Violinist shines on classic work

UTAH SYMPHONY AND VIOLINIST KAREN GOMYO, Abravanel Hall, Friday, additional performance tonight, 8 p.m. (355-2787)

Perhaps the most romantic Russian composer since Tchaikovsky, Aram Khachaturian wrote music infused with effusive lyricism that almost verges on sentimentality. No doubt because of this, his music has endured. Certainly he wrote one of the most romantic violin concertos of the 20th century. Surprisingly it's not done as often as one would expect, even though it does have a certain charm and affability.

Khachaturian's Violin Concerto is on this weekend's Utah Symphony program played by Karen Gomyo, who joins the orchestra and guest conductor Michael Christie.

The young Canadian violinist approached the work properly, by emphasizing its romanticism. Her playing Friday was very expressive, and she has the musicality to bring it off convincingly, without making it sound excessive.

The slow movement allowed her to give full rein to her expressive side, and she took advantage of that, letting her violin soar above the orchestra. And Christie gave her the freedom she needed to express herself fully. This was a fine collaboration between soloist and conductor.

On the technical side, Gomyo possesses the requisite dexterity to give the virtuosic writing in the first and, especially, the third movement, full justice.

The concert opened with Gyorgy Ligeti's very early "Concert Romanesc." The piece shows Ligeti's roots in the folk tunes of Hungary and Romania. And not unlike Bela Bartok and Zoltan Kodaly, Ligeti's "Concert Romanesc" revels in the harmonies and rhythms of this music.

Christie captured the lyricism of the piece effectively, and the orchestra played wonderfully, especially the strings. Particularly noteworthy were the solos by English horn player Holly Gornik and concertmaster Ralph Matson.

Some uncharacteristic problems with intonation were noted in two of the three horns — the one solo horn onstage and the one positioned in the back of the hall. Their playing was shaky and insecure at best.

The evening concluded with Dvorak's Seventh Symphony. And while the orchestra once again played superbly, Christie's interpretation lacked definition and cohesion, and problems with balance marred the performance.

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