Filed under: Reviews | Tags: Ace Edwards, Alix Corboy, Catherine Sailer, Lawrence Golan, Michael Galvin, Natasha Colkett, Pieto Mascagni
Friday evening, January 15, I attended a student conducting recital at the Lamont school of music at DU. It was presented by Ace Edwards, who already has in his possession a music degree from California State University at Sacramento, and the Royal Scottish Academy of Music and Drama in Glasgow, Scotland. Currently, he is completing requirements at DU for a Master of Music in Voice and Choral Conducting under Catherine Sailer, and he has just begun studies for an Artist Diploma in Orchestral Conducting with Lawrence Golan.
I must say at the outset that this was a very refreshing program. The orchestra that Mr. Edwards conducted was the Lamont Symphony Orchestra which, of course, is the orchestra comprised of students at the University. I know that is obvious to everyone, but it was terrific to see an orchestra play with such enthusiasm and dedication – it was very easy to tell that they loved what they were doing. I could name at least three community orchestras in the metro area whose members could use that kind of enthusiasm. Not one single member of the Lamont Orchestra sat like a lump in their chair and just dragged their bow across the strings. And, guess what? They played in tune, which is something else a few of the community orchestras need to work on. I found myself being envious of Mr. Edwards because he had such a dedicated orchestra to work with.
Mr. Edwards also put together a really fine program, even though I’m sure it was all carefully chosen to show that he could conduct pieces from representative periods of music (that is often what student conductors have to do). He began the program with the suite from Appalachian Spring by Aaron Copland. He also chose to use the scoring from the original ballet which is only thirteen instruments: two string quartets, base, flute, clarinet, bassoon, and piano. Every conductor has his own particular style, and because each conductor is different does not mean that one conductor is more correct than another. Some conductors have a tendency to conduct the phrases, while others are quite structured and firm in conducting their beats. It seemed to me that Mr. Edwards used a combination of both. Some of his authority came from the fact that as soon as he mounts the podium, he is ready to go, and it behooves the orchestra to be ready as well. Keep in mind that I am not a conductor, but it did seem to me that sometimes his movements were a little bit inside his body outline. In other words it seemed to me that he could use some more expansive movements. But of course, the real test is this: did the orchestra respond to him? They certainly did. The Copland was full of sparkle and energy where it was called for, and in the slow opening, as well as the Sixth Section of the overture which Copland entitled “Calm and Slowing,” the orchestra played with conviction and introspection. It was quite enjoyable to watch the orchestra work so hard for their conductor, and truly enjoy the music.
The second work on the program was the delightful Concerto in D minor for Two Violins, Strings, and Continuo (BWV 1043). It has certainly been a very long time since I have heard this work performed live. The violin soloists were Natasha Colkett and Michael Galvin. Alix Corboy played continuo. Colkett and Galvin are students at DU and Ms. Corboy is a freelance musician in Denver who has a Masters Degree in piano from DU. She has much experience performing with a variety of chamber groups in the Denver area. From the outset, it was very clear that Colkett and Galvin had performed together before. There was superb eye contact between them and they played with a great deal of vigor as did the entire orchestra. Mr. Edwards depended a great deal in this work on facial expression while keeping his movements at a minimum. But again, the orchestra responded to every move that he made. It must be difficult for the conductor to decide how much control to give to the soloists. Therefore, the soloists and conductor must work out the tempos and nuance even before the first rehearsal, and I must say the Bach seemed very well prepared. The slow movement was excellent, and the only way I can think of describing the last movement is that it simply rollicked. There is no question that Bach would have liked it as much as the audience did.
Next, Mr. Edwards chose the Intermezzo sinfonico from the opera “Cavalleria Rusticana,” by Pieto Mascagni. What a great addition to this program, as this is another work that used to be performed with some regularity, but now it is seldom heard. It is a beautiful lyric piece and it was clearly moving not only to the audience, but also to the orchestra. It is always wonderful to see musicians truly care about what they do. It was certainly clear that they were responding to Mr. Edwards.
The last work on the program was one of the great symphonies of all time, and certainly one of the best Mozart symphonies: Symphony Nr. 38, known as the “Prague.” This symphony was written in Prague and finished on December 6, 1786. It was premiered a few weeks later on January 19, 1787. As far as we can tell, it was written and dedicated to the people of Prague because of the high esteem they held for Mozart and his music. This symphony was very well done by the orchestra and by Mr. Edwards. Personally, I think that it takes a certain amount of bravery to perform such a work. In saying that, I am not intent upon insulting Mr. Edwards conducting ability by any stretch. It is simply that this work is hard. And I hasten to point out that Mr. Edwards did the job. Certainly he knows Mozart, and once again, the orchestra responded to his every request. I would, however, like to make a small suggestion to Mr. Edwards, while reminding him that I am a pianist and not a conductor. In the second movement (which is also a sonata form) about eight bars before the development section, the violins and low strings in this small coda have repeated eighth notes which are slurred together on the first and second beat (if one is counting six and not two). These notes are incredibly important in bringing the exposition to a close and must be done very meticulously so as to emphasize the harmony in the woodwinds scored above. Exactly four measures before the first ending of this movement, these repeated notes form the basis of a Neapolitan sixth chord which resolves to the new tonic, and which, in my humble opinion, needs to be brought out in a very subtle way. It is a perfect example of Mozart’s chromaticism which, at times, can be quite startling and moving. Everything else about this movement Mr. Edwards did in a very sensitive manner thoroughly befitting what Mozart wanted.
This was a very enjoyable performance by a conductor, who I think, will find it not quite so difficult (as conducting goes) to establish himself with a good orchestra. He certainly has the ability to pick an extremely appealing program. Now, all he has to do is work.
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