Cellist Joel Cohen and Violinist Joseph Edelberg (C. Hester Photo)

FRIENDSHIP ABOUNDS IN UKIAH SYMPHONY CONCERT

In a pair of concerts closing the 30th season, the Ukiah Symphony performed March 15 and 16 just two works with the programmatic theme “A Close Friendship.” And it was altogether a cordial event as 20-year veteran conductor Les Pfutzenreuter led strong performances of works of Brahms and Dvorak. Santa Rosa Symphony concertmaster Joseph Edelberg and Redwood Valley virtuoso cellist Joel Cohen were the soloists for the Brahms Double Concerto in A minor, Op. 102.

Brahms and Dvorak had a detailed correspondence and friendship throughout their professional lives and the Hamburg master especially admired the Czech’s Cello Concerto. So the program, at a half full Mendocino College’s Center Theater, was a natural meeting of musical minds.

The Ukiah Symphony for the last of four pairs of concerts fielded nearly 50 musicians: 15 violins, 5 violas, 5 cellos, 2 basses, 1 Timpani, 3 Trombones, 1 Tuba, 4 Horns, 2 Trumpet, 2 Clarinet, 2 Bassoons, 2 Flutes (one doubling on Piccolo) and 2 Oboes (one doubling on English Horn). Quite an assemblage for a rural county.

Beginning with the Dvorak’s Symphony No. 8 in G major (Op. 88, B. 163), the performance featured rhythmic and melodic themes characteristic of Bohemian folk music. Dvorak himself conducted the premiere in 1890 and would have loved the peaceful opening and the sparkling piccolo solo by Becky Ayres and the elegant crescendo leading to the opening statement. Timpanist Jennifer Smart brought pace to the voice leading and thematic transitions. The slow movement started with a strong forte and a charming flute and clarinet duet. Concertmaster Margie Rice played a sonorous solo with a sweet tone and accurate double stops. The descending scale passages during the slow movement sounded similar to many exercises but the contrast with the melodic sections balanced the orchestral sound, and the big trumpet fanfare in the chorale was the antithesis to the pianissimos strings.

The Allegretto Grazioso was a feast of flowing violin sound, but sporadically ragged in spiccato. Rhythmic interplay between sections was very interesting in this fast waltz that had a pronounced cross-meter element. A trumpet fanfare opened the Allegro man non troppo finale, bringing in a melodious cello theme and a quick doubling of tempo. Mr. Pfutzenreuter handled the transitions well, contrasting tempo, texture and dynamics.

A contemporary composition of the Dvorak Symphony, the Brahms Double was his final work for orchestra and composed with his friends cellist Robert Hausman and violinist Joseph Joachim in mind. The concerto also makes use of the musical motif A-E-F, a permutation of F-A-E, which stood for a personal motto of Joachim, “Frei aber einsam ("Free but lonely"). Two powerful and matched soloists are required, with the same size orchestra as the Dvorak without the low brass.

The composition consists of three movements in the fast-slow-fast pattern typical of classical instrumental concertos, and the first movement introduction began with two big orchestral phrases immediately followed by cadential flourishes for the cello. Mr. Pfutzenreuter deftly sculpted the tempo changes while allowing the instrumental soloists within the orchestra wide freedom of expression.

Musical partnerships are often tenuous but Mr. Cohen’s elegiac cello tone combined with Mr. Edelberg’s singing violin line to great effect, filling the hall to the last row. The cello seemed to have many of the first entrances, flamboyant ones at that, but were juxtaposed by the suave and pitch perfect violin lines.

In the slow movement the playing was clear and sweet, the orchestra occasionally overbalancing the soloists. The Gypsy-like third movement (Vivace non Troppo) once again began with a rondo theme in the cello, the orchestra a little hesitant toward the third repeat of the main theme. All ended well with exciting flourishes, Mr. Pfutzenreuter keeping the many threads together, eliciting some of the most stirring playing of the night from the Symphony.

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