<body><div><figure><img src="https://img.particlenews.com/image.php?type=thumbnail_580x000&amp;url=19cCkM_0wECrn9N00" alt="https://img.particlenews.com/image.php?url=19cCkM_0wECrn9N00" width="800" height="450" ><figcaption>ASO principal oboist Elizabeth Koch Tiscione solos in "L'horloge de flore" by Jean Françaix, with the Atlanta Symphony Orchestra and guest conductor Earl Lee. (credit: Rand Lines)</figcaption></figure>CONCERT REVIEW:Mark Gresham | 19 OCT 2024On Thursday night, the Atlanta Symphony Orchestra, under the baton of guest conductor Earl Lee in his ASO podium debut, presented a program of familiar fare with only a modest-sized orchestra, balancing the classical elegance of Haydn with the 20th-century charm of Françaix and the vibrant Romanticism of Mendelssohn, with ASO principal oboist Elizabeth Koch Tiscione as featured soloist. This was the first of four concerts featuring this program, two at Atlanta Symphony Hall (Thursday and Saturday), one at the Byers Theatre in Sandy Springs on Friday, and an afternoon performance on Sunday at Spivey Hall in Morrow.Joseph Haydn’s Symphony No. 104, commonly known as the “London” Symphony, marks the culmination of his contributions to the classical symphony. Premiered in 1795 during his second visit to the English capital, the work is known for its robust structure and vibrant spirit. Earl Lee’s interpretation, while competent, seemed to emphasize the woodwinds at the expense of the string section, with the violins coming across as somewhat subdued, particularly in the “Allegro” and “Andante” movements. Nonetheless, the performance held together adequately, though it didn’t feel quite right. (The rest of the concert would enlighten that immediate feeling.)Jean Françaix’s L’horloge de flore, a playful and colorful piece inspired by the concept of a floral clock, offered a charming solo showcase for oboist Elizabeth Koch Tiscione. The work is full of French neo-classical elegance, with each vignette possessing its own vivid character. However, the orchestra’s performance felt remarkably restrained and sometimes vague, likely in an effort not to overpower the soloist. And yet, Tiscione’s excellent musicianship, beautiful tone, and graceful playing somehow did not fully project over the orchestra in most of the piece. Musically interesting figures at different points in fellow winds, like clarinet or bassoon, were louder than the solo oboe part.There is an often-observed peculiarity with Symphony Hall in that the location of the soloist has an impact; at times, a soloist can move two feet in the wrong direction and their sound nearly disappears. It is a bit treacherous for any soloist without the most robustly projecting sound. Even exceptional international artists such as violinist Midori have fallen prey to it. However, word is that the balance for the listener is better in the Loge (front of the first balcony) than the hall’s main floor (Orchestra Level). I will suggest that it also greatly depends on where one sits in the latter, as the sound varies considerably.One can anticipate that when the ASO plays this same program again on Sunday at the intimate and acoustically pristine Spivey Hall in Morrow, Ms. Tiscione’s oboe will be heard in full bloom.Felix Mendelssohn’s Symphony No. 4 failed to sparkle with the characteristic energy it is known for. Here, too, Lee seemed to favor the winds over the strings. The first movement’s tempo seemed a bit slower than it ought, lacking in the kind of sunny brilliance of which it is capable in the right hands. The second movement was a little fast, lacking appropriate solemnity. The third movement and the final Saltarello movement were better, although the winds continued to take precedence, creating a sound lacking the warmth and balance one expects from Mendelssohn’s symphonic writing.Despite these things, the program was an evening of pleasantry. Still, Lee’s leadership from the podium resulted overall in a fairly ordinary, uninspired performance, notably in the Haydn and Mendelssohn. We’ve heard from this award-winning orchestra, under capable hands, much better performances of both of these familiar works. ■<ul><li>Atlanta Symphony Orchestra: aso.org</li><li>Earl Lee: nathaliestutzmann.com</li><li>Elizabeth Koch Tiscione: fleurbarron.com</li></ul></div></body>

Mountain View, CA

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Under conductor Earl Lee, Atlanta Symphony delivers familiar fare, but uninspired

On Thursday night, the Atlanta Symphony Orchestra, under the baton of guest conductor Earl Lee in his ASO podium debut, presented a program of familiar fare with only a modest-sized orchestra, balancing the classical elegance of Haydn with the 20th-century charm of Françaix and the vibrant Romanticism of Mendelssohn, with ASO principal oboist Elizabeth Koch Tiscione as featured soloist. This was the first of four concerts featuring this program, two at Atlanta Symphony Hall (Thursday and Saturday), one at the Byers Theatre in Sandy Springs on Friday, and an afternoon performance on Sunday at Spivey Hall in Morrow.