Mexican symphony saves its best moments for last

The 70-plus members of the State Symphony Orchestra of Mexico quite literally saved the best for last as they offered a classical and contemporary program Wednesday that built to a sizzling crescendo.

Through most of the evening, conductor and founder Enrique Batiz was very reserved. When a selection was completed, he waited moments before turning to acknowledge the sparse crowd of about 400, sometimes making it difficult to tell if the work had ended or if the group just paused between movements.

Batiz began to show enthusiasm with the program's final piece, one from Mexico, and he was almost bouncing as he led the orchestra in encores of other Mexican music.

The group began the evening with Brahms' "Academic Festival Overture." Designed to be bright and fun, the brief composition includes selections from student drinking songs. Here, some portions were played with reserve and seemed better for sipping. The sound was correct but could have been far more lively.

Classical guitarist Alfonso Moreno joined the orchestra for Spanish composer Joaquin Rodrigo's "Concierto de Aranjuez." He played seated, one foot on a footstool, his instrument clutched close. Moreno's intensity is reflected in his music.

Even though about two dozen musicians left the stage for this piece, there still were times Moreno could not be heard. But he captivated the audience with lightning-fast moves and varied emotion. The adagio gave him an opportunity to pull at the heart strings with his guitar strings, reinforced by fine, aching work from the orchestra's English horn player.

After intermission, the orchestra returned with Schumann's "Symphony No. 3," which was fine, but paled in comparison with what followed.

Last on the program was "Sensemaya: Chant for the Killing of a Snake." The brief piece is abrupt and boisterous, with nearly a dozen percussion instruments joining musicians kicked into high gear for a rhythmic vitality.

Those who left before the encores missed some of the evening's biggest treats. "Do you like Mexican music?" the conductor asked. He even may have smiled. Then he offered a rollicking, involving "Danzon No. 2" by Arturo Marquez and "Huapango" by Jose Pablo Moncayo.

The encores brought wonderful energy and joy to the musicians, the conductor and the audience members. It was a good conclusion for the evening. It would have been an even better beginning.