Scott Janusch, the Honolulu Symphony's principal oboist, is back. REVIEW
Oboist’s performance sparkles
By Ruth O. Bingham
Special to the Star-BulletinHe spent a year on leave in San Diego while audiences here worried that he might not return. But return he did, saying, "It is the community in which the orchestra resides that makes all the difference."
Janusch has been back since the beginning of this season and his featured solo with the Honolulu Symphony has been scheduled for months, but Friday night's concert became a homecoming celebration.
Perhaps coincidentally, Janusch presented Mozart's oboe concerto, the same solo he played with the Honolulu Symphony when he came to Hawaii back in 1990.
Simply put, Janusch's performance was spectacular. Audiences have long treasured his skill and artistry as part of the orchestra; as a soloist, he is truly extraordinary. One can only hope he will make recordings so audiences can enjoy his music more than once every few years.
Few people realize how difficult it is to coax musical contour from an oboe, and many fine oboists play all the right notes within a narrow range of dynamics and expression. Janusch, however, shapes every note with care, sensitivity and thought so that the musical line "speaks."
How can words describe sound?
Janusch's arresting tone, melodies that sparkled with the clarity of cut crystal, glittering trills that sprinkled out with little shakes of his head, thrilling cadenzas ...
Words are a poor substitute to hearing Janusch live.
The first half of the program belonged to Mozart (the overture to "Der Schauspieldirektor" preceded the oboe concerto), the second half to Berlioz and his "Symphonie fantastique." The two offered a study in contrasting styles.
Guest conductor Harvey Felder elicited a tightly controlled sound from the Honolulu Symphony throughout, whether with Mozart's small orchestra or Berlioz's large one, which included two harps, four timpani, four bassoons and ranks of brass. That control created occasional problems with ensemble, but also promoted a clear texture.
Interpreting music is not for the fainthearted. It requires clear decisions where there are no obviously right choices, for music cannot be both precise and passionate.
Felder's approach to Mozart was one of polished elegance, of powdered wigs, silk stockings and stiff-backed bows. It is an approach at odds with the current vogue for uncovering the unbridled passions of 17th- and 18th-century music, although both offer intriguing possibilities.
His approach to Berlioz was more dramatic, which he explained in a 20-minute lecture/demonstration that the audience clearly enjoyed. In both his lecture/demonstration and in his interpretation, Felder related the symphony's drama within the confines of reality. As Felder told it, the young fellow in love did not just dream he murdered his beloved, but did murder her.
As realistic drama, Felder's "Symphonie fantastique" did not explore the wild realms of dreams or dark passions of the soul, but it wove a detailed story with precision.
Ruth O. Bingham reviews classical music for the Star-Bulletin.