MUSIC

Annapolis Symphony Orchestra

The Annapolis Symphony Orchestra, under music director José-Luis Novo, swung for the fences in its closing program of the season over the weekend, taking on four works that included a world premiere, one of the most difficult standard overtures and the massive Mahler Fourth Symphony. The ambition was admirable, and the execution often justified it.

The Smetana "Bartered Bride" Overture is a virtuoso romp for the strings, requiring perfect coordination in every department. Novo set a moderate tempo, trading excitement for security, which in this piece is the better course. But his beat, which is more hopeful than authoritative, could have elicited more accents and phrasing from the winds.

Next was the premiere of "Severn Voyages" by Jacob Bancks. This work, written to commemorate the 300th anniversary of Annapolis's founding, tried to do a lot of things in a short time. It began with growling jungle sounds, then moved on through a mishmash of other atmospherics. The melodic material was often distorted, sort of an "if Alban Berg had met Duke Ellington" pastiche. The young composer is still completing his formal studies, and one looks forward to hearing him find a compelling, original voice to go along with his technical skills.

Mahler's Fourth is one of his shorter symphonies, but it is still a Himalayan challenge for an orchestra. This performance was shaky in spots and missed many details, but the musicians gave it their all. Soprano Audrey Luna fully understood her part, although the voice was a bit heavy for the role.

-- Robert Battey

Kenny Barron Trio

One of the most enjoyable aspects of jazz pianist Kenny Barron's performance at the Kennedy Center Family Theater on Saturday night was also the least surprising. Beginning with "Manha de Carnaval," each of the six trio arrangements began with Barron playing a solo introduction, often in free time and always in a way that underscored the tune's melodic appeal or hinted at harmonic and rhythmic twists to come.

Suffice to say that the veteran pianist knows how to set a mood, and not just when the tune at hand is familiar. Two original pieces -- the sunny, rhythmically engaging "Calypso" and the evocative, Tahitian-inspired reverie "Cook's Bay" -- stopped just short of enticing listeners to rush home and pack their bags.

Freshening a pop or jazz standard, however, is one of Barron's specialties. The trio performances -- as well as the evening's solo piano encore -- found the pianist revealing his gift for thematic improvisation without undue fuss or flourish. His interpretation of "How Deep Is the Ocean" was distinguished by a series of flowing, occasionally surging choruses, while Thelonious Monk's "Ask Me Now" evoked the composer's touch in an unusually soulful and lyrical fashion. The trio performances allowed ample room for bassist Kiyoshi Kitagawa and drummer Francisco Mela to shine, with the latter producing plenty of clatter and rumble when the newly penned "Calypso" was unveiled. But the night's greatest rewards came in hearing Barron stretch out, and he did so often, right down to the deftly reharmonized solo performance of "Memories of You."