Samuel Barber giving the side eye. Obscure, indeed.

I have officially passed through the optimism of my youth and have entered my world-weary phase. Often, when I wake up in the morning, I am disappointed to see the same two feet swing out of bed and walk the well-worn trail to the bathroom to get yet another day started in this same old meat suit. However, there was a slight spring in my step as walked from my car toward The Conrad Prebys Performing Arts Center on Sunday, February 11.

I have heard quite a few concerts at this still new venue but this was the first that would feature a full-ish-sized orchestra. I was intrigued by the sonic possibilities.

The first piece was J.S. Bach’s Orchestral Suite No. 2 in B minor. San Diego Symphony’s principal flutist, Rose Lombardo, was the featured soloist throughout. The famous final section, the “Badinerie”, came off great. Overall, Lombardo was flawless and played with the aplomb of an experienced soloist.

The second piece, also by Bach, was the Concerto for Violin and Oboe in C minor. San Diego Symphony concertmaster Jeff Thayer played the violin solo and principal oboist Sarah Skuster provided the oboe. Both played well and I enjoyed the music. I may have even indulged in some subdued head-bobbing. This is the classical equivalent of taking one’s shirt off and swinging it around above one’s head.

Now we come to Samuel Barber’s Adagio for Strings and the death of my optimism. Throughout one’s 20s and maybe even 30s, this piece of music might hold pride of place as the zenith of classical music. As one’s taste in music becomes more refined, this piece begins to slip from the peak to obscurity. The curmudgeon sitting next to me concurred. I can’t remember the last time I listened to it. I did make my son watch the movie Platoon in which this music plays a prominent role but that doesn’t count.

 I hoped this would be a good experience given the venue and that a live performance is usually more compelling than a commercial recording. It was good but only good. The performance lacked the overt emotionalism that this piece needs to be effective. Conductor Edo de Waart presented the music in a most sterile and literal way. All we got was the notes on the page, which can be a good thing but not with this piece.

Of course, the YouTube comments are a literary competition that completely disagrees with me relegating this piece to obscurity. 

The final piece of music was Joseph Haydn’s Symphony No. 49. This was the full-sized orchestra but the sonic boom I was anticipating didn’t arrive. The performance was solid save for the horns in the third movement. The final movement was exceptional and all is well that ends well.