Sarasota Orchestra's musical powers shine brightly in 'The Planets'

In the latest Masterworks concert, guest conductor Peter Oundjian and the Sarasota Orchestra put their best foot forward at the Van Wezel Performing Arts Hall March 7 with an infinitely appealing performance starting with "Overture to The Wasps" by Ralph Vaughn Williams.

If you ever wondered how a swarm of wasps could be recreated by an orchestra, here it is at the start of this overture. Setting the scene with scurries of notes in a tight crescendo to decrescendo for a burst of buzz, the orchestra flew off into a sound world marked clearly by the composer’s unique style and folk-tinged melodies. 

Violinist Grace Park displayed a deep sensitivity to the winsome melodic charm of Antonin Dvorak’s Romance in F minor, Op 11. Her sweet and shimmering tone spoke straight to the heart, but at times seemed overwhelmed by the orchestra.

This was not an issue in Maurice Ravel’s "Tzigane," where Park dug deeper, often using a dark, gritty tone to convey the Roma gypsy fire and passion of the music. Versatile and possessing the technique to give wings to the music, Park was impressive. 

It has been a pleasure hearing the results Oundjian has produced from the Sarasota musicians in each of his numerous previous performances. This concert was a particular treat with Gustav Holst’s iconic seven-movement orchestral suite "The Planets." Based on the astrological characteristics of each planet, the score put the orchestra through its paces. The results were exquisite.

The contrast between Mars and Venus alone was breathtaking. Brass and percussion drove the menacing force of Mars, given voice as well by a memorable euphonium solo. Opening with a horn solo and soothing flutes and harp, Venus presents a lovely pillow of sound. Mercury takes up with fleeting triplets, tossed around the orchestra moving like quicksilver. 

The giants Jupiter and Saturn filled the hall. The Jupiter movement, like Mars, gained wider popularity replete with cheer and melodic goodwill. The basses set the ponderous pulse of Saturn, which grew to full force striding on like the march of time.

Every section of the orchestra and nearly every principal had their chance to shine through the seven planets. The brass, timpani and bassoons set up Uranus for a bold and rollicking venture waxing and then waning after a full march work-out.

Unusually, the entire suite ends with an ethereal Neptune, the mystic, which is largely soto voce and atmospheric, as if to send us off to the heavens. Flutes, harps, celeste and strings created lines that floated like fluffy clouds accumulating here and there reassuringly. 

Holst scored this movement with a women’s chorus and that is what we seemed to hear in this performance. However, to maintain the mystery Oundjian prefers using synthesizer, which produced the same other-worldly touch wafting through the hall. With the music diminishing to nothing at the finale, we are left in a blissful silence. 

Oundjian’s judgment and his leadership was on the mark. Solo instruments in the orchestra deserve our thanks as well as every single musician for such a tour de force, or so said the mighty applause from the audience.