Music review: James Galway, Leonard Slatkin and the L.A. Phil at Hollywood Bowl

It’s probably safe to say that Thursday was the first day anyone heard a vuvuzela played with a symphony orchestra. At least locally. At least at the Hollywood Bowl.

It was during the raucous crowd section of Piston’s “The Incredible Flutist” Suite. A Los Angeles Philharmonic first violinist lifted up the notorious noise-maker — heard round the world at the summer World Cup in Cape Town, South Africa — and let out a roar.

But it was a gentle roar. Musicians’ ears are sensitive.

Otherwise, the program was flute-themed, with James Galway as the soloist. The first half, however, was Galway-less. Leonard Slatkin opened the concert with Mozart’s “Magic Flute” Overture, continued with Debussy’s “Prelude to the Afternoon of a Faun” and concluded with the Piston Suite.

The Mozart Overture was bright and sparkling. Principal flutist Catherine Ransom Karoly began Debussy’s Prelude with tender, limpid tones. Piston’s unjustly neglected Suite charmed with its bewitching “Tango of the Merchants Daughters,” not to mention the musicians’ yelps and hurrahs, the vuvuzela and the barking of a dog. Slaktin presided over all with a cool, masterly hand.

But everyone was waiting for Galway, and once he arrived, he pretty much dominated the affair. Wearing an elegantly patterned white jacket and vest, and a silver-blue tie, Galway walked on stage, took a modest bow and, milking the moment, gestured for more applause. This was a musical institution that didn’t take himself too seriously.

But when Galway played, it was all business and no horsing around.

He was stylish, clear and joyful in Mozart’s Flute Concerto No. 2, generating applause after his first-movement cadenza.

Next, he was joined by his wife, flutist Jeanne Galway, for a salon showpiece titled “Rigoletto” Fantasy by brother flutists Franz and Karl Doppler.

This 19th century paraphrase took some getting used to, particularly hearing the ominous curse motif jollied up for such easy consumption. But the twining interplay around Gilda’s “Caro nome” was lovely, and who has lived who hasn’t heard the “Vendetta” duet played by two flutes? The Galways were superb.

The Fantasy tipped the balance into lighter fare. The two flutists followed with arrangements of Mozart’s “Turkish” Rondo and, amazingly, Meredith Willson’s “Seventy-Six Trombones.” Galway ended the program proper with Bach’s non-stop Bandinerie from the Orchestral Suite No. 2.

At encore time, Galway’s restrained “Danny Boy” was marred by a persistent helicopter. But the flutist soldiered on, and the audience applauded lustily.

— Chris Pasles

Photo: Slatkin on the podium, Galway on the flute. Credit: Francine Orr/Los Angeles Times

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Comments

[markiejoe]

Damned helicopters!

I thought they had that airspace problem above the Bowl on concert nights solved.

[Jessica Goldsmith]

What's up with the fashion reviews and the LA Times' classical music critics? With such persistence I'm now convinced you've all found your voice.

[natalia rossi]

76 Trombones was probably included in this flute-themed program, because
the composer of "The Music Man", Meredith Wilson, was a noted flutist.

Regarding the Vuvuzela: vuvuzelas were featured with the Berlin Philharmonic at a pops concerts around the time of the World Cup earlier this summer. This definitely wasn't the 1st time a Vuvuzela has appeared with orchestra!

[John Rabe]

1. You weren't at all put off by Galway's snide comment about amateur musicians before he played the fastest "Danny Boy" on record?

2. The helicopter was in tune with the music.

3. Am I the only one who thinks Leonard Slatkin looks like Richard Riordan?

[Mark Allen]

What was the comment about amateur musicians?

[President -- Fullerton Friends of Music]

Agree with Jessica; Times Music Critics lately have been obsessed with fashion commentary.

The majority of your blog readers really don't care about what is worn; the focus here should be on the quality of the performed music. The attire in this case isn't even a secondary topic.

Great concert event for both serious and light Classical Music fans; a good mix of both styles of compositions performed with enthusiasm by The Galways; The LA Phil and maestro Slatkin.

Mr. Slatkin is a master at putting together a diverse yet accessible music program (with great artists to support him here) with a common theme. Agree with the reviewer and the maestro that Piston's music is deserving of more exposure. Great content in his brief talk after the overture and before the Piston suite about the background of this much neglected work.

The Doppler Rigoletto Fantasie was quite the musical discovery for me and was played with great technical virtuosity and synchronization by Sir James and Lady Jeanne Galway. Enjoyed Mr. Galway's witty background discussion about the work as well.

Highlight of the encores for me was the performance of the Mancini "Pink Panther" opening, which brought back the great concert memory of Galway's performance of Henry Mancini's film compositions in the 1980's. Something that was totally ignored by Mr. Pasles in his otherwise decent review and more deserving of coverage than the "fashion statements" by the artists.

We have become a visually obsessed society.

Great concert (read musical) experience for this concertgoer. Hope to see (more importantly hear) the Galways perform again in the Southland in the not too distant future.