It’s rare for a classical violinist to have the dramatic intensity of a great actor. Karen Gomyo, appearing with the Milwaukee Symphony Orchestra last Friday evening, mesmerized from start to finish in the Concerto in D minor by Jean Sibelius. The music seemed to come from a fire within. Gomyo plays with seriousness of purpose, a unique and darkish tone, technical brilliance and the deep individuality of a true artist.
This orchestra that Edo de Waart built played brilliantly in this concert of early 20th-century works, with the long-experienced Christopher Seaman as guest conductor. Edward Elgar’s lengthy concert overture In the South (“Alassio”) reminds one of a tone poem by Richard Strauss. About a town on the Italian riviera, the music has a creamy English warmth. The rich ensemble sound of the cello section was splendidly showcased in one spot.
Daring subtleties of sound from Seaman and the musicians emerged in Paul Dukas’ evocative ballet score La Péri. Glamorous, lush playing came from the strings. Expressive and refined brass sounds were prominently featured. This section of the orchestra has become a reliable thrill to listen to without being showy, retaining balance and blend through any dynamic.
The graceful, sophisticated playing continued in Igor Stravinsky’s Suite from The Firebird (1919 revision), with gorgeous oboe, clarinet and bassoon solos. I melted into tears as Matthew Annin played the famous theme on horn in the last movement.
Earlier in the week I heard an inspired Frankly Music concert. Violinist Frank Almond was in unusually good form, speaking with charm and insight about the featured pieces. He was joined by pianist William Wolfram in a profound account of Sergei Prokofiev’s great Sonata for Violin and Piano No. 1 (Op. 80). The excellent cellist David Requiro was added for a poignant, passionate performance of Piano Trio No. 2 (Op. 67) by Dmitri Shostakovich, written in 1944 in memory of a Jewish friend. Almond had to persevere despite a small cut on his left index finger that somehow happened in the first movement. Sergei Rachmaninoff’s Trio élégiague No. 1, played with sad elegance, began this Russian program.
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