It is very impressive to see accomplished, professionals solo with an orchestra, but when the featured artists are super-talented teenagers and even younger, it is pretty astounding. Such was the case at the Vancouver Symphony’s concert on January 18th at Skyview Concert Hall, when the three gold medalists from the orchestra’s Young Adult Competition took the stage. Violinist Hana Gottesman, saxophonist Jacob Peizner, and pianist Wilson Liu dazzled the audience with their artistry in performing difficult concertos with the orchestra under music director Salvador Brotons – all of which made a strong case for the arts in the education of our nation’s youth.
First in the program lineup was Gottesman, a 17-year-old violinist from Bellevue, Washington, who started violin lessons when she was just six. She played Maurice Ravel’s “Tzigane”, which opens with a long and treacherous cadenza, impeccably. She gave some notes a real zing, and collaborated deftly with the orchestra to convey the gypsy-inspired themes of the piece.
Next came Peizner, age 17, who is a senior at Oregon Episcopal School. He delivered a sparkling rendition of Jacques Ibert’s “Concertino da camera for alto saxophone and eleven instruments.” During the first part of the piece, he negotiated a seemingly endless series of runs with elan. He expressed the beginning of the second part with great sensitivity and conquered the cadenza to bring the piece to a joyful conclusion.
After intermission, Liu wowed concertgoers with a stellar performance of the first movement from Mozart’s Piano Concerto No. 20. Although he is only eleven years old, Liu showed an artistic level way, way above his age, expressing the piece with perfectly calibrated dynamics and technical precision. He handled delicate passages with the utmost care, but he could also spring into a passionate section with unbridled gusto. He demonstrated an innate musicality that was flat-out jaw dropping, and the audience rewarded him with an enthusiastic standing ovation.
For the purely orchestral portion of the concert, Brotons led his forces in a rousing interpretation of Richard Strauss’s “Til Eulenspiegel’s Merry Pranks.” Jeong Yoon Lee, who usually is the VSO’s principal second violinist, took over the concertmaster position and excelled with her solos. Principal hornist Daniel Partridge announced the prankster’s theme with panache, and Ricky Smith expertly handled all of the tricky passages for the E-flat clarinet, as if to channel the trickster directly.
Since the piece relates to several escapades, it would have been nice to have had some projected text to accompany the music. That would help American audiences, who don’t know the stories, understand the music more.
Brotons gave a very humorous introduction to the Suite from the from Richard Strauss’s opera “Der Rosenkavalier.” The horns sounded glorious as they launched the first volleys. Principal oboist Alan Juza contributed substantially with his playing. The performance – highlighted by its wistful waltz tune – had just the right sentiment to evoke scenes from the opera.
The concert began on a much different note – with the orchestra eliciting space travel in “Mothership” by Mason Bates. This piece blends electronic and acoustical sounds in a very effective way. A heavy, pulsating beat establishes a rhythmic drive that permeates much of the time, but there is a section – given over to the cellos – that was briefly soothing. The orchestra then gathers its forces to create a sound of a spaceship taking off and whirling into the sky.
Judging from the smiles that I saw, it seemed that the orchestra really enjoyed cutting loose on the piece. The audience applauded the piece with vigor, and I think that I noticed Brotons smiling. Since Brotons is a composer, himself, I will have to find out if he has tried to write an orchestral piece that uses electronics. You never know…
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