Princeton Symphony Orchestra took a trip through musical evolution on Sunday afternoon in Richardson Auditorium with music drawn from both the Classical and Romantic periods. Conductor Mark Laycock led his ensemble through a program that paid homage to the 18th century, as well as a geographic region of music history.
For a work composed in the early 20th century, Sergey Prokofievs Classical Symphony (Symphony No. 1) is about as classical as it comes. The four-movement work acknowledges the 18th century in its orchestration and motivic development, and although Mr. Laycock's dramatic approach to the work more resembled early 19th century opera than 18th century symphony, the strings maintained a suitably light touch. The orchestral dynamics were definitely reminiscent of the Romantic era, but very clean and stylistic instrumental solos by flutist Mary Schmidt and oboist James Button brought the work back to its Classical roots. In the third movement Gavotte, Mr. Laycock definitely used his interpretation to point out the Gavotte's differences from the standard Minuet used in Classical symphonies. Prokofiev made the specific point of using the Gavotte, a dance in which dancers actually lifted their feet from the floor, as the basis for the third movement of this work. Mr. Laycock brought out the more pompous aspects of the movement, musically implying that the dancers might actually be stamping on the floor as well. The movement took an abrupt and interesting turn at its close with a surprisingly delicate ending.
The Prokofiev work was well complemented by a piece composed within the past fifteen years. American composer George Perle was 77 when he composed his Piano Concerto No. 2, specifically for pianist Michael Boriskin, who also performed the work on Sunday afternoon. Mr. Perles compositional style has been described as seeking out a new kind of tonal music post-Schoenberg and leading toward 12-tone tonality. In his pre-performance remarks, Mr. Boriskin described the work as exciting and dynamic, with enormous kinetic energy, and with a few notes well placed which often go very fast. Mr. Boriskin was well able to convey this kinetic energy as the keyboard soloist, appearing so comfortable with the music one would think he had just sat down at a cocktail bar piano for a few tunes over a beer. He played the work as if it were an extension of his hands, with lightning quick scales mirrored by the orchestra and a number of nice duets between piano and instrumental solos.
A few percussive effects brought the audience to attention, such as a wood block whip crack which seemed to wake the audience up after a dreamy and ethereal second movement Adagio. It was a delightful piece to watch the pianist play, and an amusing piece in which to watch the music go by in an obviously handwritten manuscript.
Mr. Laycock took the audience on a trip to early 20th century Finland with the work which closed the program, Jean Sibelius' Symphony No. 2 composed in 1901-02. Mr. Laycock conveyed the story of the symphony well through the pastoral first movement, with its clean quartet of horns to the fast and furious string playing of the third movement. This symphony borrows a bit more from Mahler than Sibelius would probably have admitted, including the horn calls of the second movement and the overall massiveness of the work. Princeton Symphony Orchestra worked hard throughout this afternoon's concert, and skillfully maneuvered the changes in musical atmosphere in this symphony of moods. Instrumental solos abounded, including oboist Mr. Button and clarinetist David Hattner. The bassoons were also kept very busy accompanying the stalking pizzicato double basses in the second movement, described as representing the approaching Russians.
The Sibelius work in particular exemplifies why the Princeton Symphony Orchestra changed its musical mission from chamber repertoire to full symphonic works, and the Perle concerto certainly illustrates the ensemble's commitment to contemporary music. The orchestra seems to have a cult following in Princeton, and is one of the few ensembles continually almost selling out its concerts, indicating that the artistic decisions made along its path have been correct ones.
Princeton Symphony Orchestra's next performance on December 17 will be the orchestra's annual family holiday concert. Ticket information can be obtained by calling (609) 497-0020.