08:40 AM EST on Wednesday, March 8, 2006

BY CHANNING GRAY
Journal Arts Writer

Those lucky enough to have been at Veterans Memorial Auditorium last night won't soon forget the astonishing evening of music-making that famed cellist Yo-Yo Ma and friends put on.

For me, this was among the most interesting and satisfying concerts I've been to in a long time. No show, just riveting playing where every note counted.

This, of course, was something of a coup for a second-tier orchestra such as the Philharmonic. Before the start of the program, conductor Larry Rachleff called the event an "important night," and said that for the 10 years he's been in Rhode Island he's "always wanted to have Mr. Yo-Yo Ma with us. Now we do."

Ma was joined by several fellow musicians from his much touted Silk Road Project, which is now based in Providence. Most of the time project members play exotic tunes from the Middle East or some other far-flung region. But they wondered what would happen if they sat down to some good old German fare.

What they came up with was a program pairing the Beethoven Triple Concerto for cello, violin and piano, and the brooding Brahms Double, for violin and cello.

The Beethoven Triple is not among the composer's best efforts, but what Ma, pianist Joel Fan and violinist Johnny Gandelsman did with the score was remarkable. Ma may be a superstar, but he's also a heck of a team player, making for seamless ensemble work.

Of course, when the spotlight shown on him, like it did in the tender, heartfelt opening of the brief slow movement, he let his instrument sing out. Even for Beethoven, who lived at the tail end of the Classical era, there was a warmth and sweep to his playing that couldn't help but draw you in.

His two colleagues were no slouches, though, with incisive passagework coming from Fan, and clear, confident phrasing from Gandelsman.

But it was the Brahms, a true masterpiece, that was the hit of the night. This was surging, passionate Brahms, with Ma and violinist Colin Jacobsen playing their hearts out.

Ma really leaned into that soulful opening solo of his, letting the audience know he meant business. Jacobsen, who has a true, sweet tone, matched Ma at every turn and carried on something of a musical conversation in the melting slow movement, trading tunes back and forth.

Having such incredible talent on stage seemed to squeeze the most from the orchestra, which sounded lush and full in the Brahms, and had a nice sense of anticipation at the start of the Beethoven.

The important thing was that everyone seemed to be listening to one another, soloists and orchestra. Everything clicked.

And while this was serious stuff, Ma and friends seemed to be having the time of their lives. Certainly there were a lot of smiles from Ma.

Needless to say, the hall was packed, even with tickets going for as much as $1,000. Die-hard Philharmonic fans were on hand, but there were a lot of new faces, too, many of them young.

When the night was over, there were hugs between soloists and conductor, and thunderous ovations. As I scooted out of the hall, former longtime Philharmonic manager Muriel Stevens motioned to me.

"This," she said, "was a dream come true."

cgray@projo.com / (401) 277-7492