Daniel May: The Tall and the Small
Sibelius: Symphony No. 1
Tchaikovsky: Violin Concerto
Christopher Wilkins, conductor
Joshua Bell, violin
The first work on the program was a tribute to Jonathan May, onetime director of the Florida Symphony Youth Orchestra, who died unexpectedly last year. The Tall and the Small was composed by May's brother, and his wife, Maureen, played the solo cello parts. I was impressed that she was able to perform this without breaking down. The most exciting aspect of the piece, however, was that it was composed for double string orchestra, the "Tall" orchestra being the OPO, and the "Small" orchestra made up of student musicians. I'm sure that performing with the OPO was quite a thrill for them—not to mention sharing the program with Joshua Bell. At the risk of making some of my readers feel old, I'll mention that they had auditioned for the job via YouTube!
I like Sibelius, so perhaps if I were more familiar with his first symphony I would have enjoyed it more. As it was, I confess I found both pre-intermission works rather soporific. Looking around, it was apparent I was not the only one.
But only a terminal narcoleptic could have slept during the second half.
I've spoken before of my concern about the superstar phenomenon that destroys the "middle class" in music, sports, and many other fields. Yet there is no doubt that Bell's superstardom is deserved. As is that of the Stradivarius he plays. Never have I heard so many textures come from a single instrument. And what high notes! What harmonics! Years ago, when I asked one of Janet's violin teachers how he knew where to place his finger when leaping to the far reaches of the fingerboard, he replied, "You stab and hope." Bell stabs and knows. What's more, despite his appearing to have put in his 10,000 hours on this concerto alone, the performance conveyed an almost playful delight.
As an encore, he began with what sounded like a reprise of the magical cadenza from the first movement, but which quickly turned into a fiery cadenza for Yankee Doodle.
The full-house audience was appreciative and enthusiastic, with many unable to restrain themselves from a premature standing ovation after the first movement of the Tchaikovsky. I confess: I applauded, too. You just had to; it was that transcendent. Joshua Bell made the news four years ago for being decidedly under appreciated when he played the part of a street musician in a Washington, D.C. Metro station. As unobservant as I can be when focussed on the goal at hand, I like to think I could not have passed such music by without standing, transfixed and open-mouthed. Then again, I've always had a soft spot for street musicians.
Whatever it cost the OPO to bring Bell to Orlando, I'm glad they did. His performance of the Tchaikovsky was like a meal at the Cheval Blanc in Basel.
Your comments bring back the concert we attended (Indianapolis Symphony Orchestra) with Joshua Bell. Exactly right!
I know he puts hours into practice, but I was left with the sense that he wants to share his love, his gift, with us. The playfulness of the encore seemed personal, too.
Your comment about playful delight made me remember going to a Boston Camerata concert. They also had clearly put in their 10,000 hours, but they obviously had enjoyed doing so. It was such fun!
