Monday, March 27, 2000

Golub thrills CCO crowd

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Pianist vying for conductor job

BY JANELLE GELFAND
The Cincinnati Enquirer

        Sunday's concert starring conductor/pianist David Golub with the Cincinnati Chamber Orchestra was, simply put, the most thrilling performance of the Cincinnati season.

        Mr. Golub, who doubled as conductor and soloist, was the fifth to vy for the position of music director in the CCO's season of conductor candidates. If the board had any thoughts of deciding the winner before Sunday's concert, those thoughts were clearly premature.

        Mr. Golub's extraordinary musical talent and his ability to elicit the very best playing from the musicians have put him at the head of the pack. The Memorial Hall audience of 480 voted with two enthusiastic, cheering standing ovations.

        As a pianist of international stature, recording artist and chamber musician, Mr. Golub is well-known in the music world. In fact, he is also an exceedingly fine conductor. He exudes an effortless musicality on the podium that one rarely sees.

        Opening with Beethoven's Egmont Overture, he drew a dark, brooding sound from the orchestra. His gestures were clear; every motion made musical sense. Sudden pullbacks (subito piano) were effectively done; crescendos had real impact.

        The musicians responded with clean, exciting playing. As a result, the overture sounded remarkably dramatic and fresh, as if Beethoven were composing it on the spot. @subhed:Understanding Beethoven @body:

        Nowhere was Mr. Golub's understanding of Beethoven more evident than in Beethoven's Piano Concerto No. 3 in C Minor. Alternately standing and sitting at the piano with his back to the audience, he brought out all the contrast and drama of this score to great effect.

        He has the uncanny ability to trill and play brilliant cascades in his right hand, while conducting with his left. A stunning pianist, Mr. Golub summoned a range of colors from the keyboard, and managed to match the orchestra in weighty sonority. His first movement cadenza was masterful, brilliant and wonderfully paced.

        The opening chords of the Largo were rich, and Mr. Golub's phrasing was poetic and expressive. As a pianist, he has the ability to make a melody sing like opera. The finale, a rondo, sparkled for its spiritedness as much as for its Beethovenian intensity.

        The collaboration was as spontaneous as chamber music, with Mr. Golub trading phrases back and forth with the cellos or the bassoon, or turning to communicate with the violins. It was a superbly integrated performance, the kind that Beethoven meant it to be. @subhed:Frequent mood changes @body:

        Faure's Pelleas et Melisande Suite, played after intermission, offered a striking contrast. The conductor kept a good balance, and allowed Faure's poignant melodies to soar through the texture: an oboe melody, a pulsating horn, a delicate flourish in the harp.

        Consequently, all the French character and warmth of this music shone through. The famous Sicilienne for flute and harp was buoyant and smiling.

        The afternoon's conclusion, Dvorak's Czech Suite showed yet another side to this musician. (Neither its movements, nor the Faure's, were listed on the program.) The frequent changes of mood and meter, of light and dark, were seamless. The orchestra captured the sunny folk spirit of the first movement, a pastorale. The finale, an earthy furiant, was a vibrant conclusion.

        Reminder: We have yet to hear the sixth candidate in this knock-out season. Stay tuned. @tag:The concert repeats at 7:30 p.m. today, Rockdale Temple Auditorium, Amberley Village. Tickets: 723-1182.

       

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