Nuances in BSO concert stunning Vibrant, mysterious pieces evoke tears

The smorgasbord may have been invented to break up the monotony of a long Swedish winter. In that spirit, Sunday afternoon’s concert by the Bangor Symphony Orchestra at the Maine Center for the Arts was a musical smorgasbord, offering new music based on an ancient myth, composed by a much loved local musical veteran as well as music from the 19th century performed by a young, brilliantly gifted pianist. It was sad and joyous, bombastic and shy, thunderous and gentle. And like eating at a smorgasbord, it is difficult to fit it all on one small plate. Let’s start.

The opening work of the program was the world premiere of “Orpheus in Hell” by BSO bassist Robert Rohe. The piece exploits textural ensembles: harp, oboe and percussion; a pair of violas; three violins. In six short movements, the music moves from a joyous tambourine-flavored folk dance through a nightmarish discord with hallucinogenic harp glissandos to final remembrance and regret. Harpist Sarah Welch performed evocatively with tones reminiscent of a lap harp or an ancient Greek lyre.

After a standing ovation from the audience, composer Rohe was presented with a plaque commemorating his 25 years as principal bassist with the BSO.

Director Xiao-Lu Li then returned to the stage along with guest artist Spencer Myer, and the orchestra stretched out into the opening of Brahms’ Piano Concerto No. 1, Op. 15 in D minor. The BSO started confidently, but Myer seemed distracted. Finding his pace later in the Adagio, he set the pace in the final Allegro movement. Myer and Li drove the orchestra forward with a whirling but delicate ferocity. Notes were flying like snowflakes in a blizzard. After a wonderful piano cadenza and a dramatic end, the audience was up on its feet with cheers for Myer, Li and the BSO.

The second half of the program began with poignant remembrance as Samuel Barber’s “Adagio for Strings” was dedicated to the memory of longtime BSO violinist Sylvia McEldowney. It is fitting that this piece, featuring only strings, be played in memory of a violinist. The BSO strings are usually so good you don’t notice them, as they fill in the spaces and make a small orchestra sound large. This time they gave a noticeably great and emotional performance that brought tears to many eyes, mine among them.

Last on the program was that musical puzzle box, “Enigma Variations,” Op. 36, by Edward Elgar. Not a symphony, nor a concerto, it’s a theme and variations, and perhaps not. There may not even be a connecting theme. It’s a mystery.

Before the performance, Maestro Li enthusiastically shared his own theories as to the identities of the various initials and names with which the composer labeled each variation. According to Li, these included the composer’s wife, a bunch of friends, his girlfriend, the rest of his girlfriends and even the composer himself. Like a collection of little jewels, the woodwinds shone here, the brasses there. Of especial loveliness was the solo and ensemble playing of cellist Marisa Solomon, although nearly every member of the orchestra was able to add something to this fine performance of an unusual piece.

The next regular performance of the BSO will be Sunday, March 6, at the Maine Center for the Arts in Orono. Works will include the Symphony No. 6 of Shostakovich and, with special guest Chuan-Yun Li, the Khachaturian Violin Concerto. For information on the BSO, go to its Web site at www.bangorsymphony.com.

Helen York is a radio voice in search of a microphone. She lives and writes in Ellsworth. She loves e-mail: heyork@hotmail.com.