The Fort Wayne Philharmonic Orchestra, conducted by Andrew Constantine, celebrated the arrival of spring with a concert at Purdue Fort Wayne on Saturday evening. The program featured music by Lili Boulanger, Edgar Meyer, Claude Debussy, and Maurice Ravel.
The concert began with the 1918 orchestral version of “D’un matin de printemps” (“Of a spring morning” by the French composer and musician Lili Boulanger. This was Boulanger’s own arrangement of a work for violin and piano and it was her final orchestral work before her untimely death at the age of 24.
The music began with strings and winds in a very joyous and animated manner, much in the style of Debussy. Boulanger included ample percussion in a colorful way. Then, it shifted to a slower and more contemplative section. The score was very lush and passionate. The music returned to the original tempo and manner. Concertmaster Violetta Todorova and other violinists had some sweet short solos. There was an impish and delightful section with some brilliant brass playing.
In 1999, the American composer and bass player Edgar Meyer wrote his violin concerto on a commission from Sony Classical for American violinist Hillary Hahn. The work was revised in 2011.
The soloist in the Philharmonic’s performance of the concerto was Eric Silberger, who plays a rare 1757 J.B. Guadagnini violin. He earned degrees at Columbia University and The Julliard School. He won prizes in two international violin competitions.
The work began with the violinist and some strings and winds, all playing in a slow and sweet introduction. The musicians played with real feeling and sensitivity. The music became faster and more energetic as the full orchestra joined.
Silberger’s solos were dazzling and showy. The piece proceeded with intensity and then it slowed down with poignant, sad qualities before regaining the relentless energy of a chase. There were additional, contrasting slow passages along the way as the movement kept returning to the opening theme.
Meyer used the strings in a neo-romantic style. Silberger’s cadenzas were played with real skill. Then, we came to a tribute to bluegrass playing. The orchestra joined in the celebration with real joy and delight. This part was really fun and was played with precision and energy. There were times when Silberger made his violin sound as if two violins were playing together. The music built to a climax and the audience gave the musicians a standing ovation.
As an encore, Silberger and the orchestra performed John Williams’ arrangement of the tango song “Por Una Cabeza,” which was written in 1935 by Spanish-Argentine composer Carlos Gardel. This tune was featured in the 1992 film “Scent of a Woman.” It was a very showy and intense piece, accented by castanets.
Between 1905 and 1912, the French composer and pianist Claude Debussy wrote his three Images for Orchestra. The third of these impressionistic works, “Rondes de printemps” (“Round dances of spring”) was composed between 1905 and 1909. He based the music on two folk tunes.
The music began mysteriously, with some intrigue. This is one of Debussy’s best orchestral works with considerable intensity and excitement. There were lush strings with delightful use of winds and brass. There were fine contrasts between fast and slow passages.
The performance was quite brilliant and wonderful with some very fine individual contributions from the musicians. Constantine skillfully managed the numerous shifts in the score, providing very effective leadership throughout the music, which definitely has dancelike qualities.
French composer, pianist, and conductor Maurice Ravel wrote a piano trio in 1914, just prior to his wartime service as an ambulance driver in France. The original version was scored for piano, violin, and cello. The A minor work is in four movements. French conductor and violinist Yan Pascal Tortelier arranged the music for orchestra and the Philharmonic performed that version.
The first movement began with flute and harp, soon joined by the violins, violas, and cellos. The winds gave it a true Ravel sound. The orchestration was true to the original – very colorful and lush. The strings played with great feeling and skill. There were impressive solos by Todorova, violist Derek Reeves, and cellist Andre Gaskins. Offstage brass provided some additional color.
The second movement was witty and delightful, in the style of a grand waltz. The music was played with dexterity and sentimentality, perhaps because Ravel sensed that an era was about to end with the first world war.
The third movement was slower and solemn, featuring a remarkable double bass solo that led to a cello ensemble, followed by the violas and then the violins. This was very serious music played with emotion and intensity. The strings were united and were joined by the winds, providing some very sad moments. Violist Reeves had a very moving solo as the strings dominated the music.
The fourth movement shifted to a more hopeful and upbeat mood. It became majestic and triumphant with thrilling brass playing. There was an interesting contrabass solo that provided a contrast to the increasingly agitated and energetic mood. The music became triumphant and ecstatic. Constantine built up the performance to a very intense and strong conclusion.