GOOSBY + GARDNER = GOOSEBUMPS
There was a happening at The Soraya in Northridge on October 10. I call it that for three reasons: The London Philharmonic Orchestra; violinist Randall Goosby; and The Soraya itself. This strikingly beautiful concert hall on the campus of CSUN easily has the best sound of any large performance venue that I have ever experienced in the U.S. Edward Gardner conducted with all the energy and nuance he is known for, bringing out the orchestra’s full expressive capabilities, allowing every note to resonate deeply. I sat in two different locations (a lucky happenstance given the hall was as packed as I’ve ever seen it for a classical concert), and from each seat, the music washed over me in stereophonic heaven as if I had headphones on.
This concert, part of an extensive international tour, highlighted both the orchestra’s exceptional musicianship and Gardner’s remarkable ability to lead with both passion and precision. From the very first note, we were swept into an unforgettable journey through sound, one that left me in awe of the artistic synergy on display. Gardner’s keen sensitivity and dynamic approach infused all three pieces on the program with a sense of immediacy, making the entire experience feel intensely alive.
The London Philharmonic Orchestra at The Soraya
The program began with Tania León‘s Raíces, a modern piece that delves into themes of identity and heritage — and I enjoyed this far more than her Stride with the LA Phil. The title, which translates to “Roots” (the program says “Origins”), reflects León’s exploration of her Cuban background and her distinctive compositional voice. This work is a vibrant fusion of Afro-Caribbean rhythms, jazz, and contemporary classical techniques, creating a tapestry that is as complex as it is evocative. The orchestra navigated the piece’s intricate textures and layering with exceptional skill, revealing León’s talent for merging diverse musical influences into a cohesive and emotionally resonant whole. The orchestration was lush and challenging, demanding sharp dynamic contrasts and rhythmic precision from the musicians, who rose to the occasion with palpable enthusiasm. León’s work felt both personal and universal, resonating on multiple levels as it brought to life themes of memory, history, and cultural belonging.
The London Philharmonic Orchestra at The Soraya
Next up was Samuel Barber’s Violin Concerto Opus 14, a work that bursts with youth. It was written in 1938, when Barber was just 28. He had already achieved recognition with some small-scale orchestral works, but a violin concerto, that most romantic of forms, was to be his big success. It was commissioned by millionaire businessman Samuel Fels for his adopted son, the Russian-born Iso Briselli. When Briselli previewed the first two movements, he complained that they were too full of Barber’s characteristic lyricism, and without enough technical fireworks to show off his virtuoso skills. Barber promised to deliver. The resulting finale, a thunderstorm of four minutes duration was so difficult that Briselli declared that he would not (or could not) play it; Fels asked for his money back. Not surprisingly, the Violin Concerto bears no dedication. (The Violin Concerto enjoyed a great success and eventually became one of Barber’s most beloved works, second only to the Adagio for Strings.)
Randall Goosby performs with the London Philharmonic Orchestra at The Soraya
And Goosby, who is the same age now as Barber was when he wrote the concerto, proved a perfect fit, as the piece is rich in melody, lush in tone, and progressive in harmony without being harsh. An American Romantic played the music of an American Romantic (Barber absolutely rejected “modernism”). Goosby has, without a doubt, the sweetest tones I have ever heard on the violin. With a buttered cream technique that belies the perfect fingering and light but firm bowing, he stands out from all of his fellow violinists. Why? He has created a silky sound that nonetheless can be heard to the back of the house at The Soraya. This is no showman — the violin is in his soul, and it surely reached mine.
Yet while he was in no rush, he maintained a fervent energy. As for the demanding last of three movements, Goosby nailed the brief, wild, moto perpetuo romp with moments that hinted at American fiddle playing and an exhilarating conclusion. His interpretation of the concerto was very different from the dozens I’ve seen live (including Hilary Hahn), but this is my favorite. Now I remember why I was willing to drive 90 minutes to see him. And in the “you-can’t fool-an-audience” department, he received a stentorian standing ovation. For his encore, he offered a jocular reading of Coleridge-Taylor Perkinson‘s “Louisiana Blues Strut (A Cakewalk).”
The evening concluded with Tchaikovsky‘s dramatic Symphony No. 4, a work Gardner approached with his own unique interpretation. The symphony is considered by most modern critics to be a reflection of the composer’s own struggles and turbulent emotions. Written in 1877, during a time when Tchaikovsky faced significant personal challenges — most notably his internal struggles with his homosexuality while in an unhappy marriage — the symphony is infused with themes of despair, resilience, but ultimately, triumph over adversity (he got a divorce).
The London Philharmonic Orchestra at The Soraya
Opinions on the tempi of Tchaikovsky’s Symphony No. 4 are notably varied, often sparking debate among conductors, musicians, and listeners alike. The lack of unified approach to this symphony’s pacing gave Gardner an opportunity to showcase his idiosyncratic approach, particularly in the final movements. His accelerated tempi in the closing sections threatened to blur, but the orchestra rose to the occasion, executing his demanding pace with impressive precision. The piccolo passage in the third movement, though performed at a clipped pace, still managed to convey Tchaikovsky’s evocative imagery, capturing the drunken sailor’s stagger with a touch of whimsy. Gardner’s choice to push the final movement to an almost breathless pace created a thrilling, intense ending that left the me captivated and stunned.
As an encore, the orchestra delivered a definitive version of the centerpiece of the Moscow ball in Act III of Tchaikovsky’s opera, Eugene Onegin. The “Polonaise” is a robust dance of Polish origin, done in Tchaikovsky’s grand manner. The performance was ecstatic, capturing the piece’s fanfares and jaunty, sweeping emotions, capturing the spirit of celebration. It was so inspiring that I thought about cleaning up my house at rapid speed before the Tsar arrives. (Spoiler: I didn’t.)
The London Philharmonic Orchestra’s concert, under the assured baton of Edward Gardner, and the awesome sweet-but-dramatic violin of Randall Goosby, was a compelling display of the enduring vitality and expressive power of live classical music. The evening unfolded as a nuanced exploration of music’s ability to evoke profound emotional depth and engage listeners in an intimate dialogue across time and cultures. L.A. audiences are fortunate to have The Soraya, which consistently brings world-class international orchestras and renowned musicians to the local stage, enriching the cultural landscape.
photos by Luis Luque, Luque Photography
London Philharmonic Orchestra
Edward Gardner, conductor; Randall Goosby, violin
Tania LEÓN “Raíces” (“Origins”)
BARBER Violin Concerto, Op. 14
TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36
Younes and Soraya Nazarian Center for the Performing Arts (The Soraya)
18111 Nordhoff Street in Northridge
for future events, call 818.677.3000 or visit The Soraya
reviewed on October 10, 2024
