Kenneth Herman

San Diego Arts

San Diego Chamber Orchestra Premieres Concerto for Theremin

Paulson conjures the late Clara Rockmore
By Kenneth Herman
Posted on Tue, Mar 11th, 2008
Last updated Tue, Mar 11th, 2008

Building a classical concert around the concept of “surprise” is no easy feat, for the inherent conservatism of subscription audiences does not covet the unexpected. Since Jung-Ho Pak has become Artistic Director of the San Diego Chamber Orchestra, his programming has tended to the clever rather than the daring side of the musical spectrum, but Monday night at Sherwood Auditorium, he bravely went out on a limb.

The genuine surprise on this concert was a newly minted Concerto for Theremin, written by San Diego composer Linda Kernohan. Since Scott Paulson, the SDCO’s long-standing (well, sitting, actually) second oboe is one of two Theremin virtuosos in Southern California, Pak decided to capitalize on this fortuitous circumstance.

Ah, you say you’re not certain what a Theremin is? You are in good, or at least numerous, company. This rare but not quite extinct instrument, arguably the first electronic instrument of the last century, was invented in 1919 by a Russian physicist, Léon Theremin, and championed by no less a figure than Lenin, who—in some of his Marxist-Leninist downtime—attempted to master the instrument. It is the only instrument which makes sounds without direct touch—the player merely moves his hands around two perpendicular antennae to create pitch and change the volume. Although the great Russian-American virtuosa Clara Rockmore played the Theremin with notable orchestras in the 1930s, that fad waned, and the eerie, other-worldly (to some ears) sound of the Theremin found its home in film scores, especially science fiction movies. From the genius of Ed Wood, the Theremin jumped to the imagination of Robert Moog, who claims he would not have invented the synthesizer without first having encountered the Theremin.

Ms Kernohan’s modest, single-movement work for solo Theremin and Orchestra would have been called a Concertino in the 1940s, a musical period which the piece invokes fondly and skillfully. It begins with the orchestra setting up a tango-like ostinato bathed in rich orchestral colors, an apt scenario for the ghostly wail of the Theremin to enter. The solo lines tended to long, lyrical stretches within a modest range, although the composer exploited a snazzy affectation where the Theremin line was sliced off in a swift, violent downward portamento. The work’s mid-section sounded like an homage to a Douglas Sirk noir sound track, and the finale included some fine duets for soloist and flute, as well as with the first violin. Paulson was in fine fettle, although seeing him in a totally serious performing mode probably shocked his loyal fans who know him from the annual UC San Diego toy piano festivals at the Geisel Library. Next year a concerto for the Ondes Martenot, perhaps?

Pak’s more ordinary surprise for his audience was a set of four Irish songs arranged by Beethoven, sung by the young American soprano Mary Ann Carr. In truth, Beethoven arranged these songs for voice and piano trio (along with many other British folk songs) for a Scottish publisher, an arrangement that strikes most observers as a commercial venture rather than an artistic undertaking. Pak had the songs orchestrated for this concert, and the whole package proved quite agreeable. The slight vocal scope and lack of elaboration of these simple songs means the singer must make the most of declaiming the text and capturing the underlying emotion of the poetry. I was touched by Carr’s melancholy in the song “The Return to Ulster,” and she had great fun knocking the stuffing out of English mores in “The Irishman in London.” A light, colorful voice, Carr’s real power appeared to be in her upper range, although I believe we only received intimations of that power in these songs.

Haydn’s evergreen “Surprise” Symphony contains as much actual surprise as the political bent of George Bush’s Supreme Court nominees, and surely every concert-goer in captivity has memorized that loud chord in the opening measures of the second movement. Nevertheless, such a great symphony—one of the composer’s magnificent twelve London symphonies—needs no special pleading to be heard again. It was not easy to erase the memory of the San Diego Symphony’s polished and effervescent performance of the work last month at Copley Symphony Hall as Pak urged his under-rehearsed troops forward through this score. Like a small army under siege, they fought bravely. Muscle and determination may get an orchestra through some Beethoven, but not very much Haydn.

The strings remained on edge, with the brass threatening to overpower them at every turn. Perhaps a more relaxed tempo through the second movement variations would have brought sweeter sounds from the players and provided some needed emotional contrast. I always picture Haydn in a greatcoat and a puffy, white wig. Very 18^th century. Pak’s Haydn wears jeans and has a multi-colored tattoo on his left arm.

About the author: Kenneth Herman began his writing career as a music critic for the San Diego Union-Tribune and covered classical music for the San Diego Edition of the Los Angeles Times (1982-1992). He wrote "A History of the Spreckels Organ." and is currently Music Director/Organist for the First Unitarian Universalist Church of San Diego and conducts the 60-voice San Diego Youth Choir.
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Comments

Posted by Robert Schumitzky	Wed, Mar 12th, 2008
Having read your review of the San Diego Chamber Orchestra performance this past Monday, at the Sherwood Auditorium, I was left with a question of why you didn't mention the opening piece by Boismortier. I am violinist who performed in this concert and although I did not perform the Boismortier I would certainly have expected some mention of the work and/or the performers involved. Even if the subject matter made some uneasy, this was a substantial, albeit short, ten-minute work which was not only pleasing to listen to but took quite a bit of skill and expertise to perform. I don't know, it just seems like you dropped the ball by not mentioning this piece and its performance.

Posted by George Johnston	Thu, Mar 13th, 2008
Ken, I love your reviews. I was extremely disappointed that you did not hear Toby play the Grandahl last week. You could have said anything you wished about it, but if you had heard it, you would have heard something really beautiful; really unique, and played exquisitely, with poetry and heroics. It is extemely rare that a masterworks concert anywhere will include the likes of a lowly trombone concerto, but Toby pulled it off with poise and total aplomb. I went into the audience (in a different location for each performance) and I was moved to tears. Toby is a really fine musician in every sense of the word. As much a musician as Pearlman, or, you name anyone who has ever come to San Diego. His musicianship transcends the trombone. All three of his perfomances were executed with authority, imagination and heart. He sang the concerto on his horn. I am disappointed because for the first time since Atherton reseated me, I have been enjoying myself. I have complete confidence in Toby. He is a leader in a sort of military way in that he confronts us old timers with what he wants. And he has the education, the experience and the mentors to back everything up. He has very high standards and he is not afraid to impose them on us. He is gentle but firm and incredibly wise beyond his 32 years. Last Monday he played for Boston. He made the finals. Two weeks ago he was one of two finalists for the principal position in the San Fransisco Symphony. Both of those jobs pay at least $150,000/ yr. He almost won the position in San Fransisco, and Boston is flying him back in a couple of weeks for another round of finals. He is destined to move onward soon. He reminds me of the character on "Vitus." If you haven't seen this movie, put it at the top of your list. E-mail me and tell me how much you loved it. It is a true work of art, and, as a pianist, you will totally relate! Toby is just such an artist. Every bit as smart outside the job as he is inside. You would have been amazed if you had been there. Ever so very respctfully, George

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