MUSIC REVIEW : Perick, L.A. Chamber Group Play Haydn Symphonies

If Thursday’s concert by Christof Perick and the Los Angeles Chamber Orchestra at Ambassador Auditorium (where it will be repeated tonight) provided a glimpse into the future--rather than being a “special” dished up for recording purposes--then we are blessed indeed. A golden age of the performance of Joseph Haydn’s shamefully underappreciated symphonies may be in the offing.

Perick and his charges inspired such musings with their readings of an obscure marvel, the Symphony No. 38 in C, and a relatively familiar one, No. 82 (“The Bear”), in the same key.

These were handsomely executed, meticulously balanced and stylish interpretations, employing the tenets of historically informed practice in their vigorous pacing, clarity of articulation and rhythmic tautness.

Furthermore, while Perick has already instilled in the LACO players Haydn’s intensity, the orchestra pulled off the trickier feat of projecting his airborne fantasy, as in the echo effects of the Andante of No. 38 and the rhythmically kicky Allegretto of No. 82.

A special word of praise for Allan Vogel’s secure, dancingly pointed execution of the high-lying oboe solos of No. 38, its finale in effect a concerto movement.

If the evening held one disappointment it concerned the sacrificing of violinist Robert McDuffie’s unique talents as an interpreter of offbeat repertory. The Barber Concerto was his scheduled vehicle, the Mendelssohn E-minor its replacement, the reason for the switch being the extra time needed to rehearse the Haydns for commercial recording this weekend.

The vitality, sweetness of tone and technical command McDuffie brought to the Mendelssohn were hardly to be despised. But it may require gifts beyond the mortal to engage these jaded ears in such a hyperfamiliar work.

There was compensation in a rare, substantial encore: the unaccompanied Recitative and Scherzo of Fritz Kreisler, which McDuffie hurled with captivating enthusiasm and ear-boggling virtuosity.