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First Metropolitan United Church
February 20, 2009
Tchaikovsky's Opus 48 Serenade is a brilliant piece of writing for string orchestra. This masterpiece is a subtle and moving work that has none of the grand gestures of the 1812 Overture (Opus 49), its immediate successor in Tchaikovsky's canon (no pun intended). It does, however, have a richness of mood, from the opening "sonatina" movement, dedicated to Mozart, through the ardour of the Elegie and the dance rhythms of the Finale. The Victoria Chamber Orchestra (in its "string orchestra" guise) and their director, Yariv Aloni, once again demonstrated their deft touch with this repertoire, and gave us a performance to remember. Phrasing, balance, dynamics, everything that makes for a successful interpretation was there.
The awareness of balance and the interplay between the various voices was just as apparent when Alexander Dunn joined the VCO prior to the interval for Giuliani's Concerto Opus 70, a piece of Classical charm dating from 1822. Guitars are, compared to the instruments in the orchestra, quiet, and thus the issue of balance is of foremost concern when performing any guitar concerto. The VCO and Dunn took two steps to address this -- the string players used lighter bows, and Dunn appeared with a "terz guitar", the instrument for which the concerto was written. Compared to the typical classical guitar, the terz guitar is smaller and tuned a minor third higher, giving it a brighter sound. This brighter sound was certainly more distinct among the strings, although the terz guitar also has a thinner tone, particularly in the higher register, that makes me wonder if it is worth the exchange.
Whatever misgivings might be stated about the sound of the guitar, the performance was first-rate from the lengthy orchestral introduction to the final bars of the third movement, where the accelerando never felt rushed. Dunn's technical skills were very much in evidence particularly in the rapid passages of the final movement, and his musical skills in the shaping of the long lines in the middle slow movement.
The concert opened with a short piece by Alan Hovhaness. The Armenian Rhapsody No.3 for Strings, Op.189 is a deceptively simple work that builds on a short modal phrase (I counted six notes in the main theme) I'm assuming is of Armenian origin, stated in the middle to lower voice of each instrument. At first it seemed a piece from the Minimalist school, but as it developed the Rhapsody demonstrated an impressionistic charm devoid of cool detachment.
I've never failed to be impressed by the Victoria Chamber Orchestra. If it's not the skill demonstrated by the ensemble (the Tchaikovsky) or the sensitive support of the soloist (the Giuliani), it's Aloni's deft choice of material (the Hovhaness). In short, another memorable performance by this ensemble.
The VCO next takes the stage on April 18, 2009, in a concert that will feature the winner of the 2009 Louis Sherman Concerto
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