Double Duty for Ayke Agus at Cal Phil’s “Movie Magic”
The California Philharmonic Orchestra has presented music from motion pictures at least once during a season of its Festival on the Green summer concerts. Under conductor Victor Vener, Cal Phil has given audiences a rare but welcomed look at film music that presented both a significant brief on scoring for films and to a large extent, repetitive programming.
This year’s tribute to Hollywood’s music, presented last week-end, first on Saturday at The Arboretum in Arcadia, and then repeated on Sunday at Walt Disney Concert Hall in downtown Los Angeles, marched a parade of film scores carrying the title “Movie Magic”. Repetition: this is the same title Cal Phil used for one of its early outdoor concerts in 1998. In fact, the orchestra has performed much of the music at this concert that has been played several times in Cal Phils’ 11 years. The line-up here was Miklos Rozsa’s “Ben Hur”, Nino Rota’s “The Godfather”, John Williams’ “Raiders March from Raiders of the Lost Ark”, a suite of songs from James Horner’s scores for “Bravehart”, “Apollo 13″, “Titanic” and “American Tail”. Four additional numbers highlighted local talent: Roger Allen Ward, Cal Phil’s composer-in-residence “walk of stars” (also a repeat), Phil Smith, curator of the Disney Hall organ in a brief appearance on the huge 6,300-pipe instrument, to play a portion of Saint-Saens’ “Organ Symphony”, the Symphony No. 3, and double-duty soloing by Ayke Agus, a member of the violin section, as violinist in three pieces from Williams’ “Schindler List” score and pianist for Richard Addinsell’s “Warsaw Concerto” from a 1941 British film titled “Dangerous Moonlight” in England and “Suicide Squadron” in this country.
Ayke Agus, an accomplished pianist and violinist, was soloist in both instruments, repeating the dual solo role of an appearance she made with the orchestra in 2004. she is also a regular performer at many local concerts, sometimes as a violinist and sometimes as a pianist. In addition to her section work as a violinist with the California Philharmonic Orchestra, she is also seen as violinist with the Pasadena Symphony and also performs in concerts with 
other artists. As a pianist she is a regular member of Pacific Serenades having performed with that chamber ensemble (that gives its concerts at the Neighborhood Church in Pasadena) each year since 1991, appeared as accompanist in many concerts such as South Pasadena Library’s Restoration Concerts,and more. At the Lake Arrowhead Arts Association concert series she appeared with accordionist Nick Arriondo as violinist.
In the “Schindler List” trio of songs, as violinist, her sound was truly reminiscent, as Vener pointed out in remarks from the podium, of Jascha Heifetz in that the tenor of her playing was in keeping with the era of the 1941 film. The third song, “Remembrances”, with Williams’ tip-of-the-hat to Brahms, was remarkable and quite beautiful. She was associated with Heifitz for several years.
“I was a scholarship student of Jascha Heifetz, who participated regularly in his masterclasses at USC,” Ms. Agus wrote in an e-mail. “Heifetz made an exception for me and allowed me to take regular classes at the University in pursuit of my master’s degree.” She relates that when Heifetz’s regular pianist suddenly left his post, she was asked to substitute while another pianist was found. As no one was accepted, she became his official pianist until his death in 1987. During that time she was the official pianist, personal accompanist and oversaw dozens of transcriptions in addition to travelling often to Europe and Asia giving recitals and lectures.
In her return appearance later in the program, this time at the piano for “Warsaw Concerto”, her command of the showy piece was strong and determined. Her nods to Vener kept the piece clear and convincing. When not in the spotlight on stage, Agus could be seen in the violin section of the California Philharmonic Orchestra. For the final number of the regular program, the “Organ Symphony”, she joined keyboard principal John Berkman at the piano. The Saint-Saens’ symphony calls for duo-pianists.
Ward’s composition “walk of stars” offered solo bits to various members of the orchestra, each which were well-executed. It is a good, strong work in a mid-contemporary style, but this performance lacked the enthusiasm that specialists in contemporary music might have offered. The crowd generously applauded Ward’s efforts.
The balance of the concert, except the “Organ Symphony” which dates to the late 19th century, was 20th century music. If anything, it shows the preponderance of percussion in the music of the 1920′s to today. American in Paris, written in 1928, uses xylophone, kettle drums, bass drum, triangle, cymbals, block, snare drum, and of course, the taxi horns. Horner’s various compositions from 1986 to 1997 was marked by the use of chimes and gongs. An encore number, the 1976 theme from “Rocky” by Bill Conti added bongo drums, and tambourine to the list. Timpanist principal Theresa Dimond, percussionists Terrence Schonig (principal), Timm Boatman and Marie Matson comprise the excellent section.
Gordon Lazarus was responsible for outstanding playing of the English horn which appeared in just about every number on the program providing an opportunity to compare the sound of the English horn to Francisco Castillo’s fabulous oboe playing.
Click play to see Ayke Agus play a portion of Debussy’s “Clair de lune”.
The California Philharmonic Orchestra continues its summer Festival on the Green with Beethoven, Bernstein and Bolero on Aug. 23 at the Arboretum and Aug. 24 at Walt Disney Concert Hall. For information, please call (626) 300-8200.
by Bill Peters