The night of Saturday, March 26th, saw the Alaska Performing Arts Center filled with people. These people, aged young and old, stood patiently outside the Atwood Concert Hall, eagerly awaiting the opening of the doors that would shortly precede the beginning of the Anchorage Symphony Orchestra American Masters concert.
Nancy Darigo, assistant principal viola, began the concert by a speech in which she humbly thanked the loyal symphony patrons, and spoke a little about both herself and the orchestra. Once Darigo had taken her seat, Kathryn Hoffer, concertmaster and first violin, took to the stage to tune the orchestra. Following that harmonious first note, the concert commenced.
Copland’s Music for Theatre began with the trumpets. It was followed by an emphasis on the woodwinds, and the sound of the percussion. All throughout the selection, these instruments could be clearly heard through elegant solos that carried the piece. The orchestra complemented the sound and made it bloom to something both melodic and reverent. Music for Theatre included sections that were quick and enthusiastic, but also sections that slowed down and almost reached a melancholic state. Throughout the full spectrum of various symphony moods, the piece did carry a feeling of music that could be heard at the theatre. Different movie images would flash through the mind to accompany their appropriate symphony moment. From the first notes, the Anchorage Symphony Orchestra showed that they were made up of nothing less than American Masters.
Rnadall Craig Fleischer, ASO’s conductor, then stepped aside to present Time for Three; a trio composed of Nicolas Kendall, violin, Zachary De Pue, violin, and Ranaan Meyer, bass. Time for Three also brought along their percussionist, Matt Scarano. This trio was both incredible to watch, and incredible to hear.
Kendell, De Pue, and Meyer harmonized in a way that isn’t generally seen onstage. Their music seemed to be used as more of a security check than a necessity. The three appeared to have the music memorized as they looked to each other for cues. This apparent unnecessary need for their music was not a detriment. Rather, it showed the trio to be true professionals and made their excellent music that much better.
Aside from Time for Three’s exceptional talent, the three also displayed an enthusiasm that gave them an entertaining onstage presence and proved their passion for their music. The emotion of the song could be seen in the musician’s faces. This engaged the audience of patrons and symphony-goers and had them bopping their heads, tapping their toes, and occasionally chuckling at the antics of the trio.
Time for Three played a selection of songs entitled, Travels in Time for Three. This selection was arranged by Chris Brubeck.
The selection began with Thematic Ride. In this, Meyer presented a blues feel as he plucked away at the bass strings. At times, it was a bit difficult to hear the distinct notes of the bass, but they provided a good vibration and undertone sound for the music. The following song was Irish Folk, Odd Times. The Irish folksong feel was instantaneously noticed once the music began. The violins rang out almost like fiddles reminiscent of old, and new, Ireland. The third song was called Suspended Bliss. In this song, the emphasis was placed on the violins. This was not a bad move. The violins sang out clear and melodic as around them the orchestra swelled with the music like a single living organism. Travels in Time for Three ended with Clousseau’s Mardi Gras, Laissez Les Bon Temps Rouler. The music played in this song did sound as if Inspector Clousseau himself was tip-toeing around the stage. This song also had a blues feel and at the same time could be heard in a spy movie, or an upscale nightclub.
Time for Three earned a well-deserved standing ovation at the termination of the selection. The cheers from the audience were a tribute to Time for Three’s incredible talent. Seeing their standing ovation, the trio returned to the stage for an encore. This encore was their rendition of Brahm’s Hungarian Dance No. 5, and did not include the rest of the orchestra.
The encore focused specifically on the sound of Time for Three and took out the music of ASO. The violinists and their bassist shined as the fiddler-like music was clear and touched the hearts of everyone in the audience with its familiar, magnificent tune. One of the violinists stopped with Meyer, but the other continued a high, slow note. After a moment of surprise from Meyer, his partner, and the audience, the violinist transitioned his note into a rendition of the famous, Fiddler on the Roof. The second violinist placed down his instrument and joined his partner to begin playing on the same instrument. This feat was greeted with awe by the audience as the two violinists played on one violin and the bassist filled out the sound. The three musicians played three separate, but equally familiar songs from Fiddler on the Roof and sounded just as good as if each musician had had their own instrument. This never-before-seen action was impressive and once again demonstrated the superior skill of the three musicians.
Once each musician had regained their instrument, they finished out their moment in the concert with showmanship that earned them another standing ovation. Even though the emphasis was placed on Time for Three throughout ASO’s performance of Travels in Time for Three, they could not have done it without the help of the orchestra, which followed them throughout every song and made it not just a concert, but an experience.
The final arrangement for the day was Porgy and Bess: Symphonic Picture by Gershwin. Even though ASO had lost Time for Three, they did not lose their talent. The orchestra in this selection sang just as beautifully as they had from the beginning of the concert.
Some people may grumble at the thought of attending the symphony, but they do not understand what they are missing. Attend an Anchorage Symphony Orchestra concert, and they will be hooked from the first note.
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