Lots of Hungary with a hefty side-helping of merry England—that was the menu
for this week's Classics Concert for the New Mexico Symphony Orchestra. Elgar's
Cockaigne Overture was followed by the Liszt Piano Concerto No. 1 with guest
soloist Arnaldo Cohen topped off by Bela Bartok's Concerto for Orchestra. 

Edward Elgar's Cockaigne (from which Cockney is derived) Overture subtitled "In
London Town" is a musical portrait of England's capital city, complete with
sounds of whistling street urchins, military bands in Hyde Park, and depicting
strolling lovers, pageantry and the general hustle and bustle of life at the
turn of the last century. The composer dedicated the work to his friends in the
orchestra and made sure everyone had something interesting to play. 
This is no short concert opener but a full 17-minute symphonic poem. After a
rousing opening theme, Maestro Figueroa allowed the melodic second theme to
sing expansively with noble sentiment. The middle section conjured a peaceful
pastoral valley before building slowly and effectively to the final climax.

Brazilian pianist Arnaldo Cohen took the stage for an exquisitely lyrical
rendition of the Liszt First Concerto, turning the solo part into Chopinesque
piano poetry. With technique to spare, Cohen almost makes this formidably
difficult work look easy. And while he can summon great power when needed, it
is the polish and finesse of his playing that is his hallmark. Full of color
and magic and written in four continuous movements, the work opens with one of
Liszt's most recognizable motifs, while the elfin-like Allegretto brought forth
bewitching pianism rhythmically decorated by the triangle playing of Jeff
Cornelius. The powerful opening theme returns again with heroic elaboration
in the concluding movement. Cohen then rewarded the standing audience with an
encore, Odeon by the Brazilian composer Nazareth.

Any orchestra worth its salt looks forward to tackling Bartok's Concerto for
Orchestra written in 1943, and one of his last works. As its name suggests, the
piece provides showpiece parts for everyone. Not nearly as harmonically pungent
as the composer's earlier work, this is a feast of orchestral color in the form
of concerted parts throughout. The lower strings began the piece with echoes of
Bartok's earlier opera Bluebeard's Castle. The fugal sections for brass were
radiantly hot, and pairs of winds took turns with athletic duets in the Giuoco
delle Coppie (Game of Pairs).

An ominous sense of mystery began the Elegia, while the satirical dig at the
oppressive march in Shostakovich's Seventh Symphony had the brass razzing
sarcastic taunts.

In the finale movement the strings stepped confidently into the role of primary
soloists, whirlwind playing eventually changing to beguiling sul ponticello
(playing softly with the top end of the bow). The work proved a poignant
exhibition piece for the excellent players of this orchestra.

WHAT: New Mexico Symphony Orchestra presents Elgar, Liszt & Bartok

WHEN: 2 p.m. today (October 28)

WHERE: Albuquerque Journal Theatre at the National Hispanic Cultural Center

HOW MUCH: $18- $57 at the NHCC box office or Ticketmaster outlets
 

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