Friday, 16 February 2018, was a triumphant evening for the Tucson Symphony Orchestra. In fact, it was a victory for ALL inhabitants of this dry, dusty, Sonoran Desert town, as a long, slow, lightly-foggy drizzle blanketed this Old Pueblo, yielding our first significant accumulation of precipitation in over six months – salvation at last! This gift from above was deeply appreciated, though it turned us concert-goers into a trail of snails, slogging through downtown's construction muck to get into the TCC Music Hall. And while the start time was intentionally delayed, the action on stage was well worth the wait.
Regarding
'LUMINOSITY'S WITNESS':
Hailed
in advance by Maestro José Luis Gomez for
its orchestration and narrative, 'Luminosity's Witness', by
23-year-old composer Anthony Constantino, delivered an enlightening
trek through a striking array of well-judged, unusual sonorities.
This first ever premier of an orchestral work by a TSO Young
Composers Project alum – a program initiated by former Music Director, George Hanson –
was a resounding success.Melodic fragments, set against a pulsing rhythmic ostinato, strode through carefully crafted instrument groupings; now hard-edged, now mellifluous. As we meandered through an always shifting soundscape, a startling, broad, percussive blow pierced the auditorium, and the steady stride of predictability suddenly disappeared. That same sharp thunder-clap reappeared several times, though never when anticipated. And it is precisely that unpredictable stream of musical ideas, which commanded and held my attention. The generally conventional harmonic language was constantly being pulled or twisted by forceful exclamations, harmonic dissonance, and even polytonality, creating a complex overall sonic scheme. 'Luminosity', despite its exploitation of edgy instrumental timbres and combinations, impressed me as expressionistic; a subtle crafting of sounds that were more tactile and visceral than visual or panoramic. And while an earthy visage did inspire the composer, this musical journey stands beautifully on its own. As the story progressed, the focus seemed increasingly inward, finding a certain psychological undercurrent of the abyss. Near the end, eerie echoes of György Ligeti's 'Atmosphères' ("Stargate" scene from Kubrick's '2001: A Space Odyssey') created a perilous vertigo, as dizzying little tone-cluster crescendi gnawed at any attempted peaceful retreat towards home.
Overall, 'Luminosity's Witness' is approachable and compelling, and a most worthy first orchestral premier from a TSO-nurtured composer. Bravo, Antonio! That Maestro Gomez led the charge for this commission to happen and be realized on stage on this night is a fresh and promising direction for the Tucson Symphony Orchestra. Congratulations all around.
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| Anthony Constantino takes a bow. |
Regarding
the RACHMANINOFF:
Current
classical symphonic concert programs are filled with medalists from
solo instrument competitions from around the globe. And while the competitions always distill top flight professionalism, only
very rarely do they reveal a performer capable of making a significant, long-term artistic contribution. And yet, if creative
depth, expressive nuance, and uncompromising dedication to
the concert repertoire are
strong indicators, then Ukrainian
pianist Vadym Kholodenko, 2013 Cliburn Competition Gold Medalist, may well be one
of those few. That he had performed – while still in his 20s – all of the Beethoven piano sonatas, is evidence of an undaunted artistic aptitude and a ravenous musical appetite.
Here in Tucson, with strong, empathetic support from Maestro Gomez and the TSO, Mr. Kholodenko sculpted a very detailed and sympathetic reading of Rachmaninoff's popular 'Variations on a Theme by Paganini'. This late compositional success by a sixty-something Rachmaninoff, has a certain 20th Century emotional disconnection in its succession of variations. Yet the deeply Romantic ravishments Rachmaninoff was so famous, or infamous, for producing, always lurk as inevitable. Of course, those lush moments do arrive, forming distinct emotional pinnacles. Interpretively, these seemingly disparate elements could be exaggerated, allowing them to play themselves out. Or, the emotional agogics might be woven into a singular coherent narrative. Kholodenko, like most, addresses this episodic showpiece by the latter method. Yet he achieves, informed by a very Russian understanding, an unusually beautiful sound and architecture. The initial exposition of ideas was dynamic, especially in concert with the orchestra, yet genial and easy in its unfolding. One of Kholodenko's strengths is a constant subtle grading of tone. And each of the softer soloistic variations, including the powerfully passionate 18th Variation, were slowly and most tenderly caressed, highlighting each possible angle of adoration. This naked, 'semplice' approach made transitioning to and from the more bold and strident passages a steeper challenge, yet here were conceived and executed to perfection. A striking example was the at first surprising understatement of the vaunted, devilish 'Dies Irae' theme Variation #10, the brilliance of which became apparent as Kholodenko was then able to craft an unexpectedly smooth continuation into Variation #11 – which is the complete musical restart to open the contrasting 'Love' section of the Rhapsody. The execution of this idea was even more polished in Sunday's repeat performance, maybe just from extra ease with the orchestra on their second date out on the town.
