Posted by permission of D.J. Luksetich
The interesting combination of the music of Prokofiev and Haydn on the same program proved to be a recipe for success on Saturday as the Illinois Philharmonic Orchestra presented an earful of musical delights via contrasts in musical texture.
There is, of course, much to be said about Prokofiev and his association with the norms of the classic era but none of them were evident in the March in Bb that opened the concert. This combination of an “oomm-pah-pah” band and circus march gave the evening an extraordinary opening shot of adrenaline. It almost seemed as if Maestro Carmon DeLeone simply flipped a switch and the coiled springs of a well-oiled musical machine suddenly jumped into action.
First trumpet R. Matthew Lee was central to the performance as he continually restated the theme and frequently led the orchestra in what at times appeared to be a mini trumpet concerto.
Haydn’s “Sinfonia Concertante” was next on the program. This three movement Concerto for Quartet found four members of the orchestra as soloists: Hal Grossman, violin; Emily Lewis Mantell, cello; Naomi Bensdorf Frisch, oboe; and Erin Kozakis, bassoon.
The production of a true classical balance of sound was beautifully evident as soon as the music began. DeLeone lead the orchestra as support and contrast while the quartet engaged as a foursome and then as two by two. This historical transformation/evolution of the Baroque concerto grosso form into a classical entity by Haydn was obvious due to a wonderfully transparent presentation including a playful cadenza at the end of the first movement highlighted by many trills and a striking bassoon run.
The second movement allowed each instrument to stand out with a solo section, yet 
Grossman led as first among equals. Mantell’s usual lyricism shone through even within the classical regimentation and Kozakis’ bassoon sometimes stole the show with her superior technique. However, nothing could top the playing of Frisch on the oboe as her single note above the hectic playing of her three compatriots, unified and uplifted the music as the orchestra re-entered near the end of the movement. It was simply elegant.
The final movement emphasized the predominance of the violin and Grossman’s style and warmth shone through.
At first notice, one would have thought these four instruments an unsuitable combination. Yet, whether they were solo, two by two, or quartet, the music worked and once again illustrated the point that this critic has said over and over: the strength of this orchestra is in the high quality of its individual musicians and their ability not only to hear each other but to listen.
Following a ridiculously long intermission, the 5 th Symphony of Prokofiev was presented. The first movement, long and rumbling throughout, was in great contrast with the second movement, a riotous display of intricate playing in an A-B-A form. Especially interesting was the return to the theme led by the brass in a slow, almost diabolic fashion. The orchestra was in first class rhythmic form.
The third movement returned to the rumbling nature of the opening movement once again followed by an invigorating finale. No matter how pleasing, this symphony appears to be two, two-movement pieces spliced together via recurring themes.
The last movement opened meditatively, almost reluctantly, until the violas “whipped” the orchestra into action with some very aggressive playing. The unifying theme was ably handled by Todd Nickow’s clarinet, which re-entered frequently to remind the listener where the music was going.
The controlled turbulence at the end of this movement was fascinating, even awesome. DeLeone kept all powers in control yet still seemed to let them fly. Kudos especially to percussion and woodwinds but the entire ensemble rates high in the presentation of this 20 th century masterpiece.
