PROFOUND is not "pretty." The problem with "pretty" is that it tends to seduce the ears, to set critical thought adrift, to wrap mind and spirit in a comfortable fog of reverie. "Pretty" isn't bad: there is almost nothing so wonderful as a pretty melody. But there is more to life than pretty: divine magnificence, human suffering and humility before God all demand something deeper. Symphony delivers
divine performance
By Ruth O. Bingham
Special to the Star-BulletinStravinsky's Symphony of Psalms, the short first half of the Honolulu Symphony's concert on Friday, delivered that something deeper. Based on Psalms 39, 49, and 150, and sung in Latin, Symphony of Psalms was not pretty, (laudate Dominum). It was awe-inspiring, terrifying, humbling, moving, sublime, mysterious, magnificent. It reached into your soul and dragged out emotions you forgot you hand. It was, in a word, profound.
Stravinsky's unusual scoring included harp, played by Constance Uejio, and two pianos, played by Nyle Hallman and Thomas Yee. He used no violins or violas and incorporated a large chorus as an integral part of the orchestra, not as a separate group.
The Honolulu Symphony Chorus debuted this season with a markedly cleaner, more focused sound, under new director Karen Kennedy. Originally from upstate New York, Kennedy joined the faculty at the University of Hawai'i two years ago; her acceptance of the chorus's directorship represents the most recent step in a closer collaboration between the university and Honolulu Symphony.
The Chorus performed Stravinsky's Symphony, a challenging work for any choir, with depth and precision. Attacks were clear, ensemble and blend excellent. Gratifyingly, their balance with the orchestra was exemplary, lending transparency to Stravinsky's complex counterpoint. They well deserved the enthusiastic applause.
GRIEG'S Peer Gynt filled the second half in a rare performance that included narrator, soloists, and choir.
Narrator Michael Titterton, president and general manager of Hawai'i Public Radio, summarized Ibsen's famous poetic drama between movements in his clipped British accent. Titterton added much to the performance and the audience listened with rapt attention.
The story follows a young rogue through his comically dissolute life, which is finally redeemed only through the love of a chaste woman who has spent her entire life doing nothing but waiting for him. (OK, so our ideals have changed a bit in the last hundred years ...)
Soprano soloists Malia Ka'ai, as the Arabian princess, and Vicki Gorman, as the heroine Solveig, contributed passages s of real drama. Gorman's vocalizing in "Solveig's Song" and her tender "Lullaby" were especially touching.
Maestro Wong and the orchestra shone throughout, from the profound spirituality of Stravinsky to the entertaining drama of Grieg. What a pleasure to have oboist Scott Janusch back! He delivered outstanding solos in both works. Bass trombonist Michael Szabo was highlighted in a rare solo in the second movement of the Stravinsky, and newcomer David Buck introduced himself to the audience in piccolo solos. Principal violist Mark Butin stood for a rousing solo imitating a folk fiddle in Grieg's "Wedding March," and a variety of individuals contributed rowdy troll shouts at the end of "In the Hall of the Mountain King."
The concert presented exceptional performances of both Stravinsky, whose Symphony of Psalms has not been heard here since the early 1980s, and Grieg, whose Peer Gynt is rarely heard in its dramatic context. It is an opportunity not to be missed.
Ruth O. Bingham reviews the symphony for the Star-Bulletin.
Dave Donnelly, whose column normally appears in this space, is on vacation. His column will return Oct. 28.
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