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Monday, January 20, 1997

Philharmonic gives soothing concert

JULIA OSBORNE
Review-Journal

     By Julia Osborne
     Review-Journal
      Sometimes, it's fine not to be flashy.
      Sometimes, an evening of relaxing, recognizable classic music is just what's needed to wash away a week's worth of stress, to lull listeners into a mood more appropriate for a lazy weekend.
      That's exactly what the Warsaw Philharmonic Orchestra provided at Ham hall Friday evening, offering a comfortable program of simple pleasures.
      It would be difficult to select a more recognizable group of composers. Friday's selections were by Brahms, Mozart and Beethoven. The 115-piece orchestra, under the direction of artistic director Kazimierz Kord, dutifully provided interpretations that never strayed far from the expected, though featured pianist Jon Kimura Parker did provide some surprises during the Mozart.
      The orchestra has a rich history. Established in 1901, it has performed with conductors and soloists including Prokofiev, Rachmaninoff, Ravel, Strauss and Stravinsky. Despite several years during World War II when it could not perform, it has been seen in 30 countries on five continents. Kord, a Polish native who studied in Leningrad and has been a guest conductor with orchestras and operas throughout the world, was named music director in 1977.
      Parker, a Canadian, won an international piano competition in 1984 and has performed throughout the United States and Europe as well as Asia.
      His style might make a piano teacher wince.
      He seems most comfortable huddled over the piano, shoulders tight and low, rather than adopting a more relaxed pose. His left hand is frequently hovering some distance above the keys, waiting its turn to rejoin the composition much like an impudent child.
      "Variations on a Theme by Haydn, Op. 56a" by Brahms opened the evening--somewhat inauspiciously. this can be a subtle, witty work, characterized by its changes in mood and temperament, from dreamy passages to brisk, brusque sections before a triumphant finale.
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      The score calls for an ensemble heavy on horns; perhaps it was the abundance of strings that gave it a sonorous sound here. The subtlety was present in too many passages, resulting in an offering that was generally without passion and sometimes downright muddy.
      Mozart lovers were far more satisfied with the rendition of "Piano Concerto No. 21 in C major, K.467." Not only did Parker provide a winsome interpretation of Mozart's music; he added his own interpretations--and variations--to the cadenzas. Though Mozart will never make pulses pound, Parker gave this piece an appropriate vibrancy, complemented by Kord and the orchestra. As for his demeanor? "Close your eyes," commented one knowledgeable audience member. "Then he's fine."
      After intermission, the orchestra returned with Beethoven's "Symphony No. 3 in E-flat major, Op. 55/'Eroica'." The work calls for a vast display of sentiment. Interpretations over the years have characterized it as outlining a battle and the ensuing loss, the history of a hero or even the entrance of the 19th century. The second movement, "Marcia Funebre," has been said to be Beethoven's version of Napoleon's funeral march.
      This was the best offering by the Warsaw. Perhaps its varied feelings inspired Kord and his musicians to reach more deeply, beyond the dependable to the emotional. A lively scherzo led to a complex, rhythmic finale.
      This was not an evening which was seared upon the memory of those in attendance. It was a solid offering of dependable classics É easy listening in the true sense of the phrase.
      And -- though something beyond that is always appreciated -- frequently, that's all that's really required.
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