invocation of the Dies irae, however, suggested the darkness of the opening had hardly been overcome. The closing Presto was marked by a rambunctious dance-like theme, as caustic and sardonic as anything Shostakovich wrote.

Columbus Symphony, Chorus, and soloists deliver a riveting Glagolitic Mass

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Columbus Symphony Orchestra
Rossen Milanov, conductor
Cameron Carpenter, organ

Abigail Rethwisch, soprano
Mariana Karpatova, mezzo-soprano
Jonathan Burton, tenor
Adam Cioffari, bass

Columbus Symphony Chorus
Ronald J. Jenkins, chorus director

Ohio Theatre
Columbus, OH
November 18, 2022

Nielsen: Overture to Maskarade
Poulenc: Organ Concerto in G minor, FP 93
Janáček: Glagolitic Mass

For the final subscription program of the calendar year, the Columbus Symphony served a fascinating program of three compelling yet infrequently heard works – the latter two which made use of the Ohio Theatre’s opulent Morton organ. The overture to Carl Nielsen’s ebullient opera Maskarade was of insouciant charm, with playing lithe and stylish for an energetic curtain-raiser.

Rossen Milanov, Cameron Carptener, and the Columbus Symphony, photo credit Corinne Mares

Composed 1934-38, Poulenc’s Organ Concerto is a product of the composer’s characteristic neoclassicism, but of a darker, more serious orientation than that employed in his earlier keyboard concertos – namely, the Concert champêtre and the Concerto for Two Pianos, works charming if a bit saccharine. The work is constructed as a single movement, though subdivided into seven discrete sections. It was a special treat to hear the Morton organ, and soloist Cameron Carpenter took masterful command of the instrument. A commanding opening for organ alone invoked the gravitas of Bach, but the lighter section that followed unmistakably bore Poulenc’s neoclassical stamp. A languid Andante moderato, by far the longest section, offered ample contrast.

Carpenter was assertively committed to utilizing the full possibilities of the Morton organ (and spoke in reverence of it during the pre-concert conversation), but one wondered how the piece would have come across differently had a more traditional concert hall organ been available (even in the more serious passages, to my ears the instrument inevitably invoked silent film accompaniment). A dramatic return of the opening material came in the final section before matters were distilled to hymn-like material – suggesting the composer’s reinvigorated interest in Catholicism at the time – and decorated with a delicate passage for solo viola, all a peaceful diversion before the bold closing statement. Carpenter returned with an encore that showed his sterling technique and exploited the instrument’s color and dramatic range.

Janáček’s Glagolitic Mass is a major artistic statement coming from the twilight years of the composer’s life. A setting of the mass in vernacular Czech, it is imposingly scored for large orchestra, organ, chorus, and a quartet of vocal soloists. Cast in eight movements, the first and final are for orchestra alone, the penultimate for organ alone. The opening orchestral introduction was a brassy call to attention, introducing an angular theme in Janáček’s rarefied musical language. In Gospodi pomiluj, the chorus entered as a pious contrast to the bracing orchestra, only to grow in urgency with the addition of soprano Abigail Rethwisch.

Slava was comparatively brighter, with the chorus impressive in negotiating the complexities of both the work itself and of the Czech language. Striking too was the use of organ and the composer’s unique use of the orchestral resources at hand. Jonathan Burton added a lyrical tenor to the extensive Věruju, and an organ interlude anticipated the solo movement to come. Adam Cioffari offered a resonant bass, finely complementing the richness of the chorus. Svet was by turn more pensive, with a touching solo line from concertmaster Joanna Frankel, and all four soloists in concert. That the seventh movement would be scored for organ alone underscored the importance of the instrument to the work; intensely dramatic, it was a further chance for Carpenter to shine, and the orchestra was subsequently given the last word in an ecstatically powerful final statement.

Powerful Brahms and charming Dvořák at the Columbus Symphony

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Columbus Symphony Orchestra
Rossen Milanov, conductor
Shai Wosner, piano
Ohio Theatre
Columbus, OH
November 5, 2022

Montgomery: Starburst
Brahms: Piano Concerto No. 2 in B-flat major, Op. 83
 Encore:
 Schubert: Hungarian Melody, D817
Dvořák: Symphony No. 6 in D major, Op. 60

Jessie Montgomery is a contemporary composer that has rightfully garnered much attention in recent years, and the Columbus Symphony opened their program with her 2012 work Starburst – a welcome further foray into her work after their inclusion of Banner last season (a program which in fact paired Montgomery with the same composers here). Starburst quite literally bursted with infectious, sparkling energy. One only wished this was sustained longer than its 5-minute duration, and I hope Montgomery is a composer the CSO continues to visit.

