Rachmaninoff & Glazunov

Jessie Rivest reviews an OSO performance in Kelowna Friday, Feb 7, 2025

Just before the concert began, I was in the washroom and overheard two ladies run into one another. One asked, “What are you looking forward to the most tonight?”, the other replied, “I heard Rachmaninoff is going to be awesome!” I had a moment of gratitude for being in a place where people share excitement for classical music in the most casual of settings, then made my way to my seat, smack dab in the middle of the theatre.

A Journey Through Life Tonight, the OSO was under conductor candidate Grant Harville, who traced a throughline in the program that was like a journey of life itself—starting with the youthful charm of early-career composers and culminating in the profound complexity of later works. As Harville explained, this thematic arc gave the program a thoughtful and cohesive shape. Warming Up with Dett The concert opened with Nathaniel Dett’s Cave of the Winds, a delightful and playful piece written when he was just 19-year-old, inspired by Niagara Falls. While it felt more like a warm-up, the audience enjoyed its lighthearted spirit, with a particularly charming xylophone feature, orchestrated by Harville himself.

Luxuriating in Debussy After Harville’s voice warmed the room, sharing some backstory on the pieces, he and the orchestra became more comfortable and present. Originally written for the wealthy elite, Debussy’s Petite Suite created atmospheric, cinematic soundscapes, with the clarinet and flute providing particularly vivid moments. Light pangs from the percussionist on the cymbals added a unique timbral quality, weaving effortlessly through luxurious textures, even in this early work. Ragtime Realness Scott Joplin’s Rags brought an unexpected and infectious joy to the evening. Watching the cellists bob their heads in sync, it was clear they were fully immersed in the ragtime spirit. The piece felt like jazz for classical musicians—the violins let their hair down, loosening up as if they had just had a few drinks and were ready to socialize. Harville, with a laid-back style, embraced the moment, joking that the wind players were "stepping out for a smoke." The audience, too, leaned into the fun, exchanging smiles and turning toward one another in delight.

A Saxophone Revelation

The highlight of the evening was Alexander Glazunov’s Saxophone Concerto, performed by guest artist Allen Harrington. How could something written in the 1930s sound so fresh? Perhaps because the saxophone, rarely heard in this setting, brought a thrilling new colour to the concert hall. This concerto was one of the first major works for classical saxophone, written at a time when the instrument was more associated with jazz. The orchestra seemed to revel in the piece’s rhythmic and textural intricacies, delivering a performance so dynamic that the audience couldn’t help but applaud mid-movement. At times, the saxophone felt like an entire orchestra unto itself, with Harrington effortlessly arpeggiating between highs and lows. The first violinist was particularly stunning, acting as a conduit to the soul of the entire ensemble. The Allegro section was especially impressive—one could feel the collective urge to cheer, though decorum held the audience back.

Rachmaninoff’s Power

Then came what we had all been waiting for—Rachmaninoff’s Symphonic Dances. The OSO’s performance demanded nothing less than full-force commitment, and Harville rose to the challenge. What had seemed an unassuming presence throughout the evening transformed as he conducted these weighty, rhythmically complex works with rockstar intensity, and severe expressiveness. The timpanist had me holding my breath, delivering crisp halts and thunderous power that punctuated the piece’s grandeur. By the end, it was clear: Harville’s leadership, endurance, and precision had been put to the test—and he had delivered.

A Second Date? The search for a new Music Director has often been compared to dating, or some kind of reality show. Harville’s first time in Kelowna left an impression. He spoke of feeling genuinely welcomed, which, as he told me backstage, isn’t always the case.

The OSO’s fourth and final concert of this candidacy series, set for April, will be the final opportunity for the community to experience and share their feedback on this reality-show-level excitement!

Jessie Rivest is a vocalist, sound artist, creative coach, and local arts supporter living in Kelowna.