BSO: Russian Perfection

The black tuxes and gowns of the BSO musicians offered a preview of the formal elegance that awaited the sold-out crowd last night at Strathmore Music Center. Featuring both a world premier and a world class soloist, along with a full symphonic work on the program, there was definitely a buzz in the air as the audience settled in for an evening of Russian delights.

Jonathan Leshnoff's Starburst set the mood of the first half, building feelings of psychological tension and flight. The two-part, eight-minute work commenced with a theme, introduced by the strings, which was then taken up in turn by the woodwinds, percussions, and finally the horns, ultimately leading to a soft fade. The second part further developed the theme, increasing in intensity, which resolved in a triumphant finale. The sense of uncertainty and persistence in the piece had a definite 21^st century quality by which we all seem to make our way these days. I'm looking forward to hearing it again. Perhaps the kernel of the musical idea will be explored in greater depth by the composer in longer works. Mr. Leshnoff, a composer in residence with the BSO, was on hand to take a pair of bows from the stage where it's hoped (here) he will be a recognizable presence for years to come.

Violinist Gil Shaham, an international soloist and recording artist of great renown (he's won multiple Grammys), needed no introduction as he returned with Maestra Alsop to perform Stravinsky's Violin Concerto in D Major. Mr. Shaham, who is a frequent performer of chamber music with his wife and sister, said in an interview on BSO's website that he's been recently involved in recording 1930s violin compositions; that fluidity and tone of the period were apparent throughout. Compositionally, Stravinsky's piece has been likened to the neoclassical, but its first and last movements sounded carnivalesque, almost in a bid to subvert the original, while the middle Arias were melancholic and pensive; perhaps neo-Baroque would better define it (the performer feels likewise). Mr. Shaham handled the technical requirements - multiple stopping, glissando, vibrato - with such masterful ease - there seemed to be no wasted effort. The short bowing and light fingering, to extract just the right note on his 1699 Stradivarius, reached out to the inner violinist in us all. To match his performance style, Mr. Shaham also has an easygoing and somewhat impish stage presence. Playing without a score, he sidled up to the conductor, to catch her cues with full eye contact, and then proceeded to glide in and out with the strings. During one memorable section he had a riff with concertmaster Jonathan Carney that was worth the price of admission. Throughout, his engaging demeanor, full of smiles and playful delight, was infectious to orchestra and audience alike: here was a soloist that came to make music. When he reached back for the finale of this twenty-minute work, which covered enormous ground, we were all there with him.

After the intermission, it was time to put our mental exertions aside and kick back with some Rachmaninoff. For the most part, this composer comes to us primarily through his piano concertos so it was a treat to get to hear Symphony No. 2 in E Minor, a big work lasting about an hour (whenever there's a Glockenspiel and two bassoons there's "a really big shew" in store for you). This work was Ms. Alsop's baby and she got the performances she wanted from the musicians collectively and individually. During the concert, I thought the direction was clear with the pacing and tone consistent with the scoring. Ms. Alsop had a sweeping and expressive conducting style that was reminiscent of her teacher Leonard Bernstein.

This symphony sits transitionally between the romantic and modernist Russian works and captures the best of both worlds. Perhaps this is most exemplified in the alternating slow and soft, quick and loud passages that figure in the each of the movements. The strings - particularly the cellos and basses - sound lush in the beginning, then proceed to an expansive section before one of two phrases are taken up by the woodwinds, then passed back and forth between the groups of instruments. The horns get into the act with the strings in a big way in the second movement, with a subtle Dies Irae tossed in, as the intensity builds, only to end with a mournful fade. The third movement, an Adagio, is best known to audiences through Eric Carmen's pop song "Never Gonna to Fall in Love Again." You'll be transported during this lyrical section that seems like a soundtrack from a movie, a romantic one at that. The fourth movement wraps up the motifs, lets the music sections have their final say, and resolves the themes with a frenzy and flourish that will remind you of another work of the composer's, the Piano Concerto No. 3. We were all whisked onto our feet and thanked the maestra and the orchestra as best we could with a standing "O." This work and performance is ready for recording.

The concert will be repeated tonight 4/30 at the Meyerhoff ; the Rachmaninoff Symphony No 2 only will be played Saturday May 1. Check the BSO website for times (www.BSOmusic.org ).

Sound check: Excellent - low to mid with occasional high sound levels

Program notes: Excellent commentary provided by Janet E. Bedell

Applause meter: 4 hands, highly recommended

Runtime: About 2 hours with an intermission