Mischief with the Kentucky Symphony
For 20 years, the Kentucky Symphony Orchestra and music director James R. Cassidy have been bringing creative and just plain entertaining programs to Greater Cincinnati.
They did so again March 11 in the Francis K. Carlisle Performing arts Center at Notre Dame Academy in Park Hills, Kentucky. The theme was "Mischievous Music," featuring such naughty notables as the Apprentice in Dukas' "Sorcerer's Apprentice" (Mickey Mouse in Disney's "Fantasia"), Háry János of Zoltán Kodály's folk opera of the same name, Peer Gynt from Grieg's incidental music to Ibsen's play and Till Eulenspiegel from the tone poem "Till Eulenspiegel's Merry Pranks" by Richard Strauss.
To see what these four tricksters were up to -- play by play -- their misadventures were texted onto a screen behind the orchestra. The texts were synchronized with the music so the listener would not miss the musical imagery.
Giving the program a starry dimension was guest artist/cimbalom master Alexander Fedoriouk. The cimbalom (national instrument of Hungary) is a hammered dulcimer brought to Europe by the gypsies in the Middle Ages. It has been a concert instrument since the 1870s. Ukrainian born Fedoriouk (who lives and works in Cleveland) showed what he can do on the instrument with a dizzying demonstration of Carpathian folk music during pre-concert remarks with Cassidy.
Mickey was first up with "The Sorcerer's Apprentice." The KSO bassoons "came to life" vividly as the broomstick(s) who tote water from the river to the Sorcerer's well, and the KSO overflowed with character. The six-movement "Háry János" Suite was a delight, from the sneeze in the Prelude (proof in Hungarian lore that a tale is true) to the final "Entrance of the Emperor and His Court" wherein Háry's exploits are celebrated.
"The Viennese Musical Clock" drew a beautiful sound from the KSO. Principal violist Daren Fuster's solo in the third movement ("Song") was warm and lovely, while Fedoriouk enchanted the audience with his first, soft entrance on the cimbalom. "The Battle with Napoleon," tallest of Háry's tall tales (wherein he defeats Napoleon's army single handed) was a hoot, with a march by the low brass accompanied by snare drum and a sardonic saxophone solo. The Intermezzo brought back the cimbalom for a lively verbunkos (a Hungarian dance), while "The Entrance of the Emperor and His Court" was gleefully celebratory, with piccolo, trumpets and drums.
Nordic miscreant Peer Gynt was represented by five selections. The most effective were "Åse's Death," a lament for Peer's mother, where the KSO strings came to an almost imperceptibly soft ending, and "Solvejg's Song," a touching love song by the faithful Solvejg, who waits a lifetime for Peer's return. "In the Hall of the Mountain King," the roaring troll fest so popular around Halloween, could have been more forceful, however.
Richard Strauss' "Till Eulenspiegel's Merry Pranks," another concert favorite, also came off less well than it could have, despite fine characterizations by principal clarinetist Christine Todey, principal flutist Susan Magg and the KSO horns, led by acting principal Jonas Thoms.
The KSO, a free lance orchestra with a core membership of about 50, differs every year , with new players constantly being added to the roster. An unusually large number signed on for this concert, (over 20, Cassidy said), but you wouldn't have guessed it from their performance. The
strings were exceptional in ensemble precision, intonation and color (a special nod to the first violins, if only because they are most often in the spotlight). The winds and
brass acquitted themselves well, too, despite an occasional fumble (the opening horn solo in "Till Eulenspiegel") usually no more than "flesh is heir to," symphonically speaking.
The KSO closes its season May 12 at Florence Baptist Church at Mt. Zion with "Cinematic Piano," a program of film music featuring pianists Steve Hinnenkamp, Scot Woolley, Marcus Küchle and Edward Newman. Information and tickets at www.kyso.org, or call (859) 431-6216.