We dressed up in our finery--can I just point out that something like an orchestra concert should be attended by people in their best dress not jeans and a t-shirt, even if it's your kid's elementary school production, show you appreciate the time the musicians have put in and put on something that takes effort--our outfits weren't superbly formal, but tasteful dresses with reasonable heels for walking around downtown Tacoma were still a lot dressier than what we wear to school and work every day. We arrived in time for the show, but parking was terrible and I made it from the car just in time to take my seat before the introductory remarks began.
One of the directors of the Orchestra introduced their sponsors from a local university and the conductor. The sponsors had their gratitude and fund-raising spiels, then the conductor got up to the microphone. The TSO had a guest conductor for the night: Paul Haas. Haas has an interesting background, but that's not really what I'm concerned with--he is hilarious! He directed a surprise for the audience; a piece he'd composed himself based on a of classic pieces he'd heard, then proceeded into the expected program.
First was a piece by a local composer: Alexandra Bryant. It was beautiful, wavering back and forth between smooth, typically orchestral phrases and staccato sections that each draw the attention to the differences while allowing the listener to sink completely into her work. The piece, called Strange Attractors, was varied and showcased what a symphony orchestra is capable of.
Next was Beethoven. Piano Concerto No. 3 in C minor, Op. 37 was fun to listen to: the pianist was also a guest--Stephanie Leon Shames--and the interplay between the piano's line and the orchestra's began to sound like a call and response. The part that surprised me most about the pairing was Ms. Leon Shames's lack of score. She didn't use music at all during the entire half-hour concerto, playing from memory. I have been part of a choir for over ten years and still have trouble with pieces longer than eight minutes, and the piano requires more effort to make sure to hit the right keys and put the harmonies are in the right places. I enjoyed the faster pace of the piece, it seems like people like to play classical music that drags on and the Beethoven piece didn't feel like it took half an hour.
After intermission the final piece was Brahms's Symphony No. 4 in E minor, Op. 98. Everyone (Haas and the program notes) commented on how sad the piece was, and I could see it, but what drew me was the constant movement and the joy that permeated the piece. Even in the slower portions, the melancholy was interlaced with a joy that drew the sound higher. It was as if Brahms was portraying the search for something lost--once it is found the searcher is glad, happy, joyful, but until then the searcher is upset with a hint of joy to come. The piece's premier was Brahms's last performance in Vienna as he died from late-stage liver cancer in the late nineteenth century and there is some of that ending feeling. However, the farewell is a goodbye based in shared experiences and the happiness of the memory together. It was my favorite piece of the night.
I have not been to a professional symphony in many years--probably since middle school--and tonight was an opportunity to rediscover a love for classical music and the pomp of going out to the theater. I hope to continue the practice in the coming years.
Just a thought...
Stephie
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