Say it isn't so... Although acoustically favorable to the strings, the Southern Theatre hosted a new (and not improved) Columbus Symphony Orchestra format which fell flat on many levels. The first of four Masterworks series, "String Summit," began with Bartok's glorious Music for Strings, Percussion, and Celesta, but to see a professional symphony orchestra forgo CHAIRS in lieu of standing upright during the entire first half was absolutely excruciating. And that was only the beginning of this unfortunate new attempt to generate public interest in the sacred works of our late creative geniuses.
This new format comprised of a smaller, more intimate theatre, more casual wear of the orchestra, allowing drinks inside the theatre, dialogue and lectures of Director, Jean-Marie Zeitouni, a movie screen and projector interpreting music theory by mathematical numbers, and unusual separation of the strings within the orchestra. If you came to listen to the beautiful works of Bartok, Barber, and Berstein, instead you got a college music theory class on Golden Ratios, mathematical equations, Fibonacci Sequences and analyses of sea shells and pine cones. Just PLAY the music!!! You attend a symphony performance to close your eyes and be swept away by time and space, NOT to know that the climax of the music happens at exactly .618 on the Fibonacci mathematical scale.
When Bartok's Music for Strings, Percussion, and Celesta finally began, the orchestra truly rose to the occasion. (Literally. Yes, they were actually standing.) The rich, lush sounds of the strings were immediately evident as they interpreted this great work of art and nature brilliantly. The solemn and mysterious sounds of nature as interpreted by Bartok were evidenced in a beautiful melodic shape, taking the audience through a musical journey of emotional transformation.
After intermission, Zeitouni opted for the more traditional setting of chairs and no mathematical dialogue as he began Barber's Adagio for Strings. This was truly a magical highlight of the evening. The strings slowly and steadily rose in volume and intensity, teasing the audience, emoting with such great passion, until the ultimate melodic climax was reached. Then, slowly they tapered off to a peaceful fulfillment. Impeccable balance, seamless transitions, and complexity of theme yet simplicity of reality make this piece relatable in all aspects of love, loss, war, or personal endeavors.
"What is love?" asked the final piece in Serenade (after Plato's Symposium) by Leonard Bernstein. Music theory class began again, and answered this question by analyzing Plato and Socrates who gave homage to love and inspired Bernstein to write music on his perspective of love.
After this lecture by Professor Zeitouni, guest violinist, Rachel Barton Pine, made her stunning appearance in a purple sequined gown. As natural as the hand with which she played is like the violin to her body. She has incredible instincts, and seamlessly interprets music with such intense passion, relaxed vibrato, and impeccable technique. The audience was truly captivated by her enthusiasm, expressive tone, and relatability. For an encore, she performed Corky Siegel's Opus 11 for unaccompanied violins. As a fellow violinist, I was truly in awe of her spirited style, flawless precision, and extraordinary intensity with which she interprets music and connects to her audience. A true delight to watch this rare genius at work!
Music, like art, is often left to personal interpretation. The true creative masters are the ones who can transcend time and generation, transporting a person to an era or period relatable to that individual. When looking at a painting or listening to music, you want to connect that piece to your own life, and not be concerned with Golden Ratios or pine cones. In his desperate attempt to broaden the audience spectrum, Zeitouni took away the true experience of the orchestra. Don your best dress, go to the symphony, leave your drink outside, sit in your seat, close your eyes, and let the music take you to places where words cannot reach. It is a sacred place which deserves the utmost respect and humility. Hopefully, the CSO will reevaluate its decision and not turn its classical season into an informal circus. At this rate, I fear the audience will soon be chomping on peanuts as the elderly ushers wear neon shirts and lug drink carriers down the aisles shouting "BEER HERE".... all to the sounds of Beethoven.
For more information on additional Masterworks and other CSO programs, log on to www.columbussymphony.com.
