The Portland Symphony Orchestra appeared in concert at the Merrill Auditorium on March 24. The unusual program was conducted by Paul Polivnick who made his fourth appearance as the PSO’s guest conductor. While he has had extensive experience, his longest tenure in one place was at the New Hampshire Music Festival from 1992-2009. As a conductor, he is no shrinking violet. He conducts with vigor, energy and with a large clear beat. He also knows his music thoroughly and clearly communicates his wishes to the orchestra. The orchestra always responds well to a conductor who knows what he wants and this concert was no exception. The program began with the Overture to the Gypsy Baron, an opera by Johann Strauss Jr. This tuneful work has colorful orchestration as well as frequent changes of tempo. This latter quality could trip up a less experienced conductor, or cause havoc with the ensemble. No chance of that happening this time. Even the pizzicato chords in the strings were in unison. The featured work was the Violin Concerto by Bela Bartok with Charles Dimmick, the orchestra’s concert master, appearing as soloist. Let it be said from the outset that this work is not only a cruel test for the soloist but for orchestra and conductor as well. They all passed through this cauldron of musical fire with flying colors. Mr. Dimmick had im-peccable control in his part, playing with passion and conviction. Pol-ivnick made a leng-thy pitch extolling the virtues of this work in remarks preceding the performance, calling it an example of the “power of sheer sensuous beauty,” and stating that the concerto was the “equal of concerti by Beethoven, Brahms and Tchaikovsky.”

I, for one, would concede that it is a superbly crafted work written by a first rate composer at the height of his creative powers. While it surely is all that, and even given a tremendous performance as that given by Dimmick will not propel it to that top tier of most frequently performed violin concerti.

It was composed 75 years ago and still is a rarely performed piece. Even the concerti by Prokofiev are more popular. Granted, popularity is not the only or even the best measure of the worth of a composition. Given the dissonance, rhythmic challenges, as well as the extreme virtuosity in the solo part, it will probably remain an infrequently performed work. However, I cannot conceive of a more vibrant and compelling performance of this work and am grateful to Dimmick and Polivnick for bringing this masterpiece to light. Soloist and conductor received extended cheers in a standing ovation following this work. The sole work after intermission was the Symphony No. 90 by Franz Joseph Haydn and saw Mr. Dimmick resume his position as concert master. Following custom, the orchestra’s string section was reduced for this work. This symphony, oddly enough sits in the shadows of his London symphonies. I state “oddly” because it really is a great work. It exhibits Haydn’s architectural skill along with his piquant sense of humor. I believe that Schubert used the second movement as the inspiration for the second movement of his Fifth Symphony. The orchestra paid Polivnick their tribute by applauding their guest and refusing to share the ovation they earned with him. They underlined what I observed from the start. This concert was taped and will be broadcast on the Maine Public Broadcasting Network on April 8. Moody will return to the podium for concerts on April 19 and 21 conducting works by Weill with Storm Lange as vocal soloist, and Beethoven’s 7th Symphony.

”“ Dr. Gold is a composer/conductor and an arts reviewer for the Journal Tribune.