This week in the Jacobs School of Music

Under the baton of recent faculty addition Uriel Segal, the Jacobs School of Music Chamber Orchestra opened its concert Wednesday night with Johannes Brahms' "Serenade No. 2" in A Major. The piece is notable for the absence of violins, which not only gave the viola section the rare opportunity to act as the upper voice, but gave the principal violist the even rarer opportunity to act as concertmaster, if only for one piece. The violas executed the piece exceptionally well, revealing the rich, soulful sonorities of this too often ignored instrument. The entire ensemble was finely tuned and well-balanced.\nThe violins and timpani joined the others onstage for the second piece of the concert, Beethoven's "Symphony No. 2" in D Major. An adorable symphony -- it reveals a good deal of humor, not to mention the toying with convention that would become an ever stronger component of Beethoven's work. The performance lacked some of the refinement of the first piece, which for Beethoven might be just as well. But one could not have been faulted for desiring more accuracy in pitch or rhythm in places. \nRegardless, it was an immensely refreshing concert. Stravinsky may indeed be thrilling, but there is something about German art music that is cleansing. I'm not totally alone in feeling this way, either. I remember conductor John Poole remarking in rehearsal that he felt it was necessary to listen to Schubert at least once a day. It was good for the spirit. David Effron another faculty conductor, once said that to ease his grief over a personal loss, he was advised to play through the complete cycle of Beethoven's piano sonatas. I, myself, turn to Bach, the "Italian Concerto" in particular. And I do this, and I value concerts like Wednesday night's because in the chaotic world of school, politics and war, there is something so beautifully reassuring in that which still maintains the order of form, rhythm and harmony.