March 26, 2023

Twenty years ago, the Baton Rouge Symphony embarked on a new and exciting journey. What began as a conversation between two friends, one them then BRSO Board Chair Johnny Tate and the other Paula Pennington de la Bretonne, Chairman of BR’s Pennington Foundation, with time became the Pennington Great Performers in Concert Series.

The first concert was with the legendary Itzhak Perlman in 2003. He played Tchaikovsky. Since that premiere of the series, many of the world’s greatest artists have shared the stage with the BRSO:  Yo Yo, Van, Renee, Kiri, Denyce, Lang Lang and on and on. Last night we celebrated the 20th anniversary of the series with the incomparable violinist Hilary Hahn who, like Perlman 20 years earlier, also played Tchaikovsky.
 
While I would like to say that symmetry of repertoire was planned, I will confess it was a happy coincidence, but in pursuing that coincidence it is interesting to think back upon Mr. Perlman’s Tchaikovsky and compare it to Ms. Hahn’s. Both were deep, thoughtful, convincing interpretations of this iconic work, but they couldn’t have been more different. Each brought elements of musical conservatism (by this I mean fidelity to the written score) and each brought their own brand of musical freedom.
 
Mr. Perlman’s fidelity is tied to his signature style of playing which tends toward a relatively straightforward reading of a work with minimal rubato (spontaneous changes of tempo outside of what the composer indicates) and using focused beauty and subtle expressive nuance to bring out the inner magic of a piece. His “liberalism” comes from cutting extended passages in the final movement and re-writing some of the solo violin parts, both of which are long-standing traditions in the work.
 
Ms. Hahn on the other hand, plays all the notes Tchaikovsky wrote, exactly as written, and even includes observance of some of the larger scale tempo indications that are often disregarded by other violinists. Within that strict framework, her freedom comes in the form of a very free approach to the rhythmic flow of the work making for some breathtakingly beautiful moments.
 
Do I have a favorite? No. Both were beautiful, memorable and powerful in their own ways. Comparing them is just testimony to the broad spectrum of musical interpretation. There is no right or wrong, there us just authenticity, a strong musical vision and the skill to pull it off. I feel so very fortunate to have shared the stage with these two remarkable artists and all the others that have come through the Pennington Series.
 
The Tchaikovksy concerto was the second half of the program. The first half was all music of Latin America. We opened with Mexican composer Arturo Marquez’s now very famous Danzon No 2;  the Peruvian Gabriella Lena Frank’s “Coqueteos” from “Leyendas: An Andean Walkabout”;  Argentine Oslvaldo Golijov’s “Siderius” and back to Mexico for Moncayo’s block buster “Huapango”.
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The impact of the 20-year run of this series (and its future) extends far beyond those who attend the concerts. It has become a calling card for the city, bringing it into national and international focus and setting it apart from other similar-sized Southern cities. We are all most grateful to the Pennington Foundation for their continued generosity and support of the arts and of Baton Rouge.
 
Next up for me is something completely different…an evening of Harry Potter!
 
NEXT UP
 
The Magical Music of Harry Potter
Lansing Symphony Orchestra
Wharton Center for the Performing Arts
East Lansing, Michigan
 
April 15, 2023, 7:30 p.m.
 
 
#hilaryhahn #batonrougesymphony