Due to yet another cancellation in the 2011−2012 season by Italian guest conductor RiccardoChailly, the first half of the Boston Symphony Orchestra (BSO) performance last Tuesday consisted of entirely conductor−less music — Copland's "Fanfare for the Common Man," Tomasi's "Good Friday Procession" for brass and percussion, Strauss' "Serenade in E−flat for Thirteen Wind Instruments" and Tchaikovsky's "Serenade in C for Strings." Only after the intermission did the audience finally get a chance to hear Costa Rican conductor Giancarlo Guerrero lead the BSO in Stravinsky's "Rite of Spring."
Prior to Copland's "Fanfare for the Common Man," Principal French Hornist James Sommerville reassured first time audience members not to be disappointed at the lack of players on stage. In a lighthearted quasi−comedic manner, Sommerville explained to the audience that the first four pieces were meant to exhibit each symphonic section separately. The hall filled with laughter as Sommerville poked fun at long−time subscribers' opportunity to finally see the brass section up close.
Copland's "Fanfare for the Common Man" effectively demonstrated the sonorous brass section. The horns and trumpets opened with a regal melody over the support of the tuba and three trombones. Keeping the spotlight on the brass section, Tomasi's "Good Friday Procession" allowed the brass section to exhibit more musical breadth. Unlike the Copland piece, which focused on the unity of the brass section, the Tomasi piece gave members of the section a chance to solo. With the help of the steadily marching timpanists and snare drums, the brass players were able to single−handedly achieve a charismatic musical arc in the piece.
Strauss' "Serenade in E−flat for Thirteen Wind Instruments" gave the brass section a break and allowed the woodwinds to give their conductor−less performance of the night. Initially, the "Serenade's" gaiety and charm made it reminiscent of certain pieces by Mozart. The interwoven oboes, clarinets and flutes combined to give a complex melodic texture.
This eventually gave way to a wandering oboe solo. Afterwards, a quick build−up abruptly climaxed and brought the listeners back to the main theme. Even without other sections, it was clear that the brass section carried the might of an entire symphony.
Tchaikovsky's "Serenade in C for Strings" opens with a grieving and dramatic tutti orchestra. Though announced as a fusion between chamber music and symphonic music, the first movement certainly mimicked a symphony rather than a string quartet.
The second movement, "Valse," foreshadowed the famous waltz in Tchaikovsky's "Sixth Symphony" with its elegance and cheerfulness. The finale brought together the exalted cry of the first movement with a contrasting allegro gesture that drove the piece to its finish.
Finally, it was Giancarlo Guerrero's turn to step up for Stravinsky's "Rite of Spring." The first five minutes showed a seamless connection between Guerrero and the orchestra as he unified the brass, strings and woodwinds into a whole once again. Guerrero's frenzied motions included some head banging that one might expect at a Metallica concert rather than Boston's Symphony Hall.
Though somewhat distracting, there was no arguing with the level of orchestral cohesiveness Guerrero achieved, especially when faced with such a jagged and unpredictable piece.
Unfortunately, only halfway through the piece, a fire alarm forced the orchestra to stop. The audience ignored the alarm as they clung to their seats in hope that the orchestra would continue.
The intercom finally compelled the audience to evacuate, bringing an abrupt end to a spectacular performance.
