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SYMPHONY REVIEW

At USO Concert (l to r) S. Chiles, L. Lind, A. Ames, J. Meeks

POWERFUL SHOSTAKOVICH WORKS CLOSE USO'S SEASON

by Earl Dixon
Sunday, May 18, 2014

The Ukiah Symphony Orchestra concluded its current season on the May 17 weekend with a focus on Shostakovich. The featured works in Mendocino College’s Center Theater were the second Piano Concerto in F major, Op. 102 and Symphony No. 5 in D minor, Op. 47.

Pianist Aaron Ames played the concerto and delivered a masterful performance that demonstrated a great understanding of the piece. He later confided to the audience that this was probably his favorite piano work. Mr. Ames’ performance also marked a triumphant return to Ukiah where he spent most of his formative years.

The concerto opened with an almost flawless rendition of the Allegro first movement. For one brief moment the woodwinds seemed to strain for some high notes, but this was barely perceptible against the backdrop of excellent dynamic control from conductor Les Pfutzenreuter that resulted in a perfect balance between Mr. Ames’ piano and the orchestra.

This set the tone for the second movement, Andante, where the composer’s brilliance shone with its interplay of simple unison melodies from the orchestra and piano that are then interwoven into a complex fabric of exceptional beauty. The music returned to a brisk allegro in the final movement, elegantly executed by the pianist and the orchestra. Mr. Ames tour de force received a standing ovation for his artistry.

After intermission the Orchestra returned to perform the long and demanding Symphony from 1937, and it was played with gusto. Careful dynamic control was evident throughout and the intonation problems evident in earlier USO concerts were not to be found today.

The 20-minute Moderato first movement was played well and included difficult melodic passages played in unison and in turn by strings, brass, and woodwinds. These came off perfectly, and the transitions from one section to another were handled deftly by the conductor and served to highlight Shostakovich’s mastery of orchestration. The conclusion of the first movement, a grand crescendo, gives the horns a chance to really shake the room with their power and grandeur, and it was opportunity that they took to full advantage. Indeed, the music seemed to be playing itself, a worthy achievement in any performance.

The second movement, Allegretto, began with an uncertain attack, but then moved back into the comfortable groove established in the first movement. Solos were persuasively performed by violinist Margie Rice, bassoonist Ann Hubbard, trumpeter Gary Miller, cellist Clovice Lewis and French horn player Ben Robinson.

The third movement actually finishes with a flourish reminiscent of Bach’s tremendous sonic intensity and again it was the Orchestra’s attention to Mr. Pfutzenreuter’s controlling baton that adroitly shaped the dynamic contrasts.

The fourth movement, Allegro Non Troppo, began with a stirring fortissimo attack and this final movement was robustly played throughout. But here the length of the symphony began to assert itself as it moved through the relatively melancholy of the mid-section. This was not due to any fault in the performance, but rather it seems to be intrinsic to the composition. But as soon as this fatigued feeling begins to be noticeable, the Symphony picked up and moved to an energetic and triumphant conclusion.

The applause from the audience was long and loud.