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November 22, 2007
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A problematic audition Beyond the obvious promotional possibilities, the idea of guest conductors “auditioning” for the job of leading the Nashua Symphony has some merit. But there’s no guarantee that the resulting performances will show each applicant in top form or bring out the best in the orchestra. That, alas, seemed to be the situation of guest conductor Jed Gaylin, the third of four candidates to succeed long-time music director Royston Nash, who stepped down from the podium at the end of last season. Gaylin, who led the orchestra on Saturday, Nov. 17, in Keefe Auditorium, had a promising “unfinished business”-themed program: a brief and unconventional work by Charles Ives, Schubert’s Unfinished Symphony, and then Mozart’s big Requiem for orchestra and chorus — the piece Mozart was composing on his deathbed and left incomplete. Unfortunately, the way the concert was stage-managed got things off to a slow start. “The Unanswered Question,” a work by Ives for trumpet solo, flute quartet, and strings, was played with the strings and Gaylin behind the auditorium’s lowered main curtain, with the others out front on their own. This didn’t affect the sound (the strings sounded great), but it produced a hesitant playing from the flutes that kept the music from really jelling. Ives, with his weird asymmetrical writing, demands precision and confidence to pull off. I didn’t get this, and with Gaylin behind the curtain, it was hard for him to do anything about it. Whatever its merits, this setup then forced a lengthy pause so the stage could be entirely reset for the next work, Schubert’s “Unfinished” Symphony No. 8, which didn’t get underway until a half hour into the concert. Time wasn’t the issue here (hey, a set change is a scene change), but pacing was — the long pause dissipated any kind of energy the Ives created and brought things to a screeching halt. A somewhat draggy rendition of Schubert’s famous score followed. A slow tempo in the first movement was one reason, but more fundamentally, some of the musicians (not all, but some) just seemed to be sitting there playing the notes throughout the two movements. Somehow, Gaylin wasn’t able to bring much personal magic or inspiration to the familiar piece. He may have been having an off night, but this is a basic job for any conductor, especially for one angling for a job, and I just didn’t hear or see it happening in many parts of the orchestra. Mozart’s Requiem fared much better, in part, I think, because the Nashua Symphony Chorus singers are volunteers and make music for the love of it. Mozart’s final masterwork is as familiar as Schubert’s score, but the singers clearly were making the most of a chance sing it. That showed in the music that was made, which was often lively, intense, and inspired. Prepared by director Diane Cushing, the chorus singers responded to Gaylin’s direction with attention and focus, making their work the evening’s highlight..
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11/15/2007 A musical 'to-do' list 11/8/2007 Fingerprints, please
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