Monday, May 5, 2003 | 8:17 a.m.
The program of Mahler and Stravinsky at Artemus Ham Hall at the University of Nevada, Las Vegas, not only marked the finale of the Philharmonic's fourth season but also announced the fifth. It also demonstrated the matured musical skills of musicians and maestro as a synergistic team.
Known for his dramatic hellfire, brimstone and damnation style, Mahler did a 180 for his Symphony No. 4 in G-major, rife with bright, flowing, optimistic romanticism. The work spotlighted both individual soloists and entire sections of the orchestra.
The piece began with sleigh bells -- but the mood was far from wintery as strings and woodwinds created an enchanting pastoral image. Violins and cellos played a lilting counterpoint, as the French horns added fox-huntlike accents.
Substitute principal clarinetist Don Foster's bright notes cascaded capriciously. With principal Richard Soule showing the way, the flute section flitted birdlike with crystal clear brilliance.
Principal Bill Bernatis and the horn section first showed their marvelous sonority and resonance, then paired with timpani for a full-throttle blast in contrast to the silver-toned flutes.
This split musical personality continued in the second movement, a mocking "Dance of Death." Concertmaster DeAnn Letourneau played two different violins, one tuned in the normal manner -- G, A, D, E -- the second, tuned a full tone higher -- A, B, E, F-sharp.
Known as "scordatura," this puts several additional pounds of tension on each string, totally distorts harmonics and alters the timbre of the instrument. Letourneau had to make adjustments, too. Although she read the music and played as if she were using a normally tuned violin, the sound was eerily different -- exactly what Mahler's heavily annotated score, and Weller, required.
Letourneau interpreted Mahler's mischief expertly, creating grotesque, hollow, ghoulish sounds, many played on an open string without vibrato.
Guided by principal Robin Reinarz -- who also played several golden solo passages, the cellos added to the macabre fun with staccato attacks and aggressive bowing that sounded similar to fingernails screeching down a blackboard.
In the third movement, cellos introduced the theme over a plucked contrabass foundation. Then violas picked up the melody, followed by the second, then first, violins. This rich string tapestry exemplified the eloquent, interactive sound the string section has developed over time.
Mahler obviously took delight in disrupting romantic euphoria, however. He achieved a particularly raucous effect by having the clarinets, oboes, French horns and trumpets raise the bells of their instruments high over their music racks.
Clarinetist Foster was joined by colleague Tim Bonenfant in a piercing barrage aimed straight at the audience. Principal Bill Bernatis and co-principal Beth Lano diverted the normally rich and resonant horn section into a strident clarion call.
But soon the tonal pendulum swung back to a haunting solo played by principal oboist Stephen Caplan. Caplan was later joined by oboist Joan McGee for a duet with the horn section, which then collaborated with the violins.
But bliss didn't last long. Once again, without warning, thunderous timpani -- played by George Durkin -- and the brass, this time led by principal trumpet Tom Wright, blasted the tranquility.
The fourth movement spotlighted soprano Courtenay Budd, describing heaven through the eyes of a child. A poised and pretty twentysomethng lyric coloratura, Budd has a beautiful, bright, agile voice -- when you can hear her. The orchestra didn't drown her out.
The rapacious acoustical maw of Ham Hall claimed another victim; Budd needs to learn how to project her voice.
The evening concluded with Stravinsky's "Firebird Suite." There was wonderful swooping in the strings, soaring flights in the flutes, more superb passages in the oboes and clarinets, and an opportunity for bassoon principal Janis McKay to perform a marvelous solo.
Weller couldn't have chosen a more appropriate program to showcase his outstanding musicians and their ability to produce dynamically sensitive, cohesive, emotional music. Solo passages were performed with technical skill and astute interpretation. The rapport between Weller and the musicians has forged a musical bond of excellence in just four years.
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