Sections

Shiny San Francisco brass fires up crowd

Both works spotlighted the orchestra's brass, and after the opening notes of the Symphonic Ode, it was clearly evident which section would be running the show. Not only did Copland's work accentuate the brass, especially the trumpets and French horns, but it set the standard for the caliber of music and enthusiasm this group displayed. The work also gave the rest of the orchestra a chance to show that they too were nothing to take lightly.

Music Director Michael Tilson Thomas's energy was captured and earnestly reproduced by the orchestra, making the performance of the Copland on the level of any other world-renowned orchestra. Enjoying the distinct style of Copland, the audience's enthusiastic response at intermission was a clear indication of the San Francisco Symphony's excellence.

The presentation of Mahler 5 was what the audience was waiting for Friday, and, judging from the intensity of the audience throughout the performance and the response after the last chord, no one was disappointed. As impressive as the instrumentalists, Michael Tilson Thomas' performance was nothing less than amazing, as he conducted the entire symphony, one hour and 15 minutes of music, from memory.

Once again, the caliber of playing was exceptional, and the emotional quality produced by the Symphony's interpretation kept the audience captivated. As before, the trumpet section shined, producing an incredible display of virtuosity, but the rest of the brass, especially the French horns, were also just as effective.

This concert was definitely a brass player's dream, but the strings and woodwinds were equally as impressive in their own right. Without the stunning performance of the entire of the orchestra, the impact of the brass would not have been nearly as effective.

Mahler spoke of his work with some uncertainty, remarking, "What is the public to make of this chaos?" when referring to the intense harmonic construction of the symphony and the complexity of the relationship between sections of the orchestra. But the San Francisco Symphony had no problems converting Mahler's "chaos" into something extraordinary.

By the finale, the audience was well aware of the quality and talent embodied by these performers. In fact, the orchestra was so well-received that after nearly five full minutes of deafening applause and rowdy cheers, the standing audience got what they wanted, an encore and a chance to see the Symphony display yet another side, equally as impressive as its interpretation of the 20th century works.