The Chicago Sinfonietta kicked off its twentieth anniversary Orchestra Hall season on October 2 with a concert that vividly illustrated many of the characteristics that have made the orchestra unique and successful: the orchestra and Maestro Freeman are willing to take chances; they showcase young talents; they are not just diverse themselves but present music from a diverse group of composers and performers; and they do it all with a high level of professionalism.
What was perhaps the most publicized item on the concert was presented last: David Baker’s Concertino for Cellular Phones and Symphony Orchestra. Who knew that 21st century aleatory music could be such fun? With the audience an enthusiastic and willing participant, the much-anticipated concertino turned out to be a delightful bit of fluff that was a welcome if not-too-filling dessert for the evening.
David Baker had talked before the concert about being inspired by the contrasts between order and chaos that emerge from new technologies. While these ideas were evident during performance, I found it more rewarding to just enjoy the controlled chaos rather than search for a deeper meaning. Needless to say, almost everyone thoroughly enjoyed the opportunity to “please turn on your cell phone,” including the several soloists in the orchestra.
Maestro Freeman took a chance with the opening of the concert by programming a piece by the Mexican composer Silvestre Revueltas that was probably new to most of the audience. Suite from Redes was taken from the score to the film Redes. It is interesting music and was performed very well. But while it has intellectual appeal, I found it a less exciting opening to the concert than I had expected.
The showcase of new talent began with Alexander Kobrin, gold medalist at the Twelfth Van Cliburn International Piano Competition in 2005, playing the Piano Concerto No. 2 by Franz Liszt. Mr. Kobrin played with the exquisite technique you would expect from a gold medalist. His flowing, fluid style effectively made the Yamaha piano a true partner rather than an adversary, even in the most percussive passages. The quality of his playing was rewarded by an enthusiastic audience and an even more enthusiastic group of musicians on stage. We all saw real talent on display and appreciated it.
The show of extraordinary talent continued with violinist Melissa White, winner of the Fourth Annual Division Sphinx Organization Competition in 2001, playing Max Bruch’s Violin Concerto No.1. I found myself hearing it in a new way as her singing tone brought out the lyricism of the piece—a quality too often lost by violinists who attack it more aggressively. All in all it was a very satisfying performance. Yes, she played to Maestro Freeman rather than the audience; and yes, she needs training in how to walk and work in a gown. But greater independence and stage presence will come as she continues to build on a very solid musical ability.
At the start of the evening, before the music began, the Sinfonietta presented a short video describing the history of the organization, a bit of Maestro Freeman’s background, and the support it is receiving by the community. It is supposed to be up on the Chicago Sinfonietta Web site Real Soon Now. Definitely worth taking a look.
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