Review

Season Opener Gets an 'A'
Sep. 20, 2005
Copyright © Las Vegas Review-Journal
Philharmonic shows off its upbeat side
By JULIA OSBORNE REVIEW-JOURNAL

Now in its eighth season, the Las Vegas Philharmonic may have shown its best yet Saturday in this season's opening concert.
Under the direction of Harold Weller, the 81-member orchestra offered accessible music -- including a world premiere -- and showcased an understated but excellent guest artist. The only complaint was that the guest, pianist Leon Bates, was sometimes drowned out.
One highlight was the nine-minute "Jackpot: A Celebratory Overture for Large Orchestra," written for the Philharmonic by Dan Welcher.
Commissioned to commemorate the centennial, the work may not bring to mind the sound of slot machines and buckets of coins tumbling from them quite as much as Welcher imagined, but it does catch the fever and fervor associated with the city's favorite sport. The orchestra first suggested the anticipation of a quick win with some grand cascades gradually building to a fever pitch, some slower sections (reminiscent of those inevitable losses) and an ultimate conclusion as bright as the city itself.
The evening's other highlight was the appearance of Bates, who accompanied the Philharmonic on George Gershwin's "Concerto in F for Piano and Orchestra." The work includes themes and phrases reminiscent of Gershwin's "Rhapsody in Blue" and "An American in Paris," with some of the emotion of "Porgy and Bess."
From a flourish of cymbals and drums, a jazzy and strong melody soon welcomed a bright, smart piano solo. When the orchestra came to life again, it offered both smooth music and a strong reminder of the likable cacophony just outside Carnegie Hall's doors. Percussion, horns and strings in willing harmony, working with Bates, contributed to a smooth conclusion to the first movement.
After lengthy applause (many audience members still don't heed the advice to refrain from applause between movements), the second movement was more blues-y and melancholy, with easy-to-recognize phrases similar to those in "Rhapsody." This was a time for Bates to show his style and substance. His easy attitude was evident as he seemed relaxed but focused, and ready to pounce when it was required. He never exhibited the intense posture of some classicists, instead bending at the neck or sitting as if he were ready to sing as well as play. The smooth moves complemented his smooth playing, and he and the orchestra ended with a third movement that was first frantic, then adamant, then what could only be called celebratory in this unique piece. The audience responded with a standing ovation for him and the orchestra.
Also on the bill were "The Unanswered Question," a 1946 piece by Charles Ives that was impressive in its showing of just what a solo trumpet can do, and Aaron Copland's "Appalachian Spring (Ballet for Martha), Suite." The Copland piece, performed just before intermission, was both energetic and contemplative, a familiar offering that allowed audience members to exit the hall humming the tune.
Classical denizens might complain that the program was more suited to a pops concert, but it provided a glimpse of an upbeat, bright side of the Philharmonic that could be shown more often.
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REVIEW
What: The Las Vegas Philharmonic
When: Saturday, Sept. 17, 2005
Where: Artemus Ham Hall, University of Nevada
Grade: A-
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Julia Osborne can be reached at osbo@sisna.com.
You can write her c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.