Here in Tucson, with strong, empathetic support from Maestro Gomez and the TSO, Mr. Kholodenko sculpted a very detailed and sympathetic reading of Rachmaninoff's popular 'Variations on a Theme by Paganini'. This late compositional success by a sixty-something Rachmaninoff, has a certain 20th Century emotional disconnection in its succession of variations. Yet the deeply Romantic ravishments Rachmaninoff was so famous, or infamous, for producing, always lurk as inevitable. Of course, those lush moments do arrive, forming distinct emotional pinnacles. Interpretively, these seemingly disparate elements could be exaggerated, allowing them to play themselves out. Or, the emotional agogics might be woven into a singular coherent narrative. Kholodenko, like most, addresses this episodic showpiece by the latter method. Yet he achieves, informed by a very Russian understanding, an unusually beautiful sound and architecture. The initial exposition of ideas was dynamic, especially in concert with the orchestra, yet genial and easy in its unfolding. One of Kholodenko's strengths is a constant subtle grading of tone. And each of the softer soloistic variations, including the powerfully passionate 18th Variation, were slowly and most tenderly caressed, highlighting each possible angle of adoration. This naked, 'semplice' approach made transitioning to and from the more bold and strident passages a steeper challenge, yet here were conceived and executed to perfection. A striking example was the at first surprising understatement of the vaunted, devilish 'Dies Irae' theme Variation #10, the brilliance of which became apparent as Kholodenko was then able to craft an unexpectedly smooth continuation into Variation #11 – which is the complete musical restart to open the contrasting 'Love' section of the Rhapsody. The execution of this idea was even more polished in Sunday's repeat performance, maybe just from extra ease with the orchestra on their second date out on the town.
If
the riveting of attention through extra slow pianissimo
solos – think Sviatoslav Richter – seemed risky in the cavernous
TCC Music Hall, then Kholodenko deserves credit for making it work; overcoming the acoustics and conquering the crowd. Meanwhile, the large scale
build-ups and climaxes were taken in powerful, rhythmic,
traditionally Russian strides. The frenetic and pyrotechnical 24th and final variation is taken over, mid-stride, by the fateful, hammering return of the 'Dies Irae' theme. Yet as it ends, now clad in white, the sly Devil grins, and slips into the night... Fun
stuff! And heartily devoured by this Tucson audience.
 |
| Vadym Kholodenko, receiving an ovation. |
Regarding
the PROKOFIEV and the GINASTERA:
This program's most profound and challenging musical statement, the 'Scenes from Prokofiev's ballet
music for Romeo and Juliet', was absolutely knocked out the concert
hall by the TSO. Obviously relishing the opportunity to breathe full meaning into the expression of each moment, Maestro Gomez emulated every phase of
this powerful love, step-by-torturous-overstep, all the way through to the pathos of its tragic conclusion. In this breath-taking performance, Prokofiev's dramatic genius was generously displayed. At the final cadence, a palpable pleasure was flowing from the stage. An effervescent incredulity was glowing in the players' faces. Had their Maestro-gone-wild, who was completely subsumed into the drama, drawn from them a performance they had not thought possible? Or were they simply filled with the luminosity of the "madman with the baton", as he emerged from his communicative trance? Either way, this appeared a powerful moment amongst these fully engaged performers.
The
program's finale, Argentine composer Alberto Ginastera's irresistibly
rhythmic, 'Dances from Estancia', mesmerized the audience.
The precision of the orchestra and the sheer verve its Latin Director were here on full and fabulous display. The 'Malambo' final dance is insuperably exuberant with motoristic intensity, and is somewhat reminiscent of Ravel's 'Bolero', in its manner of momentum-building, orchestration, and intervening, attitude-defining dissonance. Its ostinato of hard-driving rhythms in alternating
meters (a la Bernstein's 'eve-ry-thing's free in A-me-ri-ca, for a
small fee in A-me-ri-ca') creates a feverish 'perpetuum mobile' through to the final cadence. Truly, a smashing end to this symphonic tour of three
continents. If, at THIS point, you were left in your seat, then I
pray that your mate checked your heart for its beat.
'Pictures at an Exhibition' in March? Beethoven's 9th Symphony in April? Yes, bring 'em on!
'Pictures at an Exhibition' in March? Beethoven's 9th Symphony in April? Yes, bring 'em on!
~
Steven Gendel
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