American Symphony Orchestra The concert I attended at Carnegie Hall on October 21, the conductor Leon Botstein and the American Symphony Orchestra explored the influence of Bach on the Bauhaus. One thing you can’t fault the American Symphony Orchestra for is lack of ambitious programming. The two hour long concert that they presented included impressive orchestrations of Bach chorales; preludes and fugues by Max Reger, Arnold Schoenberg and Wolfgang Gräser; as well as three complex fugues by Lyonel Feininger, and Schoenberg’s “Variations for Orchestra”, Op. 31. However, once the concert began it became clear that the American Symphony Orchestra had bit off slightly more than they could chew. In much of the Bach, including O Mensch, Bewein’ dein’ Sünde gross, section entrances were timid and the beginnings and endings of phrases were uncoordinated. Leon Botstein’s conducting did little to diminish the ensemble’s problems; alternately vague and abrupt. Intonation problems in the bass and viola sections abounded. There also appeared to be a conflict among the string players about the use of vibrato throughout the works by Bach, with some players employing lush, romantic vibrato and other players using none at all. In Bach’s Prelude and Fugue BWV 552, “St. Anne,” the principal cellist played out of tune and appeared to lose his place within the solo. The concertmaster’s solos, in contrast, were effortlessly brilliant. Her understated style of leadership also deserves recognition. She gave an excellent, assertive example for her section to follow while always respecting the character of the music. When the American Symphony Orchestra played Feininger’s Three Fugues, the ensemble suddenly sparkled, both technically and interpretively than any of the Bach. Their sound came alive, their intonation improved remarkably and Botstein’s conducting seemed perfectly attuned to the repertoire and the needs of his ensemble. Feininger’s musical architecture was intelligently presented, with sensitive dynamic interplay that allowed each line to be heard clearly. Fugue III- Gigue opened beautifully with a gossamer pizzicato motif and delicate quality. Schoenberg’s Variations for Orchestra, Op. 31, was similarly fascinating and well performed. The program, which seemed designed for atonal or complex music, was daring in its ambitiousness and cleverly found continuity, by utilizing many fugues or fugue like pieces such as the Variations.