The most obvious virtuosity came from violinist
Classical music does seem to have a longer timeline than popular tunes do. If you put Prokofiev's Classical Symphony next to "K-K-K-Katy" or "I'm Forever Blowing Bubbles," songs that date from about the same era, Prokofiev sounds much more modern.
However, there was no outrage in Friday's concert. Fetta, who is the
And it did, beginning with the overture to
The first piece on an orchestral concert at the Redlands Bowl is often the one in which either the sound system is getting fine-tuned or my ears are adjusting to the sound of the orchestra amplified in an outdoor setting. By the time the overture was over, my ears were tuned, but in the meantime, I heard some passages in the woodwinds that I don't remember as being that prominent. They were quite pleasant, so I'm certainly not complaining.
Next was Prokofiev's Classical Symphony -- but wait. Fetta explained that Prokofiev used an expanded version of the symphony's third movement, a gavotte, in the music he wrote for the ballet "Romeo and Juliet." And before the orchestra played the symphony with the original, shorter gavotte, they played the extended one.
You can hear elegance in the delicate music and practically see dancers.
The elegance was still there in the whole symphony, along with some rhythms giving an almost off-balance feeling and a beautiful, clear melody in the second movement.
The fourth and final movement was so fast and lively, it had an almost carnival-like feel at times, and it was ideal for a summer evening at the Bowl.
After intermission came elegance and virtuosity of a different flavor, in Mendelssohn's Violin Concerto.
He also made easy work of lots of difficult notes, making beautiful, exciting music of them.
For those familiar with classical music standards, the Mendelssohn concerto is an old friend. For those who may not have met the concerto before, Friday night's performance was an easy, beautifully melodic introduction to it. What's not to love in a Mendelssohn melody?
And the combination of Mendelssohn and Cani's playing brought loud cheers from the audience as the music ended, with many people on their feet.
The audience cheered Cani back on stage for two encores, first a delightful performance of
Cani's "Liebesfreud" with the
Cani's final encore was Paganini's Caprice No. 24, a brilliant, exciting piece that shows off just about everything the violin can do -- and Cani did.
It was the perfect burst of musical fireworks to end the evening.
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