Sunday January 23, 2011

A Robert Burns Celebration: Orchestra London Masterworks Series; January 2011
Francesco Milioto: Guest Conductor

by Brian Hay

This was an evening for displaying versatility and presenting a variety of musical flavours. The orchestra was laid out differently again tonight. The cellos were placed between the violins and violas. There was also a full drum kit and a harpsichord on the stage.

For the first pair of numbers, 'The Overture and Gavotte for Thomas and Sally' by Thomas Arne, the harpsichord was placed the directly behind and in line with the cellos. One passage of the 'Gavotte' featured the cellos playing in tandem with the harpsichord before the other players picked up the melody. The effect was strikingly beautiful, almost to the point of stunning. Thankfully there was a repeat of it written into the music. The feeling that Conductor Francesco Milioto and the musicians of Orchestra London brought to their performance of this piece was one of restraint and elegance.

The second piece on the program, 'Façade Suite Number Two' by William Walton, had a feel to it that was distinctly jazzy. The influence of Gershwin and Jazz in general were all over it and the impression only solidified as the piece progressed. Guest Drummer and Percussionist Dale Anne Brendon (familiar to Londoners for her work with the Jeans 'n Classics ensemble) carried her end of the dialogue between percussion and orchestra beautifully. She supplied excellent work in the piece that followed as well. After the show Conductor Milioto stated that when a full drum kit is needed for a symphonic piece there's no one better to have there.

The 'Façade' also contained a lot of musical humour. That set the stage for what followed. Peter Maxwell Davies' 'Orkney Wedding and Sunrise' is basically a musical depiction of a Scottish "all nighter" where people dance, sing, get plastered and bring in the dawn with bagpipes. Maestro Milioto introduced Joe Lanza as "one of the leading actors in London" for the part of the drunken fiddler and they were off. The piece was a mixture of heavenly melodies (drunks being lofty) and complete anarchy (drunks being drunks) with Joe getting in character by doing everything short of falling off the chair while he made some pretty complex passages look pretty easy. Everyone on the stage had a good time doing this one. The audience was laughing out loud. When it closed with a piper coming through the hall and working his way to the staff it ended a first half that was filled with wit and surprises.

The second half featured the 'Scottish Symphony' by Mendelssohn. Under Milioto the orchestra gave a brilliant and vibrant reading of the first movement that displayed both a strong sense of classical restraint and the unfettered lushness of the romantic era. The trumpet was alongside the timpani and in line with the violins for this piece. It created a sense of spontaneity in the dialogue that formed between the three during the first movement. The 'Vivace non troppo' that comprises the second movement had to be familiar to everyone in the house. Holst quoted its central theme in one of his pieces (although I can't remember the name of it) and Victor Young used it for the score of the film 'The Quiet Man'. This isn't a slam against the work of either man incidentally—they both did great things with it. The orchestra gave their presentation of it the respect and affection they'd show to an old and trusted friend. The third movement, the lovely adagio, was played such beauty and emotion that it could only wash over and brighten each moment that it lasted. It was then that it became obvious how deeply Francesco Milioto feels the emotional content of any piece of music he leads a performance of.

A really happy chance had me seated just behind his father and an even happier one had me finding out about it. Tony joked and stated that "he (Francesco) got it all from me". I believe it. Their love of music is shared. Tony is an operatic tenor. Francesco is a conductor and pianist who brings great joy to the music he touches. Both men are as warm and friendly individuals as anyone could hope to meet. The music they touch is something that's alive within them. What a joy it was to meet both of them.

This program displayed the versatility of the orchestra to the fullest. They covered an array of musical flavours that ran through classical restraint, jazz influences, contemporary humour and early romanticism without missing a beat. Conductor Francesco Milioto interacted with the audience and brought his unique stamp to everything the group touched. When the evening closed with a powerful reading of the closing movement of Mendelssohn's Third Symphony it was the close of a show show that was fulfilling and rich with warmth.

The standing ovation they got was well earned.

This show took place at Centennial Hall in London, Ontario on Saturday January 22, 2011. It was a damn cold night but the warmth of the performance shook that off in a hurry.

This line acts as a spacer.