Let's dive right in: Last night, January 26, the Rochester Philharmonic Orchestra gave its first performance of "Blue Planet" by American Peggy Stuart Coolidge (1913-1981) and it was exciting. Conductor Arild Remmereit continues to talk about wanting to perform works by lesser-known composers and women composers, and this gem of a ten minute score supported that argument better than any words.

"Blue Planet" was a voyage that lived up to its title, depicting the majesty of our planet in space, herds of animals roaming the plains, and stars low on the horizon on a clear, summer night. I was ready for an instant encore and can't even find it on YouTube. Remmereit made quite a discovery both in Coolidge and "Blue Planet."

The first half of the program was a symphony by Gustav Mahler, Symphony No. 4 in G-Major. This hour-long work was well-selected both for the RPO and Kodak Hall. The composition used an interesting array of instruments from large gong, to harp, to four flutes, and perhaps the most interesting combination of sleigh bells plus low bass notes.

The piece also drew upon two of the best elements of the RPO, namely, Kenneth Grant, clarinet, and Erik Behr, oboe. There were lovely interactions between these two musicians several times, all clearly articulated and beautifully phrased. One can count on Grant and Behr to deliver solid interpretations of all types of composers, including Mahler.

But there were two, very specific problems that I heard repeatedly last night that bear mention. First, when there was only a single, sustained note passing between instruments, entrances must be perfect. For example, during the third movement of the Mahler, there are several passages of poignant, prominent notes marked "Ruhevoll (peacefully)," so whether wind or brass have the notes, even split second differences in the entrance stand out.

Second, the first one or two beats of abrupt tempo changes or sharp dips in volume need both synchronicity and confidence. In the Strauss, if one thinks of the orchestra as providing the background music for dancers, those bodies in sweeping motion come to the balls of their feet, release, rise, release, and then sweep into the next tempo and mood. If those one or two or three critical beats are not cleanly executed, what happens to your dancers?

Soprano Christina Pier returned to the RPO, and sang during the fourth movement of the Mahler, for Franz Lehar's "Vilja Lied" from "The Merry Widow," and for Emmerich Kalman's "Heia in den Bergen" from "The Gypsy Princess." Pier's high range was clear and strong, but as with other singers who perform with the RPO, the mid vocal range does not carry as well as one might hope. The RPO is fundamentally strong and Kodak Hall has specific acoustics; both elements also work against singers. Last night, as Pier moved one or two steps along the side of the conductor's podium or as she had her chin more up than down, the same note could suddenly sound different.

Overall, a good night for the RPO and a great night for "Blue Planet." Even if you were already at the RPO last Sunday, January 22, for their concert with Itzhak Perlman, I would recommend a Saturday night date again this weekend with our local musicians.