Once in a while we see a performance other than a play - and if its really good, you'll read about it here.
This explains why this feature discusses the "other" orchestra in Los Angeles.
Don't get the idea that the LACO is a little cousin to the LA Phil. While not as robust in numbers, or as grandiose in setting, (it plays at the Alex Theatre in Glendale), the LACO is every bit as energetic and skilled as the Phil. It's strength comes from its intimacy and the ability of Music Director Jeffrey Kahane to mesh the gifted musicians into a cohesive unit that is joined at the clefs - treble, alto and bass.
Last February 21st, the orchestra offered a concert billed as Spanish Spice; Turkish Delight featuring a lovely violinist scarcely out of her teens, but with the musical maturity of a person twice her 23 years. The concert also featured LACO's premiere flautist David Shostac.
The orchestra opened with a vibrant rendition of Telemann's Don Quixote. The shimmering interpretation evoked visions of the legendary would-be knight as he traverses though his adventures. Especially brisk was the Andantino, The Awakening of Don Quixote , while the Attack of the Windmills had exciting string work.
The other Spanish section was delivered by David Schostac on his golden flute as he offered a stirring version of Joaquin Rodrigo's Concierto Pastoral. Challenging in every measure, the interaction between the orchestra and the solo instrument requires dazzling skills, exceptional dexterity and incredible breath control, all of which are admirably mastered by Schostac. The wonderfully edgy dissonance in the Rondo contrasts with the lyrical Adagio, as David Schostac proves that the title of world class musician is merited in every respect.
After intermission , Baiba Skride took the stage, selecting Mozart and Schubert for her performances . A wise decision, as both pieces were written while the composers were around nineteen years old, and both offer an opportunity to display virtuosity and still maintain the bubbly effervescence of youth in the delivery. Mozart's Violin Concerto No. 5 in A major (K.219), the Turkish concerto, begins with the strings presenting the two principal themes, then the solo instrument enters with a deliberate, reflective melody. Six bars into the piece you know this performance is going to be special. When she vigorously attacks the first theme, her fingers dance a precarious ballet on the strings exploring every inch of the fingerboard on the almost 300 year old Stradivarius "Huggins" violin made in 1708. By winning the Queen Elisabeth Violin Competition in Belgium in 2001, Ms. Skride earned the privilege of using this remarkable instrument (which is on loan from the Nippon Music Foundation).
Schubert's Adagio and Rondo for Violin and Strings in A major also offers plenty of virtuoso passages, all of which were brilliant and exquisite. The small orchestra is perfectly designed for this piece where the solo instrument launches the Allegro giusto with bouncy joy, almost immediately contrasted by a more pensive and contemplative passage which she delivers with elegance and style.
Baiba Skride is ready to join the corps of women violinists, like Midori who is celebrating her twentieth year of performing and Sarah Chang who is just over the age of twenty. The wonderful thing about having performers of this caliber is that the beneficiaries of this growing fraternity will be audiences all over the world.
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