Three light and nearly error-proof works and one heavy masterpiece marked Laura Jackson’s return to the Atlanta Symphony Orchestra as guest conductor. Ms Jackson has an interesting conducting style, with an incisive right-hand beat, while employing her left hand and lithe movements to perform almost interpretive dance to the music. While never out of control, and occasionally fun to watch, her full body involvement may not be the most effective way to communicate intent to the musicians. Throughout the program, she would change the intensity of her movements, but it seemed to have little effect on the ASO’s playing.
Respighi’s Ancient Airs and Dances is a lightweight, thoroughly enjoyable homage to music of the 16th and 17th centuries. It is composed for a chamber-sized ensemble, including a harpsichord and excluding percussion. The troublesome acoustics of Atlanta Symphony Hall actually seemed favorable to the sound produced by this smaller ensemble. Fortisssimos were clear, unlike the sonic smear that can occur when the full orchestra is playing. Ms Jackson conducted a precise, yet warm, and dance-like interpretation. The fourth movement Passo mezzo e mascherada was a nice spotlight for the ASO trumpets.
Vivaldi's Mandolin Concerto in C major RV425 is a perfect vehicle for the virtuosic skills of Avi Avital. The two outer movements are rapid, while the middle movement provided an opportunity for Avital to show off his abilities with more lyrical passages. This short piece is sunny, bright and fun. Mr Avital is a joy to watch, attacking his mandolin with abandon, but never losing his musicality. There was a good balance between the small ASO ensemble and the soloist, but it appeared as though the mandolin was being mic’d so it was difficult to tell if the fine balance was electronically induced.
Avner Dornan's 2006 Mandolin Concerto is a three-movement work played attacca. It was difficult to hear the three sections as distinct, since each section also contains a variety of styles, rhythms and tempos. The work provides ample opportunity for Mr Avital, who commissioned the work, to again demonstrate his mastery of the mandolin, including rapid fingering, striking the instrument, and detuning the strings, all whilst maintaining musical coherence. The string-length manipulations added an element of exoticism to the final movement. The composer seems intent on making the mandolin sound like a Middle-Eastern instrument, which is fine, if a bit inauthentic. Avital seemed to relish the challenges of the music, using his body to coerce volume out of his somewhat shy instrument. The concerto is an engaging work, easy to listen and only 16-minutes long. There is no doubt that Avital is a master of the mandolin and a joy to watch and hear.