Shai Wosner with Rossen Milanov and the Columbus Symphony, photo creditt Corinne Mares

Brahms’ vast Second Piano Concerto made for a heavier contrast, and featured Israeli pianist Shai Wosner. A mellow horn call from principal Brian Mangrum made for a majestic opening to the weighty first movement. Wosner performed with intense, singular focus, though I felt his playing veered a bit too cautious and restrained. Although his technique wasn’t flawless, it nonetheless served well the daunting demands of the work. Both pianist and conductor Rossen Milanov seemed aligned in their conception of the grand, sweeping arc of the movement.

The scherzo that followed was hardly a trifle, still bearing much of the weight of the preceding, but sprightlier material contrasted. A deeply lyrical cello solo (Luis Biava) opened the Andante, and the piano entered with a gentle, song-like touch. The payoff came in the finale with its folk-inflected abandon, though hardly short on drama. As an encore, Wosner offered a lovely account of Schubert’s Hungarian Melody.

Dvořák’s Sixth Symphony was a milestone for the composer in that it was the first to published, and shows him blossoming into a mature symphonist. The spacious, expansive Allegro non tanto opened with a gentle, bucolic theme over pulsating accompaniment. It was certainly apposite to precede the symphony with Brahms as it bears the elder composer’s influence (particularly from Brahms’ own D major symphony), yet not without Dvořák’s individual hallmarks. 

A touching moment of repose was to be had in the Adagio, its thematic material charmingly introduced in the winds. The composer unmistakably revealed in his Czech origins in the lively furiant that followed, and the orchestra deftly negotiated the ever-changing meters, an energetic warmup of sorts for the jubilant finale.

Columbus Symphony opens season in the exuberance of Carmina Burana

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Columbus Symphony Orchestra
Rossen Milanov, conductor 

Ashley Fabian, soprano 
Arthur W. Marks, tenor
Ethan Vincent, baritone 

Columbus Symphony Chorus 
Ronald J. Jenkins, chorus director 
Columbus Children’s Choir 
Jeanne Wohlgamuth, artistic director

Ohio Theatre
Columbus, OH
September 30, 2022

Orff: Carmina Burana

There’s only a handful of works from the twentieth century and later that generate an enduring popular appeal, and Orff’s 1937 cantata Carmina Burana is certainly one of them. A choice opener for the Columbus Symphony’s 2022-23 season, it also marked the first full-fledged return of the Chorus post-pandemic, having been relegated to more minor roles in the handful of repertoire last season that called for chorus. Adding to the sense of occasion on opening night was the presence of the League of American Orchestras CEO Simon Woods and Ohio Lt. Governor Jon Husted, introduced by CSO executive director Denise Rehg.

L-R Ronald J. Jenkins, Jeanne Wohlgamuth, Ethan Vincent, Ashley Fabian, Arthur W. Marks, Rossen Milanov with the Columbus Symphony & Chorus and Columbus Children’s Choir, photo credit Corinne Mares

The chorus is certainly the star of Carmina Burana, evident from the onset with the iconic “O Fortuna” that set the dramatic tone sustained for the remainder of the work. Finely prepared by Ronald J. Jenkins in his final season as chorus director, they negotiated no less than three languages – and dead languages at that: Latin, Middle High German, and Old French. The choral scoring more often than not puts the chorus in unison, and a strophic structure dominates, maximizing a directness of expression – this isn’t a work where one gets lost in a web of contrapuntal intricacies. Still, there were times where one wanted better projection over the large orchestra and greater clarity of diction (the texts and translations were fortunately provided in the program books).

