Laredo's virtuoso shines in VSO

Author: Ian Thomas Fleishman

Jaime Laredo, conductor of the Vermont Symphony Orchestra (VSO), presented himself with an unobtrusive simplicity Friday night at the Center for the Arts, with an air that was often in stark contrast with the difficult nature of the repertoire. Not until after intermission did the audience see him in his role as conductor. For the first half of the program Laredo stood before the orchestra as a solo violinist.

The VSO, now in its 71st season, is the oldest state-supported orchestra in the United States. Laredo has been directing the VSO since 1999.

As a child virtuoso who went on to play beside some of the greatest musicians of our century - Glenn Gould and Isaac Stern among others - Laredo plays with a polished clarity and simple elegance which simultaneously astounds and puts the listener at ease.

The concert opened with the world-premiere of a commissioned concertina by local musician and composer-in-residence of the Vermont State Orchestra David Ludwig. The concertina was an affecting piece reminiscent of Prokofiev, albeit Prokofiev at his most accessible. If there is a reproach to be made, it is only that Ludwig did not make more impressive use of the violinist at his disposal.

Standing at the helm of the orchestra as Laredo played his Stradivarius, Ludwig guided the orchestra through a captivating first movement where a single melodic theme introduced by the soloist was repeated in overlap by the principals. A tremolo in the lower strings made the second movement sound as if submerged under water until Laredo made his way through the texture embarking on a long but reserved solo passage that showed clearly what remarkable talent lay in waiting behind this stunning simplicity. The third movement of Ludwig's concertina dazzled with more challenging composition for the soloist. The resolution of the piece coincided with more repetition of the simple melodic theme present since the first movement.

Returning to conduct his orchestra to play Mendelssohn's violin concerto in E minor, op. 64, Laredo took this opportunity to display his remarkable talent. The performance, in which Laredo acted both as soloist and conductor, was a sparkling tour de force. Mendelssohn plays with traditional form in his concerto, forgoing the habitual orchestral exposition of themes and requiring that the movements be played without pause. Because of this, Laredo's entrance was all the more stunning.

After only a very brief orchestral introduction, the audience was thrust into the full force of the composition at the mercy of Laredo's capable hands. When writing the concerto, Mendelssohn placed the violin cadenza earlier in the third movement than is traditional in order to allow the different movements to connect without interruption. Thus Laredo's performance remained at the foreground of the piece. The laughing final movement was played with such exacting elegance that it left the listener breathless and invigorated.

After such passionate performance, the choice of Beethoven's more serene Second Symphony to conclude the concert was perhaps unfortunate. With equal skill and presence, the orchestra - led by Laredo's baton instead of his bow - gracefully performed the contented Second Symphony. Yet the studied, carefree quality of one of Beethoven's more conservative, less exciting symphonic works was perhaps lost on an audience somewhat wearied after the enthralling first half of the program.