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THE PROTEGE PHILHARMONIC AND THE CLASSICAL SYMPHONY ORCHESTRA
CONDUCTED BY JOSEPH GLYMPH

Hand Picked High School Players from the Chicago Area and Young Professionals Perform a Program of Wagner, Copland,Respighi and Mussorgsky

Navy Pier Ballroom, November 19, 2000

Reviewed by Robert Kameczura, Classical Music Critic for 
Red Magazine

Not enough attention is paid to audience building in Classical Music today. One could launch into a very justified tirade about their not being a program or two along the lines of Leonard Bernstein's "Young People's Concerts" of the 50's and 60's on television. However, one of the next best things in Chicago is certainly Joseph Glymph's wonderful efforts to bring music making to family oriented audiences, young and 
old alike, with his two orchestras. These are The Protege Philharmonic (founded in 1990), which is composed of hand picked musicians from Chicago area high schools and The Classical Symphony Orchestra (founded in 1979) which is composed of young professional and semi-professional players. Some of the alumni of these orchestras are now performing in the best orchestras in the world. Maestro Glymph, who founded both orchestras, is an experienced musician; as orchestral player, conductor and as a member for several years of the Arcturus String Quartet. He eventually combined these duties with that of a musical educator at such places as The American Conservatory of Music and Sewanee Summer Music Center in Tennessee. In line with his teaching individual students he saw the need for not-for-profit orchestras which rehearsed only once a week but which aimed at "Providing high quality orchestral training forums to both students and young professionals." There was the additional goal of bring classical music to people of all ages in public places and the thought that some people in the audiences might enjoy the music so much they might become 
musicians themselves. (An important matter to all those who care about good music in the future.)

The Protege and the Classical Symphonies perform both separately and together and in late November they did one of their semi-annual outings to the big ballroom at Navy Pier for a concert.

For orchestras that meet for rehearsals once a week, which is not the easiest way to rehearse as any conductor can tell you, the program was a demanding one. Wagner's Overture to "Die Meistersinger" and Copland's "Billy the Kid Ballet Suite" opened the program, performed by the Protege Philharmonic. The Copland was part of the orchestra's celebration of his one hundredth birthday. (It was an event which was totally forgotten by certain orchestras on Michigan Avenue, which shall remain nameless.) This overture is not an easy piece and is especially demanding of a bold, powerful brass section and woodwind playing that demand finesse. These youngsters (ranging in age from 8 to 18) acquitted 
themselves well in it with the brass shining forth with suitable Teutonic majesty. The Copland is even ougher, with tricky, jazz inspired rhythms and constant exchanges of dialogue by various instruments which require immaculate dovetailing. There was some sensitive wind playing from the young soloists, most notably Alison Lowell on the Oboe, Catherine Shapiro on the flute and Katie Szadziewicz on the clarinet. All showed fine musicality in the melodies that seem to sprout from every corner of this score. Only an occasionally slightly strained string sound now and then betrayed this as anything other than a professional orchestra. Most importantly there was energy and fire and a sense of rising excitement at key moments as when the timpani solos echo like blasts from a Colt 45 in the gunfight scene. Interestingly, around half the french horn players in the orchestra are woman and it is a nice change to see so many elegant young ladies in the brass section, ordinarily the hang out of muscular men.

One thing that must be mentioned, Maestro Glymph is a superb technician as a conductor and his podium technique is a model of clear communication with his orchestra. For those wishing to learn the art of conducting technique, matters like, giving cues, delivering a clear beat and focusing his attention on the part of the orchestra which needs that extra bit of emphasis, he is a model to emulate. Next to him some conductors of more famous orchestras sometimes seem like the orchestra is conducting them and not the other way around. His performance often start broadly but build up real fire by the end of the piece and he is quite fearless in choosing difficult repertoire for his young ensembles. "I want us to play music which showcases what a full orchestra can do." He has commented.

After intermission the concert continued with The Classical Symphony Orchestra. This is composed mostly of young music majors, many just out of school, and a smattering of lawyers, doctors and bankers who who are up to professional standards mixed in. It is a slightly smaller group than the Protege Philharmonic. They began with Aaron Copland's "El Salon Mexico" which is a sort of conjuring up of the aural atmosphere of a dance hall of the same name he visited in Mexico in the early 1930's. It is an evocative, complex piece and not just a string of tunes. In the manner of Ravel's "La Valse" it is more sophisticated than the title would suggest, with Stravinsky inspired cross rhythms and an opulent orchestral palette. The opening was a little tentative but once into the piece the players showed fine lyric grace. There was some excellent clarinet work, very important in this piece, by Jared McGill, which was suitably cheeky or sweet by turns. They are just a few violins short in this orchestra which was only noticeable when a delicate string sound was called for but otherwise the orchestral playing was solid and effective and delivered fine moments filled with nostalgia, tenderness and Mexican spice.

