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New Jersey Symphony Orchestra Presents Fresh Renditions of the Classical Period's Best

Nancy Plum

The theme of Friday night's New Jersey Symphony Orchestra concert in Richardson Auditorium seemed to be "imperial" – Anton Arensky, whose Variations opened the concert was among the last composers of Imperial Russia, and Mozart and Beethoven were certainly imperial composers of their times. Throughout these three works, conductor Neeme Järvi maintained an orchestral style that was precise, elegant and full of humor.

Although Arensky's Variations on a Theme of Tchaikovsky was likely programmed months ago, it was a fitting memorial tribute to longtime NJSO supporter Edward T. Cone, to whom the concert was dedicated. In his lifetime, Arensky had a wide range of conducting responsibilities, including for chorus, and his symphonic Variations for strings reflected a broad palette of compositional colors. Composed as a memorial, this work was also a showcase for NJSO's collection of historic string instruments, reflected in the ensemble's very clean sectional sound.

Mr. Järvi is from the old school of conducting – with little flash and overt showmanship, but consummate in musicianship and command of the score, and capable of initiating action with the raise of an eyebrow. Standing on the same level as the orchestra, Mr. Järvi created an intimate atmosphere that allowed great communication with his players, especially in the many rubatos taken in the Arensky work. Mr. Järvi drew out the Russian pathos of this piece and allowed the strings to sing through their parts, especially the violas, as well as the entire ensemble playing in the harmonics register of the instrument in the final variation.

Concertmaster Eric Wyrick stepped out of the orchestra for Mozart's Violin Concerto No. 5 in A major, but maintained his ensemble connection by playing with the orchestra when not in the midst of his solo passages. Mr. Wyrick played cleanly and lightly over the orchestra murmuring behind him. Mr. Wyrick composed his own cadenzas to each of the three movements, and although they may have been a little more aggressive than Mozart might have done, they certainly displayed his virtuosity on the instrument and explored all registers of the violin. The "Turkish" effects in the third movement sounded a bit out of place with the rest of the music; no doubt Mozart was appeasing his audience, to whom "all things Turkish" were the rage. Mr. Järvi's sensitivity to the music was especially evident in the well built crescendos and the very well tapered endings to both the phrases and the movements.

Another warhorse of the Classical movement closed the concert; Mr. Järvi fully entertained his audience with a very brisk reading of Beethoven's Symphony No. 5 in C minor. His was a decisive interpretation, with sprightly tempi moving from one musical sentence to the next. The underpinning of the lower strings in the first movement was especially well brought out, and when given the opportunity, Mr. Järvi took a heroic approach to the music. The contrasts of the work, especially in the second movement, were also well articulated. Effective solo winds abounded, especially flutist Bart Feller, oboist Carolyn Pollak, clarinetist Karl Herman, and bassoonist Robert Wagner.

Although this is Mr. Järvi's first full year with the New Jersey Symphony Orchestra, he clearly established a rapport with the Princeton audience, entertaining them further after the Beethoven with an elegant rendition of a Boccherini minuet as an encore. The orchestra's transition to a new Music Director has been smooth, and the ensemble has not lost a step in maintaining a solid Princeton connection.

The New Jersey Symphony Orchestra's next concert, on December 29, is "A Viennese New Year" conducted by Julius Rudel. Ticket information can be obtained by calling 1-800-ALLEGRO.