Word: hro
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...immeasurably better at writing for piano than for orchestra. In either of his two piano concertos, every part except the soloist's will seem like mere accompaniment. This was especially true in this performance of Liszt's second concerto, in A, where Yukiko Sekino '99, the winner of HRO's Concerto Competition, dwarfed her colleagues with her huge technique. Though her double notes left something to be desired (and whose don't?), her fearless and flawless octaves, the sine quibus non of Lisztian bravura, eradicated this quibble. A duet passage with principal cellist Steve Cho '97 was captivating...
...themes, surreptitious-sounding pizzicati, and highly percussive tutti throughout. This idiom seemed to bring out a better side of the orchestra, which took the difficult rhythms in stride, found the wit in some of Shostakovich's jazz-inflected themes, and produced an impressive tone in the louder passages. Maybe HRO felt some affinity with the piece, which the composer wrote as a senior project at the age of 18 (and you think you work too hard on your thesis). Or maybe the orchestra is just more comfortable in the twentieth century; in one concert last year, it seemed...
Things got off to a good start with the Leonore Overture, as HRO displayed some of the strengths which mark it as a serious ensemble: excellent tone and dynamics from the strings, shown to good advantage in the mysterious, scale-like string passages at the beginning; fine soloists, especially in the trumpet and flute sections; and an overall coordination, allowing for intelligent phrasing and pacing. It's evidently more difficult to find a whole section full of excellent wind and brass players, since these sections often strained to achieve an even tone and unified entries...
What makes this programming choice even more eccentric is the fact that all three soloists were professional musicians, imported especially for the occasion. It would be at least understandable if HRO had chosen the piece to spotlight three student musicians: the division of labor, and the relative simplicity of the solo parts, would make it ideal for students. Indeed, it should have been possible to find a student pianist, cellist and violinist who were more than equal to the task--concertmaster Salley Koo '97, for example, who was outstanding in the Shostakovich symphpony...
...wasn't the most stellar evening in HRO's history, it was by no means a black mark, either. Let's be thankful for the sheer potential of the orchestra, and keep our fingers crossed for a more appealing program next time out: perhaps something for the Brahms centenary next year? He did write a Double Concerto, after...