Ridgefield Symphony regales
Russian composer
By Jan Stribula CONTRIBUTING WRITER
RIDGEFIELD --When Gerald Steichen came to town last week for
his audition for the music director position with the
Ridgefield Symphony Orchestra, he was under close scrutiny
by a lot of people, but he wasn't alone. During rehearsals
and at the concert on Saturday night, Steichen wasted no
time testing the mettle of the RSO, especially the strings.
I believe they all passed with flying colors.
Steichen chose an all-Russian program of standards
consisting of some of his favorite pieces, not that they are
easy to play however. The material he selected was bound to
push a lot of emotional buttons.
They opened with a great showpiece, the thrilling "Overture
to Russlan and Ludmilla" by Mikhail Glinka (1804 "" 1857).
This work immediately challenged the wind sprinting ability
of the violins, going at breakneck speed in their runs.
Fortunately, they were able to find a tempo that was both
exciting and that they could play cleanly. Cellos were
beautiful in the second theme, based on a familiar sounding
Russian folk tune.
At the end of the overture, the violinists were the first to
leave the stage, perhaps looking for some ice for their
fingers. Actually, they needed to adjust the seats to make
room for the Steinway being rolled on stage for "Piano
Concerto No. 2 in C minor" by Sergei Rachmaninoff (1873 ""
1943), performed by the brilliant soloist Joyce Yang.
Playing the opening chords with strong hands, Yang entered
one of the sacred places in the piano repertoire with
confidence as Richardson Auditorium at the high school
became a tabernacle for Rachmaninoff's hypnotic masterpiece.
The psychoanalytic history of the concerto brings with it a
reverential awe of the restorative power of music. Yang and
the RSO combined for a superb performance, drawing from each
other, comfortably expanding on themes in sweeping lyrical
passages, going from soul searching to serenity. Audience
reaction was evident with applause between movements and a
standing ovation at the finale.
Rachmaninoff used haunting Russian themes that have since
appeared in other popular recordings and movies. Would you
believe The Bee Gees recycled the opening of the 2nd
movement in their song "All by myself"?
In his "Symphony No. 5 in E minor, Op. 64," Peter Ilyich
Tchaikovsky (1840 "" 1893), cultivated a fertile kernel of a
theme, developing it from initial dirge-like brooding to a
noble, life-affirming resolution at the end. The melancholy
French horn and the orchestral catharsis in the 2nd movement
were performed with heartfelt sensitivity.
The RSO string section is always a pleasure to listen to and
this symphony showcased them, punctuated by brass and
woodwinds developing thematic transitions. Steichen added
dramatic tension with his control of tempo and articulation
in the stirring opus.
Lightening up with a little holiday joy in their encore,
they played "Sleigh Ride," by Connecticut composer Leroy
Anderson (1908 - 1975) -- complete with clip-clopping,
whip-cracking, and bells jingling.
Affable and eager, Steichen's positive spirit had certainly
permeated all present, both on and off the stage. Hopefully
we'll get to see more of him.
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