After hearing super-cellist Robert deMaine in Friday’s Charleston Music Fest event at the College, I was doubly determined to make it to Saturday evening’s Charleston Symphony concert at the Gaillard (the latest in the Masterworks series) – where deMaine showed us what he could do with orchestral backup.
But first, we heard some stirring sounds by Bedrich Smetana, Czechoslovakia’s pioneering nationalist composer. Sarka is a dramatic tone poem; one of the six pieces comprising his patriotic collection known as Ma Vlast (My Country). It was a refreshing change to hear this rip-snortin’ number instead of The Moldau – Smetana’s overplayed warhorse from the same cycle. Resident Conductor Scott Terrell led a gutsy account of this musical war epic, including some moments of real majesty for the brasses. The crowd loved it, and Charles Messersmith earned a solo bow for his pensive clarinet work.
Then came the cello magic, courtesy of Mr. deMaine and Joseph Haydn, whose second cello concerto provides ample opportunity for virtuosic display. Our soloist brought the sunny score to vibrant life, with amazing dexterity and gobs of lush tone – and he got graceful, considerate support from Terrell and company. They never let up on Papa Haydn’s ebullient spirit, save for the slow movement’s idyllic poetry, where deMaine’s warm and singing sonorities were a particular treat. Our noisy standing O led to a glittering encore: William H. Squire’s finger-twisting Tarantella. I found that out during my mad backstage dash during intermission, where deMaine also confirmed that he had written his own remarkable cadenzas (they didn’t sound much like Haydn).
The evening’s final pleasure was Symphony No. 5 by Jean Sibelius, Finland’s greatest tunesmith. While Sibelius’ music presents real challenges to orchestras and conductors alike, the superb quality and spirit of the CSO’s performance hardly surprised me. The CSO has been sounding especially glorious lately, and – in case I haven’t told you before – they are truly blessed to have a conductor of Terrell’s caliber to keep them in top form when Maestro Stahl is out of town. Scott knows exactly what he wants from his players, and how to joyfully coax it out of them. In turn, they play their hearts out for him.
The rarefied result this night was a reading of uncommon subtlety and power, building expertly from shimmering pianissimo textures to the unbridled grandeur of Sibelius’ brass-bound climaxes. Aside from a rhythmic rough spot or two in the first movement, I had absolutely no complaints. Interpretively, Terrell was dead-on – imparting just the right touch of Nordic chill to one of the master’s warmer symphonic efforts.
Chalk up another real winner for the hometown band.