It wasn’t all drama and bombast, however, with “Veris leta facies” bringing to life gentler, vernal delights, and the Round Dance sharply contrasting bacchanalia with the more introspective. The Columbus Children’s Choir under the direction of Jeanne Wohlgamuth offered a further choral layer in this lavish tapestry, almost angelic when in dialogue with soprano Ashley Fabian in “Amor volat undique.” Fabian was fittingly clothed in red, evoking the titular red tunic of “Stetit puella rufa tunica,” and served as a fitting foil to her male counterparts. She boasted an impressive command of labyrinthine melismas in “Dulcissime, totam tibi subdo me!”

Tenor Arthur W. Marks appeared offstage (and feathered) in “Olim lacus colueram”, dramatically one of the most striking moments of the work, singing high into his range in a pained dialogue with the masses of the chorus, although I felt the sense of tortured struggle could have been conveyed even more convincingly. I found baritone Ethan Vincent – who last appeared on this stage as Marcello in in La bohème – the most compelling of the trio of soloists. His first appearance in “Omnia Sol temperat” was given with charismatic delivery, and subsequently, he lumbered onstage, pantomiming inebriation in “Estuans interius” – yet ultimately, his delivery bordered on a sumptuousness more fit for Puccini. His command of the wide range demanded in “Dies, nox et omnia”, however, was where he was truly a standout.

Though the chorus rightly deserves the spotlight, the extensive orchestral forces were certainly an entity to be reckoned with. The dance movement for orchestra alone that opens “Uf dem anger” was given a vigorous workout, capped off with a silvery flute solo. “Were diu werlt alle min” was bursting with brassy splendor. The piano (Caroline Hong) features quite prominently in the score, perhaps most strikingly in “Veni, veni, venias.” The occasional uncoordinated entrance notwithstanding, music director Rossen Milanov commanded the disparate forces as a unified whole for a satisfying first entry of the season. As noted in both the program notes and Christopher Purdy’s preconcert lecture, Carmina Burana is in fact the first in a trilogy of related works. Despite the popularity of the first, the latter two remain largely uncharted territory – a potentially fascinating exploration for the CSO to undertake in future seasons.

Milanov and Columbus Symphony make compelling case for Liszt’s Dante Symphony

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Columbus Symphony Orchestra
Rossen Milanov, conductor
Brian Mangrum, horn

Women of the Columbus Symphony Chorus
Ronald J. Jenkins, chorus director

Ohio Theatre
Columbus, OH
March 18, 2022

Britten: Four Sea Interludes from Peter Grimes, Op. 33a
Strauss: Horn Concerto No. 1 in E flat major, Op. 11
Liszt: Dante Symphony, S109

Though Franz Liszt is rightly remembered as chiefly a composer for the piano, he produced a vast body of orchestral works – including virtually inventing the tone poem – that should not be overlooked. In some particularly ambitious programming, the Columbus Symphony offered the first local performances of the Dante Symphony, an orchestral portrait of The Divine Comedy. An informative pre-concert conversation between music director Rossen Milanov and Jonathan Combs-Schilling from Ohio State’s Italian department gave thoughtful insight into both the music and its literary inspiration. A visual element was added with Gustave Doré‘s iconic illustrations to accompany the text – produced in 1857, the same year as the symphony – projected along with the music. Though an intriguing idea, the stage lights largely diluted the projections, rendering them more a distraction than an enhancement.

Gustave Doré’s illustration to Dante’s Inferno. Plate VIII: Canto III: The gate of Hell. “Abandon all hope ye who enter here”, photo credit Wikimedia Commons

The first movement Inferno began with an imposing descent to the hell in the low brass – trombones in particular have long been associated with depictions of the underworld, dating back to Monteverdi’s Orfeo. A wound-up tension was purveyed in music that was unrelenting, often overwhelming in ferocity, but Milanov had a thorough grasp of the large-scale form, serving as an incisive guide. Secondary material depicted the doomed love affair of Francesca and Paolo, a languid contrast. A skeletal recitative-like passage in the bass clarinet was quite striking, and Liszt made use of richly chromatic, Wagernian harmonies, sounding at times like a page out of Tristan. Milanov rightly reined in the bombast during the coda, but still yielded a close that was powerfully unforgiving.

