It was guest night April 30 at the classical concert series presented by the Portland Symphony Orchestra at Merrill Auditorium. The guest conductor was Marcelo Lehninger, formerly assistant conductor of the Boston Symphony and presently conductor of the Grand Rapids, Michigan Symphony.

He began the concert with a work called “Moxie” by Kristin Kuster, the chair of the composition department at the University of Michigan at Ann Arbor. As for the merits of the music, since this is a family newspaper, my only comment is that the work was performed. If she did not have the position she holds, I can only wonder if she would otherwise be the recipient all the many commissions she has received.

Mr. Lehninger established his credentials immediately by directing traffic in a clear business like manner. The PSO has been kind to guest conductors this year and tonight was no exception.

The meat of tonight’s concert was a performance of the Violin Concerto by Sibelius with the youthful Benjamin Beilman as soloist. If one could create an AI creature who could play the violin accurately, musically with passion and expression, that creature could not equal or let alone surpass what Mr. Beilman demonstrated. He has the technique of a Heifetz and the passion of violinists like Stern or Pearlman. I noticed that some of the violinists of the PSO were as awe struck as I was during this performance. If there is a measure of performance that equals perfection, I would put forth this performance of meeting the test. (The concert will be broadcast on May 15 on Maine Public Classical radio.) The full house attending gave the soloist two separate solo standing ovations. Beilman played an Etude by Fritz Kreisler as an encore. (A very enterprising piece.)

Sharing in the honors was Lehninger who provided an accurate as well as sympathetic rendering of the intricate orchestral part.

My concluding remark can be summarized in one word, WOW. Mr. Beilman performed on a 1709 Stradivarius violin on loan from the Nippon Music Foundation. I can’t think of a better use for this instrument. It may be a while before Beilman becomes a household name. However, we can take comfort in the fact that we heard him now, before that happens.

After intermission we were treated to a performance of Dvorak’s 9^th Symphony, (“From the New World.”) Whatever the implications from the sub-title, this is one of that master’s best works. It is a good example of a cyclic symphony. (This means that musical material from one or more movements can be used and even developed in other movements.) Other examples include such other works by Franck, Berlioz, (Fantastic Symphony) and Tchaikovsky, (5^th Symphony.) Brought over from Prague by a Mrs. Thuirber to head a music conservatory in New York, Dvorak who knew the folk music of his homeland became interested in the music of African Americans as well as Native Americans. This interest became obvious in the 2^nd and 3^rd movements respectively. However, when all is said and done, the symphony is more Czech and Dvorak than anything else. With regard to the performance …

the motto (Do Your Job) applies. I have extolled the virtues of the principal wind players previously, and I now include ALL the members of the winds. I have applauded the efforts of Lauren Winter, the principal horn, and I now include ALL the other players. (The horns had a field day at this concert.)

However, I now must applaud the trombones and tuba who during the performance must be rated as the first among equals. While I question Mr. Lehninger conducting with his back to the violins during most of the Dvorak, he had faith in Mr. Dimmick, the concertmaster doing his job (and doing it so well.)

Lehninger knew this work very well indeed. Some of his tempi, especially in the 3^rd movement, were a bit on the brisk side which caused a momentary muddiness in the celli and basses. His beat was always clear and he gave every cue. I question his preoccupation in the 3^rd movement with a counter melody in the horns and neglecting the violins who had the tune. This, however is my only reservation in his performance which was impressive to say the least. He should be invited to come again.

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