The Cascade Symphony’s “Spirit of Russia” concert on March 8 included works by four 19th century composers. Two (Glinka’s “Russlan and Ludmilla” Overture and Tchaikovsky’s “Romeo and Juliet” Fantasy-Overture) were inspired by literary masterpieces.
Another, Mussorgsky’s “Pictures at an Exhibition,” was inspired by the composer’s “promenade” through a friend’s art show. The fourth, Franz Strauss’ “Concerto for Horn and Orchestra, Op. 8,” featuring guest soloist Rodger Burnett, offered a temporary departure from the Russian theme.
Glinka’s work, based on Russian poet Pushkin’s fairy-tale poem of the same name, was inspired by the fantastic noises the composer witnessed at a court wedding dinner. There are strong passages by oboe, as well as a strong downbeat as violins bow. Cellos and violas proclaim the lyric theme, and trombones, sounding in a downward scale, depict the wicked Chernomor.
Franz Strauss, father of Richard Strauss, was one of 19th century Germany’s most renowned horn virtuosi.
Cascade conductor Michael Miropolsky discussed the evolution of the instrument with Burnett, who is principal horn of the Pacific Northwest Ballet Orchestra, among others.
And Burnett explained why horn players keep their hand inside the horn when playing: “Without my hand there,” he said, “the horn can be out of tune, and sound less mellow. It helps with intonation of sound.”
Burnett seemingly needed no help with his intonation of sound, which was smooth, complete, strong and fluid throughout his performance.
The Strauss work, in the style of 19th century Romanticism, featured a nice flute/horn dialogue (performed sharply by Dane Andersen, principal flute, and Michael Seyler, principal trumpet.) Bassoon passages by principal Paul Woltz and Karen Baisden were also notable, as was Arnie Gunderson’s work on principal oboe.
In the “Romeo and Juliet” Fantasy-Overture, there was breathtaking beauty in the violin passages just before the familiar theme sounded for the first time. The entire brass section was brilliant, especially trombone.
Mussorgsky’s “Pictures” features a group of pieces written for piano in 1874. Ravel, who wove the great “Bolero” from one simple tune, had much the same effect of genius on this work with the brilliant orchestrations he contributed.
The brass section was majestic in the opening “Promenade.” There were notable passages, too, by celesta, xylophone, snare drum and clarinet. Herb Hamilton’s saxophone was lovely, as was Michael Seyler’s trumpet and David Brewer’s tuba. The work built to a marvelous romp between bass, violins, bassoon and drums before the brass gave way to flute, which in turn dissolved into the sound of clarinet, giving the effect of dripping water.
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