The second movement Purgatorio provided some much needed peace after the preceding, with some especially touching scoring for the harp and oboe. This was fittingly music of stasis, held in contemplative limbo, although a triumphant passage and a thorny fugue gave matters both variety and perhaps a glimmer of hope. Liszt had originally envisioned concluding the work with a Paradiso movement, mirroring the source material, but conceded that depicting heaven would be all but impossible. Instead, he provided a lovely Magnificat as something of a pendant to previous movement. It’s a hymn of sorts wherein we manage just a glimpse of the entrance to paradise. It was a magical moment when the women of the Columbus Symphony Chorus appeared practically out of the ether, offering an angelic vision of what lies beyond in the most deeply moving music of the work. The performance was a laudable achievement, and I hope Milanov and the CSO will continue to explore Liszt’s lesser-known orchestral pieces.

The program began with Britten’s Four Sea Interludes from Peter Grimes, a quantity which amazingly hasn’t appeared on a CSO program since 1979. High strings opened with an almost mystical evocation of dawn, though the intonation left something to be desired. “Sunday Morning” saw a brassy awakening, replete with tolling church bells. “Moonlight” was tranquil though not without foreboding as matters took a darker turn in the closing “Storm.”

The ensemble afforded the spotlight to one of its own in Strauss’ Horn Concerto No. 1 in bringing Brian Mangrum front and center, the CSO’s principal horn since 2018. Written when the composer was a precocious 18 year old, the regal E flat major tonality set the stage for a decisive solo entrance, and Mangrum offered a warm, rich tone. A lyrical slow movement saw the horn in dialogue with a rising gesture in the strings, a moment of repose before the jaunty and limber finale.

Rossen Milanov, Brian Mangrum, and the Columbus Symphony. Photo credit Columbus Symphony

A lush La bohème from the Columbus Symphony

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Columbus Symphony Orchestra
Rossen Milanov, conductor

S Katy Tucker, video artist
James Marvel, director

Joshua Stewart, Rodolfo
Michelle Johnson, Mimì
Abigail Rethwisch, Musetta
Ethan Vincent, Marcello
Brian Major, Schaunard
Robert Kerr, Colline
Cody Müller, Alcindoro

Columbus Symphony Chorus
Ronald J. Jenkins, chorus director

Ohio Theatre
Columbus, OH
February 4, 2022

Puccini: La bohème

In their most ambitious undertaking so far of the current season, the Columbus Symphony offered a complete staged performance of Puccini’s indelible opera La bohème. The orchestra was perhaps the biggest star of the evening, aided by a compelling cast of singers and chorus, with the narrative brought to life by way of simple yet effective staging further enhanced by video projections, spanning the stage of the Ohio Theatre as a massive canvas.

Ohio Theatre during Christopher Purdy’s pre-concert talk. Note the video projection spanning the stage

La bohème is a compact, fast-paced affair, certainly by operatic standards. Eschewing a full-scale overture, a few bars of orchestral introduction led directly to the opening dialogue wherein we were transported in an instant to a Parisian garret. The four flatmates had a wonderfully conversational chemistry. Michelle Johnson’s Mimì was sweet and pure, but portrayed from the beginning with signs of the tragic character’s illness – an ominous foreshadowing. As Rodolfo, Joshua Stewart’s first moment to shine came in the aria Che gelida manina, sung with great tenderness. Johnson followed with a dulcet but full-bodied Sì, mi chiamano Mimì. A moonlit duet between the two (O soave fanciulla) closed the first act in the loveliest fashion.

Act II took matters to the bustling Latin Quarter, the stage brimming with members of the Columbus Symphony Chorus, excellently prepared by Ronald J. Jenkins. It was interesting to see the chorus members masked – perhaps this was merely Covid protocol, but masked faces in a crowded public setting made this nineteenth-century tableau feel quite topical. Abigail Rethwisch made a terrific Musetta, highlighted by the lilting Quando me’n vo’, her charm a stark foil to the hapless Alcindoro.

Lush harps and projections of falling snow made for an atmospheric opening to Act III, and again rather topical as it quite literally takes place in February (as did the opera’s 1896 premiere). A duet between Mimì and Marcello (Ethan Vincent) was especially touching. The final act returned to the garret where it all began, depicting the cyclical and perhaps inevitable nature of things. A short-lived moment of levity was to be had before the heart-wrenching conclusion, certainly one that packed an emotional punch. Milanov certainly has a gift for opera conducting, and I look forward to any future operatic forays from these forces. A shame the severe winter weather prevented a larger audience!

