REVIEW — ASHLAND SYMPHONY ORCHESTRA
“French Mélange”

Ashland Times-Gazette

Saturday, January 28, 2006


The Ashland Symphony Orchestra hosted yet another wonderfully skillful soloist in its concert of works from or about France last Saturday night. Flutist Richard Sherman breathed freshness and beauty into two unusual works, and left the audience wishing for more. Gabriel Fauré’s short “Fantasy for Flute” begins with a haunting melody tinged with melancholy, reminiscent of his well-known “Pavane,” and concludes with a spritely scherzo that tests the limits of the soloist’s technique. Both moods were handled with what seemed like effortless ease by Sherman. His beautiful soaring tone never seemed forced in the long lines. His facility and humor in the fast section were delightful.

The “Suite in Three Movements for Flute and Orchestra” by 19th century composer Benjamin Godard is an intimate work of the type sometimes referred to as a “salon piece.” The work begins with a simple Allegro imbued with a distinctly Parisian flair. Next an “Idylle” – a nostalgic song that Sherman played with sensitive phrasing and color. The suite concludes with a “Valse” during which the flute flirts with the clarinet and horn. Sherman brought meaning and excitement to this relatively quiet suite, never resorting to mere flashy show and yet dazzling our ears with his glorious sound. Conductor Arie Lipsky and the orchestra proved once again that they are genuinely expert accompanists. The ensemble between soloist and orchestra was flawless.

The initial work of the evening was Bizet’s Symphony in C. This is a masterly example of 19th century symphonic form — made all the more remarkable by the fact that Bizet composed it when he was a mere 17 years of age! Lipsky’s reading of this familiar classic was consistently satisfying, hampered only by shaky articulation in the string section and the appalling acoustics of Hugo Young Theater. I can’t help thinking that a more careful placement of the rear shell might help somewhat. At any rate, the gorgeous oboe solo of the second movement, beautifully played by Andria Brennan, was diminished somewhat since most of her sound was carried upward into the flies and not out to the audience.

The concert concluded with Gershwin’s ever-popular “American in Paris.” Once again the orchestra seemed to be battling the acoustics. This is perhaps the first time I’ve ever heard the brass section overbalanced by the strings! Regardless, Lipsky and the ensemble attacked Gershwin’s Franco-American romp with gusto. The blues section had a true jazz flair, and the madcap finale was a real rouser, prompting an enthusiastic ovation.

Frederick Reederench Melange"