MUSIC REVIEWS : Zwilich ‘Fantasy’ Premieres

Inconclusiveness in a novel or film may be just what the author intended; in a new symphonic work, listeners tend to grow nervous when a piece sounds incomplete or unfinished.

That was the problem--the only problem--with Ellen Taaffe Zwilich’s “Fantasy for Orchestra,” which received its world premiere performance by the Long Beach Symphony, conducted by JoAnn Falletta, Saturday night in Terrace Theater at the Long Beach Convention Center.

On first hearing, this fantasy seems to be a strong edifice without a core: It contains an introduction, a scherzo, a slow movement and a finale, none of which appears to define its structure. If this is only a suite, and not a symphony, then the lack may not be serious. However, because Zwilich, at 54, is considered by some to be one of our more important American symphonists, this canvas may seem unfinished. . . .

In any case, it is a handsome-sounding, thoroughly engrossing piece, moving as it does from a mysterious beginning, through various, almost consistently atonal, mood changes, into a highly brilliant closing movement.

The Long Beach orchestra’s many virtuoso facets and collective musicality were on strong display in the Zwilich opus. In the subsequent performances of Sibelius’ Violin Concerto and a long set of excerpts from Prokofiev’s “Romeo and Juliet” ballet, more aimless playing became the norm.

Roger Wilkie, who usually serves as concertmaster of this orchestra, appeared as soloist in the Sibelius work; he met all challenges without strain, leaped all hurdles without mishap. He also produced a beauteous, full and projected tone at all times. But he did not lead much. Unfortunately, conductor Falletta didn’t either. So the total tended to sprawl.

A frustrating sense of wandering also characterized the Prokofiev excerpts, which seemed to lack any dramatic focus or apprehensible continuity. And the playing--under-rehearsed?--emerged often ragged.