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| From OSO's Facebook page |
The Oregon Symphony dialed it back a couple hundred years and a few score more to deliver outstanding performances of works by Bach, Handel, and Haydn at the Arlene Schnitzer Concert Hall (November 4). Baroque specialist Dame Jane Glover, in her debut with the orchestra, made sure that the sound was fresh and gem-like. Guest soloist Awadagin Pratt excelled at the keyboard with the Bach and then topped that with an entrancing rendition of Jessie Montgomery’s “Rounds,” a contemporary number that perfectly complemented the old masters.
It was a genuine rarity to hear the local band play Bach’s “Concerto No. 4 in A Major for Clavier and Strings.” According to the program notes, the last time that the orchestra touched that piece was in January of 1997 under James DePreist with – guess who – Awadagin Pratt. I can’t even recall the last time I heard any Bach played by the orchestra. So I combed through my reviews and found that in October of 2015, Matthew Halls conducted the “Ricercare” from Bach’s “Musical Offering” in Webern’s arrangement.
Perhaps part of the reason that there has been so little Bach programmed at OSO concerts was due to the acoustics of the hall. Fortunately, OSO’s installation of the Meyer Sound System in 2021 has really improved the sonic qualities. At Monday night’s concert, Pratt, Glover, and the orchestra – in a cozy string chamber formation – fashioned an elegant statement with Bach’s “Concerto No. 4 in A Major for Clavier and Strings” (not to be confused with the Brandenburg Concerto No 4). The opening movement danced with bright colors and a joyful ambiance. The second movement offered delicate exchanges of phrases between Pratt and members of the orchestra – especially Principal Bassoon Carin Miller. The third movement capped things off with wonderful dynamic contrasts, including one that swelled up to double forte and subsided to a double pianissimo.
Montgomery’s “Rounds,” which, by the way, won the 2024 Grammy for Best Contemporary Classical Composition, created a gentle, mystical soundscape that alternated between busy, constantly rolling patterns from the piano and chords that asymmetrically leapt about. At one point the piano part climbed higher and higher while the orchestra held things steady, which created another ethereal moment. An expansive cadenza allowed Pratt to show some amazing improvisational talent, and that became a highlight of the evening.
The music more than won over the audience, which erupted in rapturous applause. After returning to center stage a couple of times, Pratt played an encore, François Couperin’s “Les Barricades Mystérieuses” (The Mysterious Barricades), which extended the magical atmosphere of the Bach and Montgomery pieces.
The concert opened with a peppy and dance-like rendition the Suite No. 2 in D Major from Handel’s “Water Music.” Urged on by Glover, the chamber ensemble made the passages grow and glow. The ornamentation from the horns sparked, and it was wonderful to hear the harpsichord (another advantage of the acoustical enhancement of the hall). It was top notch Handel from beginning to end.
Haydn’s “Symphony No. 103 in E-flat Major (aka “Drumroll”} also receive a superb performance from Glover and forces. Listeners perked up right away, because Assistant Principal Timpani, Sergio Carreno, pounced on the kettle drums like a cat on bowl of tuna. The slow and stately passage from the low strings and bassoons that followed seemed to rise from the stage flow. It broke into a light-hearted dance from the entire ensemble that was just pure pleasure to hear. Concertmaster Sarah Kwak’s lovely solo and the bird-like sound of the flutes enhanced the second movement. The third (Minuet) delightfully kept the odd balance between graceful and heavy-handed dance steps. With horns blazing the final movement swept everyone into a spirted and grand finale. That caused concertgoers to erupt with applause, and after Glover returned to the podium a third time, Kwak and the orchestra delayed standing so that the conductor could enjoy the applause – a real tribute to Glover’s artistry.
It was a genuine rarity to hear the local band play Bach’s “Concerto No. 4 in A Major for Clavier and Strings.” According to the program notes, the last time that the orchestra touched that piece was in January of 1997 under James DePreist with – guess who – Awadagin Pratt. I can’t even recall the last time I heard any Bach played by the orchestra. So I combed through my reviews and found that in October of 2015, Matthew Halls conducted the “Ricercare” from Bach’s “Musical Offering” in Webern’s arrangement.
Perhaps part of the reason that there has been so little Bach programmed at OSO concerts was due to the acoustics of the hall. Fortunately, OSO’s installation of the Meyer Sound System in 2021 has really improved the sonic qualities. At Monday night’s concert, Pratt, Glover, and the orchestra – in a cozy string chamber formation – fashioned an elegant statement with Bach’s “Concerto No. 4 in A Major for Clavier and Strings” (not to be confused with the Brandenburg Concerto No 4). The opening movement danced with bright colors and a joyful ambiance. The second movement offered delicate exchanges of phrases between Pratt and members of the orchestra – especially Principal Bassoon Carin Miller. The third movement capped things off with wonderful dynamic contrasts, including one that swelled up to double forte and subsided to a double pianissimo.
Montgomery’s “Rounds,” which, by the way, won the 2024 Grammy for Best Contemporary Classical Composition, created a gentle, mystical soundscape that alternated between busy, constantly rolling patterns from the piano and chords that asymmetrically leapt about. At one point the piano part climbed higher and higher while the orchestra held things steady, which created another ethereal moment. An expansive cadenza allowed Pratt to show some amazing improvisational talent, and that became a highlight of the evening.
The music more than won over the audience, which erupted in rapturous applause. After returning to center stage a couple of times, Pratt played an encore, François Couperin’s “Les Barricades Mystérieuses” (The Mysterious Barricades), which extended the magical atmosphere of the Bach and Montgomery pieces.
The concert opened with a peppy and dance-like rendition the Suite No. 2 in D Major from Handel’s “Water Music.” Urged on by Glover, the chamber ensemble made the passages grow and glow. The ornamentation from the horns sparked, and it was wonderful to hear the harpsichord (another advantage of the acoustical enhancement of the hall). It was top notch Handel from beginning to end.
Haydn’s “Symphony No. 103 in E-flat Major (aka “Drumroll”} also receive a superb performance from Glover and forces. Listeners perked up right away, because Assistant Principal Timpani, Sergio Carreno, pounced on the kettle drums like a cat on bowl of tuna. The slow and stately passage from the low strings and bassoons that followed seemed to rise from the stage flow. It broke into a light-hearted dance from the entire ensemble that was just pure pleasure to hear. Concertmaster Sarah Kwak’s lovely solo and the bird-like sound of the flutes enhanced the second movement. The third (Minuet) delightfully kept the odd balance between graceful and heavy-handed dance steps. With horns blazing the final movement swept everyone into a spirted and grand finale. That caused concertgoers to erupt with applause, and after Glover returned to the podium a third time, Kwak and the orchestra delayed standing so that the conductor could enjoy the applause – a real tribute to Glover’s artistry.
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