Barnatan’s ravishing Rachmaninov closes Columbus Symphony’s Russian festival

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Columbus Symphony Orchestra
Rossen Milanov, conductor
Inon Barnatan, piano
Ohio Theatre
Columbus, OH
January 23, 2022

Tchaikovsky: Orchestral Suite No. 3 in G major, Op. 55
Rachmaninov: Piano Concerto No. 3 in D minor, Op. 30

Two weeks after a memorable first entry of the Russian Winter Festival, the Columbus Symphony offered an even more compelling second foray into the repertoire, in this case focusing on Tchaikovsky and Rachmaninov. Despite the seemingly innocuous title, at over forty minutes, Tchaikovsky’s Suite No. 3 is a work very much on the scale of the symphonies. If there are salient differences to be noted, the Suite is rather lighter in character than the often tragic symphonies, and includes scoring for English horn and harp – instruments the composer avoided in the symphonies. The opening Élégie was graceful, delicate, and tinged with melancholy. Tchaikovsky’s arching lyricism was in plain sight, heightened by a languid English horn solo from Robert Royse. The Valse mélancolique that followed was of an ineffable charm, a lilting waltz but with doleful underpinnings, subsequently countered by an energetic yet featherlight scherzo.

Inon Barnatan, photo credit Marco Borggreve

The closing theme and variations is as long as the first three movements combined. Matters were inaugurated by a stately presentation of the theme in the strings, and with charm and delight, Milanov shaped each of the twelve variations that followed with individual character in this first CSO performance of the work. Variation 4 featured a powerful invocation of the Dies irae, and the fugato of the following was given with exacting clarity. Variation 9 closed with a wonderfully virtuosic violin cadenza from associate concertmaster Leonid Polonsky, leading into the deeply melancholic tenth variation. Not only is the suite as a whole end-weighted, but so are the variations themselves with the final few being the most extensive and expressive. A grandiose polonaise concluded the set in bellicose fashion. Following the performance, Milanov offered gratitude and tribute to violist Mary Farrington, stepping down after a remarkable 42 years.

Rachmaninov’s famously virtuosic Piano Concerto No. 3 brought Israeli pianist Inon Barnatan in the spotlight. Haunting, monastic beginnings were taken at an indulgently slow tempo, but vigor was amassed in due course. The sumptuous orchestral accompaniment complemented Barnatan’s virtuosity well, with the pianist conveying a rich tone, amply projected, though perhaps a bit too mild-mannered for such impassioned repertoire. Barnatan opted for the shorter of the two cadenzas Rachmaninov provided, though it still packed a punch, putting his commanding technique on full display – certainly one of the most thrilling moments in the piano concerto literature. Lush textures crested to passionate outpourings in the central movement, and a seamless transition led directly into the energetic march of the finale, building to a blazingly virtuosic conclusion.

Columbus Symphony opens new year in powerful Russian repertoire

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Columbus Symphony Orchestra
Rossen Milanov, conductor
Ohio Theatre
Columbus, OH
January 7, 2022

Mussorgsky/Ravel: Pictures at an Exhibition
Stravinsky: Le sacre du printemps (arr. Jonathan McPhee)

The Columbus Symphony opened the New Year with its annual Russian Winter Festival, now in its seventh year. The first of two programs in the Festival, Friday night’s offering put forth two of the most pivotal works – and orchestral showpieces – of the Russian repertoire: Mussorgsky’s Pictures at an Exhibition and Stravinsky’s Rite of Spring. Such a meaty program made for an exciting night of orchestral virtuosity.

Presented in its (overly?) familiar Ravel orchestration, Pictures at Exhibition was certainly a rousing way with which to begin the year, with the clarion trumpets calls of the opening “Promenade” setting a ceremonial tone (principal trumpet Mark Grisez). The coloristic “Gnomus” put Ravel’s mastery of instrumentation on full display. Marked contrast was to be had in the lightness of “Tuileries” preceding the weight of the imposing “Bydło” – the latter a shining moment for the tuba. “Samuel Goldenberg und Schmuÿle” stood out by its striking use of the muted trumpet, showing the many colors of an instrument so pivotal to the suite. A tragic chorale opened the “Catacombae” segment, perhaps the emotional core of the work, while closing “Great Gate of Kiev” was solemn and stentorian, with a suitably grandiose finish enhanced by the tolling bells.

