Review: Getting It Together

Saturday night's performance by the Houston Symphony, with conductor Alexander Shelley and violin soloist Hilary Hahn, had moments of exceptional individual and section playing. It had moments where the mind of the composer were clear to the listener.

For example, solo flutist Aralee Dorough was a fully equal partner with Hilary Hahn in the melodies that they share at the begining of Prokofiev's first violin concerto. Ms. Dorough alone had the theme at the recapitulation in the first movement and again matched a wonderful soloist. Their communication and music making was first rate.

Moments like those make a night at the Symphony something worth doing. But beautfully played moments do not make a complete concert or a fully satisfying performance. After the jump, one person's view on the potential source of the discontent.

From the Archive: Enigma Variations

This week, the Houston Symphony will play the Enigma Variations under the baton of Alexander Shelley.

You can peruse the score here.

Did you know that this used to be the HSO's "theme song?"

Sometimes, when there is a deep connection between an orchestra and its conductor, and when that conductor has a deep affinity for particular music, magic happens. That magic results in a performance of special excellence that becomes part of the orchestra's identity. It becomes "who we are," if you will.

And a "theme song" is born.

Pictured above is Sir John Barbirolli, a legendary musician that the HSO was lucky enough to have as its music director a long time ago in a galaxy far, far away. Because of the relationship Barbirolli had with his musicians, and because of his affinity for Elgar, the Enigma Variations became a signature piece for our HSO.

In 1970, Sir John died. And another legendarily gifted musician, Andre Previn, was on the podium for the HSO. The orchestra played the "Nimrod" variation in tribute for Sir John.

Actually, those who were present say the music played them, not the other way around. Maestro Previn remarked that the baton found its own way on that night.

After the jump, a recording of Nimrod, and something to ponder: does this orchestra have a theme song, a uniting signature piece, now?