MUSIC REVIEW : Pacific Symphony’s Brahms Soars, Grieg Sinks

The Pacific Symphony distinguished itself with a powerful reading of Brahms’ Fourth Symphony on Wednesday at the Orange County Performing Arts Center. Under Carl St.Clair’s decisive leadership, the work emerged both structurally clear and musically purposeful.

St.Clair directed a disciplined group, marked by the technical refinement required to effectively create overall grandeur, as well as to control shifting moods and intelligent interplay of ideas.

The E-minor symphony brimmed with mystery, brooding and excitement, punctuated by dark solos--particularly the horns’ pressing passage in the first movement and the principal flute’s plaintive line in the last movement, as offered by Louise Di Tullio.

First violins showed notable synchrony and unity of phrasing as captained by guest concertmaster Joel Pitchon. The Connecticut resident is concertmaster of the Greenwich Symphony and the Mid-Atlantic Sinfonietta.

In contrast to this very consistent performance, that of Grieg’s popular Piano Concerto in A minor, Opus 16, seemed distinctly uneven in the hands of 25-year-old soloist Artur Pizarro.

The Portuguese-born pianist brought a large range of dynamics and a mostly dependable technique to bear. He also demonstrated a rhythmic sense that served enticingly during the Norwegian dance of the final movement, a dance made almost brutal through the orchestra’s sharply accented accompaniment.

Still, Pizarro’s account proved all too predictable--reliable and pleasant enough, but devoid of urgency and without lyrical magic. Moreover, his tone quality wavered; he managed to draw attractive and mellifluous sound from his instrument during quiet moments, but pounded mercilessly through loud, chordal sections.

Sensual enchantment defined Debussy’s “Prelude to an Afternoon of a Faun,” however. Here, the orchestra luxuriated in a kaleidoscope of changing colors. St.Clair permitted the piece to unfold leisurely.