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University Centre Auditorium
March 3, 2006
By Deryk Barker
"Here is an artist with a genuine Czech heart, an artist by the Grace of God!"
The words are those of Franz Liszt in reference to Bedrich Smetana; I suspect that nobody in attendance at Friday evening's performance of Vltava, perhaps his single best-known work, would have cared to argue.
From the gently bubbling flutes, pizzicato strings and harp of the opening to the jubilance of the closing pages, János Sándor and his UVic players gave us a performance to remind us just why this music became so popular.
The orchestra played the music to the hilt, with excellent intonation and ensemble throughout; balances were exemplary and Sándor's control of dynamics terrific.
Although the music is somewhat episodic, it certainly did not seem that way on Friday, with the transitions managed seamlessly as the river took us from one delicious piece of tone-painting to another: the pellucid moonlight scene, for example, or the Nymph's Dance, taken at a slightly deliberate tempo, but full of life and with a genuine spring to its step.
When the music called for it, as in the portrayal of St. John's Rapids, the sound swelled magnificently, but without ever becoming overblown.
One of the most telling features of any Sándor performance is his ability to keep the brass in line; they certainly make a powerful sound when required, but it never becomes harsh and for the most part their contributions are well-balanced, with an almost mellow tone. I happened to be sitting in direct line of the trombones, yet never felt in any real danger. Something of a rarity in this day and age.
It was a performance to give the listener a new appreciation for music most of us probably thought we knew fairly well.
The evening closed with a performance of Brahms's Symphony No.4, which progressed from a slightly underdone opening movement to a magnificent finale.
Perhaps the players had given a little too much in the Smetana before the interval; whatever the reason, the first movement of the Brahms never quite seemed to gel, despite many fine things; it also featured some of the least secure playing of the evening. The coda was powerfully impressive, however.
The andante which followed continued the improvement, with weighty string tone, good (if not quite perfect) horns and a great outpouring of sound at the climax.
The scherzo was exuberant and energetic; maybe it was where I was sitting, but I don't recall ever hearing the contrabassoon's contribution quite so clearly. It's a strange instrument, arguably sounding like a cow's malfunctioning digestive system, but Johannes was evidently fond of it, using it in the First and Fourth Symphonies as well as, if I remember aright, the "Haydn" Variations.
The finale put the cap on the evening, from the austerely sombre opening to the dramatic final chords.
Perhaps the crux of the movement is the flute solo, here superbly played by Katherine Rogers; the sombre opening then reappears but is abruptly cut off by the first violins bringing in the full orchestra, a truly gripping moment on Friday.
From this point, the music proceeded to its close with the inevitability of a Greek tragedy.
The evening opened with a marvellous account of the overture to Weber's Der Freischütz. The opening chord was not quite balanced, but matters soon righted themselves; the overture combines mystery, drama and solemnity - all of which were to be heard in good measure.
I can think of no more reliable guide to the Central European repertoire (or do I mean Central, European?) than János Sándor. It is good to see him back where he belongs, on the podium in front of a stage full of highly talented young musicians.
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