Two Concertos Are the Focus of the Seattle Symphony Concert

It is a rare night for a symphony concert to host two concertos, and Thursday night at Benaroya Hall was a rare night.

The unfamiliar work was Sam Jones’ Trombone Concerto, “Vita Accademia,” and the familiar, Brahms’ Violin Concerto, both given stellar performances by Ko-ichiro Yamamato, SSO principal trombone, and violinist Vadim Repin.

Jones, composer-in-residence at the Seattle Symphony since 1997, is no stranger to writing for brass instruments. The trombone concerto is his third, the first being for tuba and the second, French horn. He has a gift for bringing out the virtuosity of each instrument, their tonal qualities and  dramatic breadth. His tuba concerto was astonishing for what it asked the soloist to accomplish. Who would haver thought a tuba, even in the right hands, could move so fast and sound so convincing in lyrical passages? The trombone concerto was perhaps not quite so surprising because we know the instrument better, but still, one marveled at its dynamic range and beauty of tone.

The composer did not just fashion a set of exercises to demonstrate the many lives of the trombone but created a real concerto, with all sorts of interests. Its bits of contrived collegiate nostalgia must have put a smile on many peoples’ faces. The subtitle, “Vita Accademia,” is quite justified. The work’s wit was the leavening agent for the passagework which could be heard throughout the piece, as well as its full-blooded romanticism. The work is one of his most persuasive. His duet for trombone and tuba was especially effective.

A major factor in the concerto’s success was Yamamoto, one of the symphony’s most respected figures. One does not normally hear the full range of an orchestra’s principal trombonist’s abilities. This concerto was a first-class opportunity to do so. Yamamoto did not disappoint. He has a big technique, seemingly capable of doing anything, but certainly anything Jones put before him, which was considerable. He swam through those treacherous waters with enormous confidence, no doubt justified by a lot of work. Yamamoto possesses a big, generous tone and a dramatic sensibility. He can also turn a phrase eloquently and vividly.

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Repin’s assignment was wholly different: to bring a great work of art, ubiquitous to say the least, to life once again, to give it perhaps a fresh viewpoint. The Siberian violinist began his brilliant career very early — winning the gold medal at the Wienawski Competition at the age of 11. He has not stopped since then. He made his Seattle debut about a decade later at the Seattle International Music Festival where his technical and musical abilities were a revelation. All young virtuosos today have fingers; otherwise they would not be on any major concert platform. However, Repin seems to go one step further with his bravura and bravado. Not only does he play every note but every note accurately and with clarity,. The effect was often electrifying Thursday night at Benaroya. A mere technician he is not. He molds everything he does — fast and slow, soft and loud — into something musically coherent and provocative, Little is simply played as just notes: Repin makes every phrase count and come to life,  sometimes in an amazingly muscular way — really theatrically in the best sense of the word —  and sometimes softly lyrical. He can romance the music with a tone that is sweet but never cloying and always penetrating. Undoubtedly his 1736 Von Szerdahely Guarneri del Gesu violin makes a significant contribution.

Not surprisingly, Gerard Schwarz held everything together skillfully from the podium and with empathy for the soloists.

The evening began with David Diamond’s “Rounds.” There was a time when the Seattle Symphony heard a lot of David Diamond — too much. “Rounds” is one of his better pieces, even if it runs on too long. The strings played in a splendid fashion.