'Old school' pops concert dazzles

Tulsa World, April 7, 2008

James D. Watts, Jr. World Scene Writer

For the final concert of its second full season, the Tulsa Symphony Orchestra decided to relax, have some fun, maybe even show off a bit.

The orchestra, under the direction of guest conductor Carl Topilow, presented an "old school" pops concert Saturday night at the Tulsa Performing Arts Center -- concert music with no agenda beyond simply wanting to please and, on occasion, to dazzle.

Not that any of it was easy or simplistic, by any means. But this "Evening with the Tulsa Symphony," as it was billed, was about as far removed in emotional terms as could be imagined from the orchestra's last concert, where Mahler's Symphony No. 5 was on the bill.

This, on the other hand, was more of a musical Valentine -- never mind it was delivered a couple of months after said holiday -- from the orchestra to its audience.

And Topilow wasted no time in delivery. Just a quick nod to acknowledge the audience's applause at his entrance, then a bound onto the podium and boom! -- the opening blast of John Williams' rousing if derivative "The Cowboys" Overture.

Four members of the orchestra were featured in solo sections.  Principal cellist Kari Caldwell took the stage first for the Elegie for Cello and Orchestra, Op. 24 by Faure. The warm, singing tone Caldwell gets out of her cello, and a tempo that was a shade faster than we're used to, gave this melancholy music an unusually hopeful sound.

Conversely, concertmaster Rossitza Goza's solo, Sarasate's "Zigeunerweisen” (Gypsy Airs) was all flash and sparkle. Sarasate was a violinist and showman himself, and this piece is full of showy, gimmicky tricks -- especially the first 10 minutes, which is a series of musical cliffhangers. Goza dispatched this piece with great skill and a lot of flair, making the most out of that teasing opening so that the final few minutes of rip-roaring dance music seemed to explode from her violin.

Principal trumpet Tim McFadden and principal trombone William Damron joined forces for Joseph Turrin's "Fandango," a piece written in 2000. Damron was especially impressive here, matching McFadden rapid, staccato note for rapid, staccato note, as well as giving finely phrased voice to a lovely melody at the center of the piece.

Topilow, who leads the Cleveland Pops Orchestra and teaches at the Cleveland Institute of Music, led the orchestra through three other boisterous pieces, maintaining the illusion of spontaneity while holding the ensemble in tight control.

Rimsky-Korsakov's Capriccio Espagnole featured sharp individual playing from Goza, Caldwell, Bruce Schultz on French horn, Lisa Wagner on English horn, Dana Higbee on flute, Brad Behn on clarinet, Lise Glaser on oboe and Tabitha Steiner on harp.

Topilow explained how Brahms' sense of humor is evident in his Academic Festival Overture, by playing examples of the student drinking songs Brahms used throughout the piece. And since "you can never have too much Gershwin," Topilow prefaced the orchestra's rousing rendition of "An American in Paris " with a take on "It Ain't Necessarily So," with Topilow cutting loose on clarinet.