Utah Arts Review

Austrian conductor Hans Graf returned to Abravanel Hall Friday night to lead the Utah Symphony in a program that could aptly be called “Ravel Two Ways.” The first half features some of Ravel’s piano works that he later orchestrated, while the second half is devoted to Ravel’s familiar arrangement  of Mussorgsky’s Pictures at an Exhibition.

Mussorgsky’s Pictures is an audience favorite here and appears frequently on Utah Symphony concerts. In Ravel’s orchestration the massive work for solo piano is transformed into a tour-de-force for orchestra with numerous notable solos for various instruments, including the oft-overlooked tuba.

Graf’s reading favored somewhat slower tempos throughout the work, even in the more lively movements. His well-paced account worked quite well and at no time did the music feel sluggish or unfocused. Graf certainly brought out the best in the orchestra, bringing clear-cut definition and finely honed nuances to each of the sections.

Graf set the tone for his interpretation straightaway in the stately manner in which he allowed the famous Promenade introduction to unfold, from the opening solo trumpet to the brass choir and finally the full orchestra. This deliberate tone was also present in the darkly sinister “Catacombs,” the dramatic “The Hut on Hen’s Legs” and in the triumphal closing movement, “The Great Gates of Kiev.” 

But Graf also brought a keen sense of humor and fluid playfulness to the lighter movements, specifically in “Tuileries,” “Limoges” and “Ballet of the Unhatched Chicks.”

Among the many solo turns, there were a few that stood out. Daron Bradford, the symphony’s go-to saxophonist, gave a beautifully wistful performance of his solo in “The Old Castle.” And principal trumpet Travis Peterson was stellar in his squeaking solo in “Samuel Goldenberg and Schmuyle.”

Less successful was Alexander Purdy’s tuba solo in “Bydlo.” While his legato playing was fine, he unfortunately had problems with intonation at Friday’s concert.

The concert opened with Une barque sur l’océan and Alborada del gracioso, both from Ravel’s suite Miroirs and the only two of the five-movement works that he transcribed for orchestra. 

Graf gave a fine account of both pieces. He underscored the billowy expressiveness and lyricism of the music in the former, while capturing the vitality and exuberance of the Spanish-flavored melodies in the latter. 

Rounding out the first half was Ma mère l’Oye (Mother Goose). Ravel originally wrote the work in 1910 as a five-movement suite for piano duet. But when he orchestrated it the following year he added several movements to the original score and turned it into a ballet. It is this version that is normally played at concerts.

Bringing a leisurely tempo to each of the movements Graf’s reading underscored the lushness of the string writing and the vibrant colors of the brass and wind instruments. He coaxed well articulated and defined playing from the orchestra that emphasized the lyricism, rich harmonic palette and ever-changing textures of the music. 

Especially noteworthy was the playfulness that Graf brought to “Laideronnette, Empress of the Pagodas.” He also conveyed the refined lyricism of “Pavane of the Sleeping Beauty” and the broad, sweeping lines of “The Fairy Garden” with large gestures and eloquent phrasings.

Among the many solo passages, contrabassoonist Leon Chodos was especially notable, playing his solo part in “Conversations of Beauty and the Beast” with seamless expressiveness.

The program will be repeated 7:30 p.m. Saturday. utahsymphony.org