Wolff's intuitiveness creates dynamic symphony show

UTAH SYMPHONY, Abravanel Hall, Feb. 6, additional performance Feb. 7 (801-355-2787)

Utah Symphony audiences have been treated to two exceptional guest conductors back to back. Last weekend Thierry Fischer dazzled the audience in Abravanel Hall with his musical magic. And this weekend it's Hugh Wolff's turn.

The former music director of the St. Paul Chamber Orchestra and the Frankfurt Radio Symphony, Wolff is a remarkably musical and intuitive conductor. He brings insight and understanding to his readings, and he knows how to bring out the best in his orchestra.

This was certainly the case Friday night. Wolff elicited dynamic and compelling playing from the musicians. Their collaboration was magnificent, and in fact, this concert was without question one of the highlights of the season.

The evening opened with Hector Berlioz's "Roman Carnival" Overture. Wolff gave a wonderfully articulate reading and elicited beautifully phrased playing from the orchestra. Wolff brought the piece to life — it was dynamic, colorful and vibrant. Making the performance especially memorable was English horn player Holly Gornik's beautifully played solo at the start.

The major work this weekend is Carl Nielsen's powerful Symphony No. 4 ("The Inextinguishable"). Not frequently programmed in the United States, the work was written during the early days of World War I and is a very intense and dramatic piece, even unnerving, for the depths of its emotional range. A feeling of despair runs through it, and although hope does triumph, it only comes after a chilling battle between the two sets of timpani near the end. For Nielsen, hope is inextinguishable.

Wolff crafted an incredibly stirring reading that brought out the power and raw energy of the music wonderfully. And yet, even at its loudest and most devastatingly discordant, Wolff never neglected the underlying expressiveness of the music. And the orchestra gave Wolff what he wanted. They played radiantly, with feeling and passion.

Soloist this weekend is pianist Peter Serkin, making a return visit after several years' absence. He played two works: Igor Stravinsky's Concerto for Piano and Wind Instruments and Amadeus Mozart's Concert-Rondo in D, K.382.

The Stravinsky isn't played very often in concert, either. One of his first neo-classsical pieces, it's a jarring and strident journey. Rather than having the piano and orchestra together, they play against each other. It's effective if done well, and Serkin and the ensemble gave a luminous reading that captured the kinetic energy of the virtuosic outer movements and the boldly articulated expressiveness of the Largo.

After the Stravinsky, the Mozart acted as a placid encore. Serkin brought a light touch to his part and his playing was delightfully lyrical and fluid. Wolff mirrored that with the orchestra and brought balance between the piano and the ensemble.

E-mail: ereichel@desnews.com