The king is dead. Long live the king. Robert Moody and long since departed the Portland Symphony Orchestra and Eckart Preu, the new music director designate, made his only appearance in the 2018-2019 season on the concerts of the 27^th and 29^th. His conducting style is far different than that of his predecessor and will take a bit of getting used to. (I am not implying that it is better or worse merely different.) Whereas Moody has a clear beat and was given to micro-managing, Preu’s beat (where there is one) is often not clearly defined and he seemingly leaves some details to the musicians … at least in concert.

Moody’s beat was the traditional down beat with the point of attack at the bottom. Not so with Preu whose point of attack is the upbeat of the attack. There are other differences but this is neither here nor there, it is like comparing apples with oranges. One trait both have in common is that each is passionate about the music he is performing and both know what they want and communicate their wishes to the orchestra. It is this latter factor that is all important.

Since the orchestra was playing for their new boss, I would say that they outdid themselves. There was a moment in the first selection (Romeo and Juliet by Tchaikovsky) that I felt the ensemble would fall apart but miraculously it did not. There was a moment in the last selection that called for a pizzicato (plucked string) chord. Preu gave the beat and one second later the entire string section came in as if played by one person. Incredible. As for the selections performed, two of the three were compositions were the type that are very well known and are all too often performed. If such be the case, if we are to have this kind of programming, then one would hope that future performances be as incredibly good as these were. One drawback is that while these may attract patrons who may not be too knowledgeable about the literature of music, the PSO may lose some  people who may not be attracted to that kind of diet. Time will tell.

Another feature of this particular concert was its reliance on program music. This is the kind of music that tries to relate either story or painting as the basis of the music. The only drawback to this approach is that any reference to the architecture of music is lost. Again, this idea may involve the uninitiated at first but like empty calories will not satisfy.

In Romeo and Juliet, it is true that Tchaikovsky took the major ideas of the story, the character of Friar Lawrence, the fighting between the two families and the romance of the star-crossed lovers as ideas. However, musically the Lawrence (Church) idea is simply the introduction, the fighting idea as the “A” theme and the romantic element as the “B” theme. These musical elements were then developed and then brought back in the recapitulation followed by a dramatic coda. The fact is that most “A” themes are rhythmic and most “B” themes more melodic and these are the norms in symphonic music. Giving the composition a non-musical title was a kind of attraction for those who wanted to tie a musical composition either to literature (preferably) or later on to painting. And even later on to background music to film.

Enter the second selection. This work (The Telling Rooms) was a PSO commission and the composer Michael-Tomas Foumai was on hand to speak about his music. The music is based on three poems (The Happiest Color by Aubrey Duplissie, Dressed in Red by Husna Quinn, and Ink Wash)

whose creators were also in the audience. I will grant that there may be a connection between the poems and the music but in my opinion not an obvious one. The first two pieces sounded more like background music to some movie. It was only in the third movement that influences from Roy Harric and Aaron Copland were apparent and musically speaking was the most significant of the three. Mr. Preu conducted with authority and even had a small but very clear traditional beat.

After intermission the audience was treated to a marvelous performance of Scheherazade by Rimskty-Korsakov. While this work is an example not only of program music, it is a showcase of what the instruments of the orchestra are capable of doing singly and all together. In this work, all the various string instruments played as well (or better) than I have ever heard them. Mr. Charles Dimmick, the concert-master (CEO of the strings) lead the violins and the entire string section. He also played his solo violin (to represent Scheherazade) brilliantly. Outdoing their usually superb playing were the principals of each section: Lisa Hennessy, Flute; Amanda Hardy, Oboe; Julianne Veret, English Horn; Thomas Parchman, Clarinet; Janet Polk, French Horn; Joseph Foley, Trumpet; Nicholas Oravich, Trombone, Don Rankin, Tuba; and Ina Zdorovetchi, harp. Lastly one would be found wanting if one did not mention the fellow who brought the score to life, Mr. Preu. He took a deserved solo bow, and acknowledged the various solo players in a very long and heartfelt ovation. As I wrote at the start of this column, his conducting style will take a bit of getting used to. There is a disconnect between what one sees and what one hears. The proof however is in the pudding so to speak. What is important is what one hears. I look forward to hearing performances as great as this concert was. I don’t know whether it will be the Tuesday concert or the Sunday concert that will be broadcast. One of them however will be broadcast on Maine Public Classical radio on Feb. 13. I don’t know how Tuesday’s concert could be any better.

— Dr. Morton Gold is a composer/conductor, retired educator and arts reviewer for the Journal Tribune.