Symphony playbill a luscious ode to spring

The Sudbury Symphony Orchestra has rarely had a simpler playbill. Just three pieces were listed for its March 5 concert at Glad Tidings.

The music, though, was full-size for so few words.

To continue this theme, the audience entered the auditorium to a stage bare of musicians. Once they took their places, it was clear this was going to be a special event. A small assemblage stepped out and launched right into Canadian content.

With a desire always to showcase something new, the evening’s performance began with “Serenade” by contemporary Juno-nominated Vancouver composer, Jocelyn Morlock. An optimism and lightness — spring sounds and birdlike trills — came from what appeared to be an all string subset.

“This very fresh creation … is a nice fit with the rest of the repertoire,” offered guest conductor Gordon Gerrard.

It certainly proved true when up against the astonishingly modern sounds of Tchaikovsky’s 1888 “No. 5 in E minor Op. 64.”

Sudbury has been watching an exciting process unfold this season. Following the announcement of the departure of long-time conductor Victor Sawa, fresh faces are taking the podium. It has been an interesting year of guest conductors and conductor candidates as the symphony tries to find just the right person to replace Sawa.

To date, we have only experienced one in the competition. Gordon Gerrard is not in the running for the conductor position, as he was recently appointed music director of the Regina Symphony Orchestra. Gerrard will start his new job there in July.

He spent a week in Greater Sudbury working with the orchestra.

“Great musicians,” he said enthusiastically, mopping sweat from his brow after the final glowing applause. “We had lots of fun in rehearsals, and it is wonderful to see such health support by the community.”

Some members of the audience were disappointed to note Gerrard was not an alternate as they found his style especially to their liking.

“I never enjoyed Mozart more,” said Liisa Toner-Lindsay during the intermission.

Backstage after the recital, Concertmaster Christian Robinson called the experience “brilliant” and that as much as each musician individually contributed their spirited sound, it is so important how a conductor pulls it all together.

“I hope the audience enjoyed it as much as we did playing,” Robinson said.

Indeed, featured clarinetist Todd Cope appeared equally pleased with the results.

“I am really happy with how, as an accompanying voice, I was able to contribute to the energy,” Cope said.

The 30-year-old coaxed such volume and expression of richness with what can almost be likened to dance; swaying, stepping, then rising onto his tiptoes and standing taller as he prepared lingering luscious notes.

From a tantalizing appetizer of the first half, the main course was everything from subtle to superb. The stage now held a near full complement of performers for this final piece. In one moment, the echo of a single French horn was a splendid foil to the whole together.

The Tchaikovsky was surprisingly — unconventionally — jazz-like at times and familiar melodies ran through the tapestry of sound. The background program guide indicated the music shared some “hopefulness” and “moments of ecstatic joy,” which seemed to coincide so well with the feeling of the arrival of spring in Sudbury.

Hugh Kruzel is a freelance writer, Sudbury Symphony supporter and chair of the Sudbury chapter of CARP.