In many ways, Stravinsky's The Rite of Spring on the second half of the concert was the perfect way to end a season because, like a commencement, it was a beginning. The music for the ballet that created such a stir 100 years ago in Paris stands as the most notable threshold work for entrance into 20th Century music. As a concert piece separated from the ballet, one is startled by how the score has held onto its modernity and visceral strength. And equally startling is recognizing the effect it has had on composers that followed, everyone from Ravel through 20th Century film composers to Leonard Bernstein. 

It is also startling how difficult the work is--to perform, to conduct, and to write about. Clearly, orchestras do not take on The Rite of Spring lightly, even though the technical level of orchestral playing, worldwide, is much higher today than it was in 1913; the added woodwind and brass instrumental requirements are a factor, as well. In addition, the harmonic combinations, the complex rhythms, and constantly changing meter require precision while maintaining the important balance of earthy, human physicality and raw tonal emotions. In this regard, Richman and the orchestra succeeded brilliantly.

Richman's own work, Three Pieces for Cello and Orchestra, was, in a word--charming. With the addition of an opening movement, "Declaration," to previously premiered and performed movements, "Prayer" and "Freylach," the work becomes a cello concerto that should draw a lot of attention from orchestras and soloists in the future. On this concert, the cello soloist was Inbal Segev, a veteran performer (these days involved in the Amerigo Trio) with an innate gift of interpretation and a seemingly effortless playing style. Of course, the soft, velvety warmth of tone from her 17th Century Francesco Rugeri instrument was as rewarding as one would expect.

Equally appropriate for the closing concert was a concert-opener that has both an air of solemn nostalgia for the past and a bright, ebullient optimism for the future: Richard Wagner's Overture to Tannhäuser. From the beautifully balanced and played opening passage of horn, clarinet, and bassoon, to the "Pilgrims' Chorus" theme by the trombones against dancing ornamentation of the strings, to the brass-heavy final chords, this was a goose-bump raising performance of one of the truly great opera overtures. [Perhaps coincidentally, or perhaps not, the 200th anniversary of Wagner's birth is this Wednesday, May 22.]

This was an evening of solidity and also one of inspired performances--performances that will make the wait for September and the next KSO season all too long.

One hundred years ago this month, May 29th to be exact, the ballet Le Sacre du printemps (The Rite of Spring) was premiered by Sergei Diaghilev's Ballets Russes at the Théâtre des Champs-Élysées, with choreography by Vaslav Nijinsky, stage designs and costumes by Nicholas Roerich, and music by the Russian composer, Igor Stravinsky. The usual money-ed ballet-going audience came expecting traditional classical ballet and a 19th Century ballet score, while those more artistically inclined who were beginning to revel in the avant garde side of the arts came to tweak the noses of the "box-dwellers." As the work began, the nature of the music and choreography caused loud disruptions that drowned out the music, fights broke out inside the theatre and out, as did continuing quarrels and disagreements among the two factions of the audience. The ballet's popularity has remained strong and Stravinsky's music for it can be heard regularly in concert halls. As we take in the KSO's performance of The Rite of Spring, it will be left to us to look back with interest at all that has changed in music and the arts in 100 years.

Also on the KSO's program is the quasi-premiere of Lucas Richman's own work, Three Pieces for Cello & Orchestra. (I say "quasi-premiere" since two of the three pieces were previously performed in 1999.) The cello soloist will be Inbal Segev, who said of the work: "The concerto as a whole shows the cello at it's best with lush melodies, virtuoso passages and a lot of heart."

Maestro Lucas Richman will open the concert with the Overture to Tannhåuser by Richard Wagner.

The performances are next Thursday and Friday evenings, May 16 and 17, at 7:30 pm in the Tennessee Theatre. Click on the KSO link above for ticket information.