Virtuoso percussionist Evelyn Glennie won the affection of orchestra, conductor and audience Thursday night with a single snare drum that produced a universe of sound.
While guest conductor Ivan Fischer and the Baltimore Symphony Orchestra gave vivid performances of music by Schubert and Richard Strauss, it was Ms. Glennie's two solo performances that made the evening special.
The snare drum was Ms. Glennie's musical vehicle in the "Concert Piece for Snare Drum and Orchestra" by Askell Masson, an Icelandic composer.
The 10-minute work is a combination of the wild drum solos in Carl Nielsen's Fifth Symphony and the dark, earthy sections of Stravinsky's "Le Sacre du Printemps." This may not be top drawer music, but Ms. Glennie mesmerized the audience with her giant arsenal of stick techniques. She delivered ear-crushing crescendos, heart-stopping diminuendos, drum rolls of every type imaginable, and cross rhythms that had a roller coaster effect.
Her cadenza grabbed the entire house, and everyone seemed to hold their breath as Ms. Glennie poured out her soul. The standing ovation at the conclusion was nearly as spontaneous as the music making.
The Milhaud "Concerto for Marimba and Vibraphone" is a sunny, jazzy little work. The variety of multiple sticking and split-second stick changes give the effect of a master chef preparing 12 gourmet meals at once. Ms. Glennie attacked the concerto with true wit and the symphony gave thoughtful and engaging accompaniment. Darius Milhaud's melodies may not be the most memorable, but they are pleasant.
The Symphony No. 3 of Schubert that opened the program was a big band performance, employing most of the strings. Mr. Fischer gave the symphony heart and muscle. Careful attention was given to dynamic shadings and the tempos were all bright but not hurried.
Special mention must be made of the lovely oboe and bassoon duets in the trio section of the Menuetto. Phillip Kolker's bassoon was the perfect foil for Joseph Turner's elegant oboe.
The mammoth "Also Sprach Zarathustra" by Richard Strauss is a test for any orchestra and conductor. Mr. Fischer and the symphony passed that test with flying colors. This was Strauss with energy and power, but it never got so overly emotional that it robbed the forward motion of the tone poem.
The entire orchestra deserves bravos, but four rate special attention: First, principal timpanist Dennis Kain pounded out the "Sunrise" solo as well as any timpanist; concertmaster Herbert Greenberg's solo violin efforts were perfectly integrated into the orchestral fabric; the trumpet of Donald Tison was brilliant and forceful, but never overbearing; and the enchanting English horn solos by Keith Kummer were heavenly.
The entire performance led inexorably through the first seven episodes to the radiant final section, "Song of the Night-Wanderer." Mr. Fischer and the BSO gave the music an eerie stillness that floated until the final hushed lower string chords.