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Review: Zack's farewell fitting and in top form

By Loren Tice Contributing Music Critic

Matt Goins

George Zack shared a rose from his bouquet with concertmaster Daniel Mason, left, following Zack's final concert as music director of the Lexington Philharmonic Friday. Photo by Matt Goins

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Zack prepares for his final concert

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• Zack conducts final concert with Philharmonic
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Late in Friday night's Lexington Philharmonic orchestra concert, a horn call sang out, a melody that Johannes Brahms notated in a letter to Clara Schumann, saying in effect, "From the mountains to you." It seemed highly symbolic that retiring conductor George Zack chose that melody, encased in Brahms' Symphony No. 1, to be played in his final concert with the Philharmonic. It was Zack sending one last love letter to the world that has known him so well these last 37 years.

It would be a big surprise if the French horn is not on the list of Zack's favorite instruments. He lets them out of their corral significantly more than many conductors. They repaid him well in the Brahms symphony.

If the French horns were rejuvenated after the summer break, so was the whole orchestra. Zack indeed leaves the orchestra in solid condition, full of first-rate talent.

There are issues, of course. String sections don't always seem as fit as a jockey in the stirrups. Woodwinds have tuning and style variability occasionally. Everybody needs to really listen to one another with unshakable care. But listeners can sense in orchestra members an eagerness to meet the future head-on.

One sentinel of the future was possibly the oldest member to take the stage: Aaron Rosand, renowned guest soloist in the Tchaikovsky Violin Concerto. For those with long memories, it had to be déjà vu, because Rosand appeared inZack's first full concert season (1973-74) here in Lexington.

In the Tchaikovsky third movement, it was Rosand who wanted to gun it with daredevil speed, not so much the orchestra. Other than that, conductor and soloist seemed as matched as soulmates in not going for emotional extremes. Instead, they were performing a well-told tale in this concerto, one so absorbing that we listeners leaned forward in our seats, not wanting to miss a single word.

The banner moment in the concert came as a total surprise to Zack. In his honor, violist Paul Engelbrecht led a special rendition of Aaron Copland's Ceremonial Fanfare, written in 1969, not long before Zack started thinking about Lexington. He was then presented with a gift of an autographed score of the work, entirely appropriate since Zack has been a champion of Copland's music.

With such a tribute, no matter what Zack's future holds, he will surely send to any conductor in earshot a horn call that says, "That Lexington, that's a place to be."