Stravinsky’s Rite of Spring amply filled out the balance of the evening. Milanov opted to use a version for reduced orchestra arranged by conductor Jonathan McPhee. While perhaps some of the raw excitement is lost when performed by slimmer forces, the McPhee arrangement stays faithful to the original (a few samples can he heard here) and is the only reduction to be approved by the Stravinsky estate (and when the work is performed as a staged ballet, this version accommodates venues that lack a pit large enough to fit the vast number of players the composer originally envisioned).

The work began in a bassoon solo (Betsy Sturdevant), sounding nearly otherworldly in its unnaturally high register. The music progressed discursively, gaining momentum until it crested in the iconic passage of manically repeated, pulsating rhythmic gestures. Milanov’s exacting baton work carefully guided the orchestra through the piece’s fearsome rhythmic complexes. Part II opened shrouded in the same mystery as the beginning with fine solo contributions from concertmaster Joanna Frankel, astringently portraying a desolate atmosphere. The pounding bass drum ignited the kinetic energy of “Glorification of the Chosen One”, bursting with a primal fury that pointed in due course towards the final, cataclysmic crash. There’s certainly much to forward to in the second installment of the Russian Winter Festival, featuring works of Tchaikovsky and Rachmaninov.

Columbus Symphony explores Romanticism in Liszt and Brahms

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Columbus Symphony Orchestra
Rossen Milanov, conductor
Claire Huangci, piano
Ohio Theatre
Columbus, OH
November 12, 2021

Williams: The Dream Deferred
Liszt: Piano Concerto No. 2 in A major, S125
 Encore:
 Gulda: Piano Play No. 6
Brahms: Symphony No. 2 in D major, Op. 73

As with the previous entry in the Masterworks series, the Columbus Symphony’s program on Friday night thoughtfully opened with a socially-relevant work by a contemporary African-American composer. Here, the work in question was the 2017 composition The Dream Deferred by Chicago native Evan Williams. Alluding to the Langston Hughes poem, the present work contends with how the American dream is all too often deferred for the Black and Latino communities, particularly amongst young males in what is chillingly referred to as the school-to-prison pipeline. Scored for string orchestra and harp, the piece is bifurcated into two brief movements, “it explodes” and “it dries up” respectively. The harp textures in particular showed the composer’s skill as the unsettled, ominous music proceeded until the titular dream eventually faded away into darkness.

A preconcert conversation between Claire Huangci and Rossen Milanov

The preconcert talk featured an informative conversation between music director Rossen Milanov and guest pianist Claire Huangci. The two first collaborated in Philadelphia when Huangci was just 12 years old. She was featured this weekend in Liszt’s Piano Concerto No. 2, a rather more lyrical foil to its more frequently heard predecessor. Plaintive winds were answered by gentle cascades in the piano, and the pianist’s elegant, sensitive playing captured one’s attention. Though certainly more subdued than the First Concerto, there were nonetheless ample opportunities for flair and virtuosity which Huangci delivered with aplomb, particularly in the riveting march. A ravishingly beautiful duet between the pianist and principal cellist Luis Biava offered a moment of calm before the big-boned finish. Huangci indulged the appreciative audience with an encore in Friedrich Gulda’s Piano Play No. 6, thoroughly entertaining in its jazz inflections and rapid-fire repeated notes.

The so-called “War of the Romantics” was a defining feature of nineteenth-century music, pitting against each other two vastly different approaches to composition. The present program intriguingly explored that by contrasting the Liszt with the latter half devoted to Brahms’ Second Symphony. The first movement opened gentle and genial, though it sounded as if it could have benefitted from additional rehearsal time. The trajectory of this expansive movement was not always clear as matters plodded along, with interjections from the brass fitfully uncoordinated and out of tune. Nonetheless, I found the slow movement more convincing with a serenity encouraged by the resonant cellos, and Milanov led the orchestra to a fiery passion before peacefully subsiding. Milanov aptly referred to the Allegretto grazioso as a “stylized minuet”, and it provided much charm ahead of the finale, certainly one of the most jubilant in the repertoire – just what was needed on a cold November night.