A technically difficult program for New England Philharmonic candidate Nicholas DeMaison


One out of 10 new items of music is sweet, surmised composer George Tsontakis as he spoke at Saturday night’s live performance by the New England Philharmonic at Boston College’s Tsai Efficiency Heart. One out of 100 is nice, and one out of a thousand is a masterpiece — “and now we have to maintain enjoying new music so we are able to discover these,” he continued, lauding the modern-minded volunteer orchestra on the stage behind him.

Not, he added with a chuckle, that he was essentially speaking about his personal Violin Concerto No. 3, which the orchestra was nearly to carry out with concertmaster Danielle Maddon enjoying the solo. However whether or not a brand new piece leaves a long-lasting optimistic impression on listeners solely relies upon partially on what’s on the web page, the remainder rides on the best way that music involves life in actual time.

The New England Philharmonic has hardly ever been identified to play it protected with its programming, however Saturday night’s technically difficult program did few favors for the volunteer orchestra and its conductor of the month, music director candidate Nicholas DeMaison. The orchestra didn’t sound prefer it had fairly cracked the code on Tsontakis’s puzzle field of a violin concerto, which the composer spontaneously devoted to the individuals of Ukraine throughout his remarks. The violinist David Oistrakh stated that Shostakovich’s Violin Concerto No. 1 wanted to be lived with earlier than it may very well be absolutely grasped; the identical is probably going true of this piece by Tsontakis, which might undoubtedly profit from a repeat hear or three.

Earlier than starting the piece correct, DeMaison provided a fast tour of a number of important moments within the music, however save for the plaintive ballad performed by the solo violin close to the top, these hardly ever stood out throughout the bigger context of the rating. The piece provided a couple of astounding moments of tranquil chromatic grace: right here, the violin musing out over a pulsing, music-box-esquire determine within the orchestra, there, inquisitive animal noises within the winds — however the connective tissue between these moments sounded extra fragile than regular.

Ellen Taaffe Zwilich’s raucous Bach fantasia “Upbeat!”, which opened the live performance, additionally wasn’t the most effective automobile for the newbie orchestra. Based mostly as it’s on the primary few notes of Bach’s Partita No. 3 for solo violin (even in the event you don’t suppose you’ve heard it, you could have), it solely sounds clear if every instrument assaults the well-known determine in excellent lockstep. The orchestra made a visibly valiant effort, however there’s solely so exacting one might be — or a lot rehearsal time one can have — with an ensemble that rehearses as soon as every week.

Jonathan Bailey Holland’s nostalgic “Tales from Dwelling,” a fee by the Cincinnati Symphony Orchestra, sounded extra throughout the orchestra’s wheelhouse. With watercolor string textures and various rattling and rolling percussion results, the ensemble lovingly evoked the centuries of historical past and reminiscence that may be contained in a single constructing.

The night concluded with Sibelius’s Symphony No. 5, once more extra uneven than I’ve heard this orchestra; just a little rustic edge hardly ever does unsuitable by Sibelius, however the orchestra and conductor incessantly pulled aside particularly across the frequent gradual tempo modifications. All in all, it seemed like an excellent newbie orchestra, not a wonderful one, and I do know the New England Philharmonic is the latter.

The orchestra’s season of music director tryouts continues on Could 1 with conductor Tianhui Ng.

NEW ENGLAND PHILHARMONIC

Feb. 26. At Tsai Efficiency Heart, Boston College. www.nephilharmonic.org


A.Z. Madonna might be reached at [email protected] Observe her on Twitter @knitandlisten.





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