missizzy

Because I was going up for the evening anyway, I added to my schedule the afternoon Peninsula Symphony concert in San Mateo. I learned that long-term (40+ years!) m.d. Mitchell Sardou Klein is retiring at the end of next season. Perhaps it's time, because it seemed to me the orchestra has deteriorated since I last heard them two years ago.

The concert opened with Wagner's Flying Dutchman Overture. This was energetic and perky enough, but the Wagnerism of it was in full cry and it was consequently very tedious. Then, the Viola Concerto of the early-20C modernist Rebecca Clarke. Clarke didn't actually write a viola concerto; in 1919 she wrote a sonata for viola and piano, and this was orchestrated about 20 years ago to be used as a concerto for an instrument in desperate need of more repertoire. Soloist was Pearl de la Motte, a Juilliard student who won the string player competition here two years ago, prize of which is customarily playing a concerto with the Pen Sym. Her tone was a rich viola tone, distinct from both violin and cello, satisfying to hear despite the fact that the music itself seemed to wander meaninglessly, rather in the mode of one of the concertos that Elgar was writing at the same time.

Lastly, Brahms's Second Symphony, played in a blatty style reminiscent of the SFS in the bad old days of the 1970s. The horns were particularly coarse, the colors from other instruments blared out in an un-Brahmsian fashion, and interpretive oddities of strange emphases and pauses, especially in the first movement, didn't help. Well, I'll be hearing the BA Rainbow Symphony in the Third next month, and maybe that'll wipe out the memory of this one.

Then, off to the Freight in Berkeley for another Terry Riley 90th birthday celebration. The Bang on a Can All-Stars, a 6-member touring ensemble, have been going around playing a Riley celebration, and this was their Berkeley stop. They played two long pieces by him. First was A Rainbow in Curved Air, but it didn't sound much like the version on overdubbed electric organs that Riley improvised for a record in 1969. For one thing only one of the performers was on electric organ (also covering as an electric piano), the others being clarinet/sax, electric guitar, cello, string bass, and drums/percussion. That turned the minimalist noodling background into more of a muddle. The tunes coating this on the other instruments seemed original and not copies of Riley's, and at times, especially in the long string bass pizzicato solo, the rest of the ensemble pretty much dropped out to enable it to be heard.

After that, the performers were joined by 4 or 5 (hard to see how many were onstage) local musicians, one of them a vocalist, for a full performance of Riley's minimalist classic, In C. This was enchanting as every live performance I've heard of it has been. The pulse rhythm was played on xylophone. The other players took full advantage of Riley's permission to drop out occasionally, and hushes to only one or two players besides the pulse were frequent. But also they'd build up to tremendous climaxes at other times. This sounded coordinated, but I didn't see any signals as a leader gave for switches during Rainbow. The whole lasted 47 minutes, a typical length for this work. We were out at 9:30, early for a Freight concert, but I was thoroughly satisfied with my evening.