The next piece was the incredibly noisy (some may prefer the term "opulent") "Feste Romane" by Ottorino Respighi which is the last part of his orchestral trilogy of pieces devoted to aspects of Roman Life, ancient and modern. It has been said of Respighi's music that the quality of his musical material decreases with it's volume level. This is not entirely without justification but those who may complain about this should hear Respighi's chamber music, there are some first rate String Quartets and there is his radiantly beautiful vocal music like "Il Tramonto" which contain pages of arresting beauty. "Feste Romane" is a loud score but it is a very good score for extroverted places and special occasions like Navy Pier Gala Concerts. The piece starts with, "I Circenses," a picture of the crowds (brass and strings) screaming up a storm at the Games of the Circus Maximus in ancient Rome, and continues with a lovely and mysterious section "Il Giubileo" which depicts a processional of medieval pilgrims. This movement gives Respighi a chance to showcase his love of modal harmonies (which originate in early church chants) to create a somber mysterious effect. "Feste Romane" continues with "L'Ottobrata" which is a bustling picture of the autumn grape-harvest festivities and finishes with "La Befana" which evokes with fanfares and festive songs the grandeur of early January Epiphany celebrations in the Piazza Navona. This score is full of brazen brass, lush string harmonies, chirping woodwinds as well as a battery of exotic percussion jingling and jangling. Added to this are popular tunes woven in the fabric of the music here and there and an evocative solo for Mandolin sitting in the middle of everything, conjuring up the magic of a Neopolitan evening. It is a score which comes close to but never quite goes "over the top" at times. That said it has a real feeling for romantic beauty and it is a cornucopia of instrumental sounds. Indeed, the piece might be considered an Italian counterpart to Britten's "Young Person's Guide to the Orchestra" in that every section in the orchestra is spotlighted in some way. In a performance as energetic as this one it is an adventure in sonic Cinemascope. This is a hard piece to play and perhaps aware of this the orchestra was really giving it their all and played with gusto and sweeping energy. This was a superb performance on all counts and the audience responded with enthusiastic bravos which a Roman Gladiator would have relished.

As a finale the two orchestras joined, to make a very large orchestra indeed, for Rimsky-Korsakov's orchestration of Mussorgsky's "Night On Bald Mountain." ( I happen to prefer Mussorgsky's original orchestration. Rimsky-Korsakov added sections of his own music which is a bit more than the term "orchestration" would suggest. Mussorgsky's version is more rugged, and astringent but why quibble as the Rimsky-Korsakov version has opulent beauties all it's own.) With both orchestras combined this created a monumental weightiness to the string sound and a tremendous volume to the brass section which was very appropriate to a piece picturing devils cavorting atop a mountain at midnight on St. John's Eve. It is a wild, stomping, shrieking pagan piece. (The more I hear this piece the more I feel it may have had some hand in forming some kind of inspiration for Stravinsky's "Rite of Spring.") Musically speaking it sometimes seems as if the devils have all the fun but with the tolling of church bells quietly calling the infernal orgy to an end as dawn rises, it seems that angelic forces, for once, have the final word. (Interestingly in Mussorgsky's original inspiration this quiet closing section was not present.) For this infernal piece both orchestras had their blood up and the performance was well played, electric and exciting and the audience gave a standing ovation at the end which was well deserved. These two orchestras are a fine way of introducing youngsters to the colors and sounds of a full orchestra, both as players and new listeners. Many young people in the audience (usually with parents in hand) seemed very interested in the music, paid close attention and seemed excited by what they heard. A large orchestra is many things, including a marvelously interesting toy which fascinates many children. It cannot be said to often that more of this 
needs to be done to reach out and put fine classical music into public places were people can enjoy it without the intimidation of attending more expensive and formal venues. There were many people of all ages at this concert which, at a $10 ticket price, got plenty of music for the money. Navy Pier authorities seem addicted to pumping out low grade pop music almost ad nauseam through the loudspeakers there, even to drowning out the Grant Park Symphony on radio during the fourth of July celebrations. All good music should have exposure at such a popular place and let us hope that more classical groups perform 
there, and that in the future classical music is played, at least occasionally, over the loudspeakers.

The orchestra has CD's which are made from their performances and the quality is good. This includes a very fine one by The Protege Philharmonic of a symphonic suite by the Russian 20th Century composer Georgi Svirdov based on a short story, "The Snowstorm," by Alexander Pushkin. It was discovered by Joseph Glymph on an old Russian recording and he instantly fell in love with the piece and felt he had to conduct it. The only way to get the score was for him to personally arrange for a xerox copy to be made of the Moscow Philharmonic's copy of the score. The Protege Philharmonic probably gave the piece it's 
American premiere. Though it is well known piece in Russia it is not currently in print anywhere. It is marvelous music and fans of Pushkin (and I am one) will love it. It often sounds like inspired Sibelius with a little Rimsky-Korsakov thrown in. The invention is most memorable and highly atmospheric. A real find and it is performed well and with surprising sensitivity by the young players.

The other CD sampled was by the Classical Symphony Orchestra, also under Glymph, is of Beethoven's "Egmont Overture," Richard Strauss's "Death and Transfiguration" Tone Poem and Gustav Holst's "St. Paul's Suite" for Strings. These are live performances, one shot only with no retakes and like many good live performances there is emotional intensity here caught as it's happening. The Richard Strauss piece is played with real urgency and feeling. The St. Paul's Suite, originally intended for a school orchestra, receives a broad but bouncy performance which Holst himself, who was great educator, would probably have approved of. The musicians really get swept away in the elaborately contrapuntal finale. There is not the orchestral finesse or polish of the Chicago Symphony or the Berlin Philharmonic in these performances but considering their age and experience one does not expect that. But what there is is young, skilled players who treat each performance as a special occasion and give it everything they've got. There is special energy here and I found myself getting quite caught up in the music making.

For further information on future performances by both The Protege Philharmonic and the Classical Symphony Orchestras you can reach them at 333 South State Street, Chicago, Illinois, 60604, or call them at (312) 341-1521. There are performances around once a month and more often during the holidays.

Those interested in auditioning to play in either of the orchestras are welcome to inquire about the timing of these auditions. All types of instruments are welcomed to audition but Maestro Glymph has stated they could especially use more fine string players. The CD's mentioned are available on order from the orchestra and are sold at concerts for $10 each.

© 2001 Robert Kameczura and Red Magazine. All Rights Reserved.
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