Palm Beach ensemble at new level

By Sharon McDaniel

Palm Beach Post Music Writer

Thursday, December 13, 2007

PALM BEACH — Music Director Ray Robinson divulged some new sides of himself as a conductor. Guest cellist Amit Peled proved that music can indeed give you wings. And a beautifully balanced program described how a concert is more than just a list of famous but random composers.

All three concepts collided Tuesday night at the Flagler Museum for one of the most serendipitous opening concerts of the season.

Overall, everything just seemed to click. In effect, the Palm Beach Symphony took one giant step forward - musically and as a performing ensemble.

The program of especially complementary works - Prokofiev's Classical Symphony (No. 1) and Brahms' Serenade No. 1 in D - just meshed. Add one sensational Haydn Cello Concerto No. 1 in C, performed with a sprinter's vigor and the dance-like deftness of a rising international star, and it was as if the museum lights glowed brighter and the breezes blew softer.

After his recital a few years ago at the Kravis Center, Peled earned an open invitation to return to Palm Beach County. But to hear the tall, lanky young man with an orchestra was a thrilling experience.

Still in his mid-20s, the Israeli cellist sprang into the Haydn with assurance and polish. Robinson tried to keep the orchestra soft, especially for crystalline delicacy of Peled's slow movement. But only in the final movement did he balance the orchestra completely in favor of the soloist.

Peled had a few minor discrepancies in intonation, but little else to quibble about. In rapid passages, just watching his long fingers gambol up and down the fingerboard could make you smile, much less the uncanny clarity of each note. It was a rare instance in which Haydn, yes Haydn, raised the roof.

Robinson chose to go deep. In the Brahms Serenade he brought out all the introspection and musing that the work generates. Of course, there were dances and lighter moments in the unusually long 50-minute work. But Robinson zeroed in on Brahms' light-dark, hope-despair, joyful-withdrawn intricacies. At the same time, he drew attention to the recycling melodies with textbook acumen, but never textbook dryness.

He had difficulty starting some phrases. But once secure, Robinson settled into beautiful pacing. Choosing longer and more demanding standard repertoire, Robinson seems to be signaling a new stage in the symphony's development.

And for the most part, the responsiveness of the musicians signals an ensemble cohesive enough to go on to bigger, better and more widespread things.