REVIEW: Music in the Air -- The Greenwich Symphony Opens its 58th Season

Photo: The Greenwich Symphony at its opening season concert last weekend at Greenwich High School. Credit: Linda Phillips.

By Linda Phillips

In an interestingly programmed concert, the Greenwich Symphony played its first performance in the acoustically magnificent new concert hall at Greenwich High School last weekend. The audience also took in the architectural beauty of the grand hall, its improved seats and accesses, and … a balcony!

All were noted by Conductor David Gilbert, who thanked the architects, the acoustic engineering of Paul Greenberg, Turner Construction, and Greenwich High School before briefly introducing each work to be played.

Then on to a performance informed by historical connection, a chorus, and three soloists from the GSO itself performing Beethoven’s Triple Concerto. It all ended with the thunder-and-lightning “Symphony #4” of Peter Ilych Tchaikovsky, played with bravado.

Somehow, this was not musical business-as-usual.

Mr. Gilbert spoke about the opening work of Frescobaldi, the first Baroque “Toccata”, a profound, moving work in minor key, played wonderfully in its expanded version by the orchestra. (This reviewer could not help looking up, hoping to see the wondrous sounds floating in the vaulted space above us.)

The five “Hymns from the Bay Song Book”, arranged by Mr. Gilbert and sung by The Greenwich Anniversary Chorale with orchestra, were chosen from the first book ever published in the first colony in America in 1620. Coincidentally, 1620 is the date of the founding of Greenwich, which is celebrating its 375th anniversary.

Strong brasses opened the first section, Maestoso, with chorus, which then sang Adagio a capella (slightly under-miked). While the brasses were too strong throughout the orchestral sections. the closing Maestoso was majestic and moving, as the hymns were, after all, paeans to God.

The orchestra sized down, and the piano was moved to front center stage for the the Beethoven “Triple Concerto for Piano, Violin and Cello Op. 56” featuring Concertmaster Krystof Wytek and first chair cellist Danny Miller, along with GSO pianist Andrew Gordon. Stars of the Greenwich Chamber Players, these gentlemen are used to the sonorous, conversational interplays of instruments, and adding the full complement of the orchestra made for quite a majestic sound.

Announced by the orchestra, the opening theme, Allegro, was taken up by cello, then violin and piano joining in. The theme is actually hummable, and Mr. Gordon’s trills were crisp. The interplay between the soloists was conversational, close – we would expect nothing else. Even though the music is repetitive, as Beethoven often is, what lovely sounds to repeat.

In a somber, major key opening in Largo, the cello of Mr. Miller took the lead. The dulcet trio was backed by woodwinds. This movement is beautifully orchestrated, with a soft trilling in the strings echoed in solo cello. Urgent bowing in the cello led to a sweet passage, with the melody taken up by Mr. Wytek, piano joining, then a little counterpoint with violin and cello, with impressive fingering, and spiccato in orchestral strings. Melodic, flowing, the movement ended sweetly.

In Rondo:Polacca, a spirited movement balanced beautifully between soloists and orchestra, the triple meter and several modulations created movement and interest, leading to a rousing finale and a standing ovation for Messrs. Wytek. Miller and Gordon, who were then given an extra curtain call.

(A note: Mr. Miller in a blue shirt and Mr. Gordon in red were visually distracting in front of the formally clad in black orchestra.)

Tchaikovsky’s “Symphony #4 in F Minor”, opening with a sennet of brasses announcing Fate and its inevitability, was informed by caesuras, as dramatic as lightning bolts, and by kettle drums. A surging, profound melody was played by the orchestra against cascades of percussion. A clarinet passage by Philip Bashor, echoed by woodwinds, stated a folk-like theme, then moved to a sweet passage underscored by kettle drums, and a magnificent crescendo in trombones. The orchestra, at full complement, played wonderfully, with great drama.

Andantino, introduced by the oboe, was scored the composer’s favorite instruments; bassoon, violins, oboe, clarinet, piccolo. The orchestral sections were organic, inseparable.

Scherzo was wonderful, with whirring, dynamic strings, piccolo and abrupt change to stentorian

in mood, then back to dynamic, ending in pizzicato. With no break between that movement and the Finale, the orchestra, suddenly somber, moved to rousing, with whirring strings, then a romantic passage, on to commanding brasses and a reprise of the opening statement.

Conductor Gilbert was called back again and again by a cheering audience, and he, as always, applauded his musicians. New York Philharmonic, move over.

The next performance of the Greenwich Symphony in its new hall will be Nov. 21 and 22, and will feature soprano Halley Gilbert, the conductor’s daughter who is a graduate of the Eastman School of Music and winner of several awards.

For tickets, program and information, go to www.greenwichsymphony.org, or call 203-869-2664.

Linda Phillips’ classical music reviews have won four “Best Column of the Year” awards from the Connecticut Press Club, and have been nominated for the Pulitzer Prize in Criticism. She is the author of the novel, “To The Highest Bidder,” also nominated for a Pulitzer in fiction.