Daily Archives: April 17, 2015

ALL-MOZART WEEKEND AT THE UTAH SYMPHONY

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UTAH SYMPHONY, Abravanel Hall, April 17; additional performance 8 p.m. April 18, tickets at 801-355-2787, 888-451-2787 or www.utahsymphony.org 

In a refreshing change from its usual heavily 19th century repertoire, this weekend’s Utah Symphony program is an all-Mozart affair.

Mozart’s works are among the most difficult to play well. His music demands craftsmanship and impeccable interpretative skills as well as consummate musicality and technique.

Fortunately, all this was on display Friday evening. Under the remarkable leadership of guest conductor Paul Goodwin the orchestra gave finely articulated readings of the three works on the program: the Symphony in D major (after the Posthorn Serenade), the Symphony No. 41, Jupiter, and the Piano Concerto No. 21 in C major, K. 467.

Goodwin, a replacement for the originally scheduled Bernard Labadie, elicited wonderfully precise playing from the ensemble, with beautifully molded dynamics and nuanced expressions. The only sour note to the evening was that the finale of the Jupiter came across a bit muddled because Goodwin lost control of the balance and let the trumpets and timpani overpower the others.

This weekend’s guest soloist, Benedetto Lupo, is no stranger to Utah. He has appeared here in the past; he is also a former contestant and judge at the Gina Bachauer competition.

The C major Concerto is one of Mozart’s most popular concertos, thanks to its appealing melodies and light, airy character. Film buffs will also recognize the slow movement from the 1967 Swedish film Elvira Madigan.

Lupo showed himself to be a fine Mozart interpreter and excellent technician who brought much to the table in terms of musicality. This was an exceptionally conceived and executed account of the concerto that let the music stand on its own without any editorializing from the soloist or the conductor. He and Goodwin captured the intimacy of the work with their nicely balanced interplay between the piano and ensemble. The performance was an absolute delight from start to finish.

WORKS BY BEETHOVEN AND RIHM GIVEN SPLENDID TREATMENT BY KATHRYN EBERLE AND JASON HARDINK

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NOVA GALLERY SERIES, Julie Nester Gallery, Park City, April 16; additional performance 3 p.m. April 19, Art Barn, tickets at the door, www.novaslc.org 

Beethoven’s 10 violin sonatas cover a large chunk of his creative life. They explore the violin’s capabilities as a conveyor of dramatic passion as well as lyricism. They also delve into the relationship between the violin and the piano. All in all, they are remarkable works and staples of the repertoire.

For the past two seasons these sonatas have been the focus of the NOVA Chamber Music Series’ Gallery Series. As played by Utah Symphony associate concertmaster Kathryn Eberle and symphony principal keyboardist and NOVA artistic director Jason Hardink, this mini series has been a wonderful addition to NOVA’s other offerings.

Jason Hardink and Kathryn Eberle (Photo: Courtesy NOVA Chamber Music Series)

The final installment of the Beethoven series took place yesterday in the intimate confines of Park City’s Julie Nester Gallery (the program will be repeated Sunday in Salt Lake City’s Finch Lane Gallery at the Art Barn).

These sonatas need an exceptional violinist and pianist and a strong collaborative effort between the two players to be successfully executed. And that is certainly the case with Eberle and Hardink. At Thursday’s concert, at which the last two sonatas were played (no. 9 in A major, Kreutzer, and no. 10 in G major, op. 96), the duo showed they were on the same wavelength, giving a very musical interpretation of both and balancing each other perfectly. Both sonatas received a splendid treatment at their hands.

First up was the op. 96. Atypical for Beethoven, the op. 96 is a predominantly lyrical work — even gentle at times. Eberle and Hardink gave a nuanced reading that underscored the gorgeously crafted expressiveness and subtle twists and turns of the score. They let the music flow naturally and brought a spontaneity to their playing that was refreshing.

The Kreutzer is, of course, the most famous of the 10 violin sonatas. And musically it’s the kind of work one expects from Beethoven — bold, brazen, passionate and powerful. And the two delivered the goods. They gave a spectacular account that captured the drama and fervor of the music. They played it forcefully, but their dynamic reading nevertheless conveyed the lyricism that underlies the music, even at its fervent loudest.

Interspersed between the Beethoven were the last two Klavierstücke by the contemporary German composer Wolfgang Rihm. Hardink, who is a master of new music, gave a remarkably lucid and radiant account of the Sixth, Bagatellen, and the Seventh.

There couldn’t be two more disparate pieces than these two. The Sixth is a quiet, reflective piece that plays with the concepts of time and silence, but in a very imaginative manner. On the other hand, the Seventh, based on the opening motivic fragment of Beethoven’s last piano sonata, op. 111, is an intense, demonic statement that is rhythmically charged and driven. Its relentless energy and vitality was brought home quite forcefully by Hardink’s powerful playing. And in both cases, Hardink’s innate sense of interpretation served these two pieces well.