Winter with the Orquesta Filarmónica de Jalisco (OFJ) is under way with a slate of programs notable for their selection of relatively unknown gems composed by very popular artists.
The season kicks off with unusual performances Thursday, February 1, and Sunday, February 4, by a guitarist known simply as Pavlo, a nearly indescribable Greek-Canadian musician who wraps Greek, flamenco, Latin and Balkan musical influences inside a contemporary pop package.
After Pavlo struts his stuff (with the OFJ under the baton of Marco Parisotto), things at the renowned Teatro Degollado become, if not more predictable, then at least more Russian.
Indeed, a glance at the rest of the season’s offerings may strike one as heavy on Russia. That would be due to the “Ciclo Rachmaninov Sinfónico” — four programs in February and March featuring Sergei Rachmaninov, a composer (and performer) who remained true to the call of the sonorous, Romantic tradition during the 20th century while other composers started, well, marching to a different tune.
The Russian touch is also evident in Programs 5 and 7, when Piotr Ilich Tchaikovsky peeks out, first, Thursday, March 8, and Sunday, March 11, with the juxtaposition of two contrasting works – his serene “Serenade for Strings” and his intense swan song, the beloved Symphony No. 6, entitled “Pathetique,” which has been called a painful reflection on his life that was composed as death approached. Then, Thursday, March 22, and Sunday, March 25, Tchaikovsky’s Concerto for Piano and Orchestra No. 1 features the well-received Mexican pianist Abdiel Vázquez. (It is paired with Rachmaninov’s “Symphonic Dances.”)
Truth be told, Russia probably isn’t a genuine theme at the OFJ this winter. But Romanticism probably is. And pleasing audiences, challenging the orchestra and selecting music that gives everyone a chance to shine probably are too.
Romanticism is evidenced in the spotlighting of not only of Rachmaninov, but also Tchaikovsky, Beethoven and Mahler. (Mahler’s Symphony No. 5, widely considered his best, probably due to the inclusion of its Adagietto movement in the 1971 film “Death in Venice,” will be performed Thursday, February 22, and Sunday, February 25.)
The other aims may be seen in the selection of lesser known works by composers who generally bring the house down. For example, while Rachmaninov’s piano concertos and his “Rhapsody on a Theme of Paganini” rank high on the list of his most beloved pieces, they will not be performed this season. Instead, the four “Ciclo Rachmaninov Sinfónico” programs will spotlight, as the title predicts, his Symphony No. 2 (Thursday, February 8, and Sunday, February 11), No. 1 (only Sunday, February 18), No. 3 (Thursday, March 15, and Sunday, March 18) and, finally, his “Symphonic Dances” (Thursday, March 22, and Sunday, March 25).
None of these works by the prolific Rachmaninov are exactly sleepers – in fact, Symphony No. 2 and “Symphonic Dances” are some people’s favorites – but they all evidence an attempt to stretch and develop the audience and musicians a bit.
In a similar vein, this season continues the practice of bringing individual orchestra musicians to center stage. For example, in Program 3, Oscar Luque, principal OFJ contrabass, will interpret “Concerto for Double Bass and Orchestra” by Estonian composer Eduard Tubin. Likewise, in Program 6, OFJ Principal Second Violinist Maxwell Pardo is the soloist in “Fratres,” by another Estonian composer, Arvo Part.
The 19-year-old Wunderkind Daniel Kharitonov comes in as piano soloist Sunday, February 18 (the only OFJ concert this season to be performed on just one day). Kharitonov will play Beethoven’s Concerto for Piano and Orchestra No. 4, a concerto that was revolutionary because it begins with the piano playing unaccompanied—and softly. (The piece is paired that day with Rachmaninov’s Symphony No.1.)
The free musical appreciation lectures in Spanish continue this season, generally given prior to Thursday concerts, at 7 p.m. and Sundays at 11 a.m. For details on this and the entire season, consult www.ofj.com.mx. At the top of every page, you may click “English Version.”