Northeast Wisconsin Music Review

Birch Creek Music Performance Center

Symphony Series

Egg Harbor , WI

June 21, 2007

Another Opening; Not Just Another Show

For the first time since 1994, Brian Groner was not present to lead his symphony players (in those earlier days, “studio orchestra” players), but he managed to direct a superb replacement to the Birch Creek podium (Groner will be at Birch Creek for the second week, returning from hosting a high-powered panel at the annual American Symphony Orchestra League conference in Nashville). Lucia Matos, who directs the orchestra at UW-Oshkosh, is a very attractive Brazilian-born maestra whose conducting style is both ultra-clear and expressive. More anon.

Let us begin with the pre-concert festivities. Once again, Cynthia Stiehl sponsored a pre-concert reception, also signing on as sponsor of the program itself. While enjoying the elegant foods, attendees had the chance to listen to several chamber ensembles as they performed in the gazebo. Then, inside the Dutton Concert Barn, we heard a snappy percussion ensemble and the three piano students and faculty instructor Jodie DeSalvo flashing through three duets. Especially impressive was Darius Milhaud’s “Scarmouche” performed by DeSalvo and student Gregory Hanford.

Before the concert began, the audience was told of Birch Creek’s Perfect Pitch Campaign to raise monies for needed additions to the school’s campus: improved practice facilities and dorms for faculty and TAs. Half has already been raised. For others who know and value BC’s exceptional program, we can think of no more worthy cause to which one could contribute. Birch Creek is a miraculous place; it deserves all the support that can be mustered.

The reasons were made manifest in the concert itself. Our own respect and affection for Birch Creek and all who are associated with the institution is based on the sheer quality and unending care brought to all aspects of its program. Dr. Lucia Matos proved herself a superb conductor immediately, leading a crisp and cleanly articulated performance of the National Anthem. The same authority allowed her to lead an exciting, but not overwrought, Marche Slave, Tchaikovsky’s often maltreated concert piece. At face value an obviously patriot piece, it may have been intended by the composer to carry a bit of satire. This was, issues of Tchaikovsky’s intent aside, an echt-Russian interpretation, one foregoing superficial effects in order to dig for the darker colors which lie within. Matos didn’t plow through the work with sustained loudness as some do, but varied the dynamics decisively, effectively. The final appearance of the broad melody which is heard earlier (and prominently) sang forth boldly and beautifully with abundant input from this year’s orchestra, as fine an edition as we’ve heard to date. In all, a splendid performance of a work that can descend, in lesser hands, into grating claptrap.

Last year’s Concerto Competition winner, oboist Emily Knappen, was featured next in the Adagio movement from the Concerto in B-flat major by the Venetian composer Alessandro Marcello (1684-1750) who composed under the Arcadian name Eterio Stinfalico. Miss Knappen, who has been studying the oboe for just five years, is a student of Stephen Colburn, the excellent Milwaukee Symphony Orchestra Principal Oboe. She will enter the Eastman School of Music this coming fall.

Now in her third year at Birch Creek, Miss Knappen exhibited poise and confident playing in an especially affecting Baroque period slow movement. One could be assured that her technique fully encompasses faster music, but the ability to master long legato lines is the basis of all good playing and this she did with pleasing accomplishment. Her forward tone is even and attractive high and low; she applied her technical skills to brush her work with a sweetly plaintive aura. In addition, she presents herself well on stage. Her choice of a simple back gown with an iridescent sash at her waist demonstrated a fine sense of style. We believe the petite young lady will do very well in her further studies.

After intermission, Beethoven’s Symphony No. 8 in F major was heard fulsomely played in an interpretation of precise accents and striking motive power. Dr. Matos ideas about the work were thoroughly sound. Dance-like approaches to all those many aspects that fit that form. The work is concise and was well-received at its 1814 premiere. It rests comfortably within Classical norms, but holds curious meanderings. The second movement, resolute in its rhythmic clarity, holds is only 81 bars in length, shortest in the Beethoven symphonic canon. While the composer specifies his third-movement be played “Tempo di Menuetto,” the dance is in fact a much heavier-footed ländler. Beethoven was never as light on his feet as Mozart and it shows here, especially. Could it be that the composer was mocking the world of the court to which he was admitted only occasionally and, then, grudgingly?

As Roger Detmer points out in All Music Guide, the composition of the finale is curious – a monumental coda, only 30 measures shorter than exposition, development and reprise together. Ear-disturbing interjections, often in distant keys, only add to the jollity of process and Beethoven spares no element of energy in bringing this modest-sized symphony to a protracted close.

Dr. Matos had the right conception firmly in mind and secured remarkable playing from her orchestra. Each year, we wonder at the ability of the students (who form nearly two-thirds of the ensemble) to rise to such a level of assurance after less than four days rehearsal that rivals any good regional orchestra. The playing throughout was remarkable, not only in accuracy, but in timbre and nuance as well. Their leader gave such unmistakable cues from the podium that one could not mistake her intent. Her right hand is precise while her left is carefully directed toward giving indications regarding dynamics, shaping of phrases and just how abrupt a cutoff should be. A goodly number of faculty members shared with us their delight with her work; she, in turn, told us after the concert how deeply she had been touched by Birch Creek’s collegiality and drive in making great music.

Yes, this was a great night, heart-warming as well as intellectually stimulating. But, again, that’s just the Birch Creek Magic – and it will be in evidence throughout the many concerts to come this season. (Erik Eriksson)