 |
| Yolanda Kondonassis |
 |
| José Luis Gomez |
Following his overall smashing Inaugural Season as TSO Music Director, Maestro José Luis Gomez said, for his second season, he would show us his Latin side. This concert delivered two fine South American masterworks, counterbalanced by Johannes Brahms orchestral coming-out party – his first symphony, completed at age 43.
"...and she was hanging from my lips, as the word of flesh that made the Poem live, because I told him, friends, the Parable of the Volcano and the Seven Stars."
~ Andrés Eloy Blanco
~ Andrés Eloy Blanco
'El Río de las Siete Estrellas' (The River of the Seven Stars) is Evencio Castellanos' seminal orchestral musical political history of Venezuela – a tour de force of orchestral coloration and of artistic settings of suggestive fragments of folkloric melodies. In tracing Venezuela's journey of “discovery” by Christopher Columbus, through Simón Bolívar's final victorious battle for Venezuelan independence from Spain in 1821, Castellanos episodic 'Seven Stars' evokes an astonishing range of emotions in its less than fifteen-minute duration. Dating from 1943, I would describe this compositional style Nationalistic Impressionism. You may not recognize the Venezuelan melodies within – even the allusions, near the end, to the Venezuela national anthem – yet the haunting, sensuous melodies, Latin rhythms, and striking impressionistic orchestral splendor are memorable, if not mesmerizing, and were here deliciously delivered.
The gorgeous flute solo, which begins and is threaded throughout the Discovery opening stanza of this poem, gloriously fell into the masterly, loving touch and agile embouchure of principal flutist Alexander Lipay – truly an aural, sensuous treat. Channeling the attention-riveting atmospherics of Debussy's Prélude à l’après-midi d’un faune, sets up Castellanos deep reach into the exhaustive and inspiring spiritual journey defining Venezuela's struggle from European subjugation to 19th Century-modern autonomy. The presence of pre-Discovery, indigenous Venezuelan folklore, hauntingly permeates this music. Insistent, driving dance rhythms and splashy colorful visions of apocryphal stories all come to life as impressions wrought from a complete palette of orchestral sonorities, finishing in an emphatic statement of the triumph of the spirit, as the final star falls into the volcano... Bravi Evencio! Bravi Maestro and orchestra!
Argentine Alberto Ginastera might wish he had composed his 'Harp Concerto' for acclaimed modern virtuoso Yolanda Kondonassis, who owned this Tucson audience with her deep and dazzling rendition of this unique masterwork. Kondonassis, who falls into a trance-like state of inspiration as she executes her spectacular artistry, spun out every technical and expressive detail with a poised, tender, virtuosic ease – fantastic!
The commission and assignment of this composition stretched the boundaries of Ginastera's comfort zone, both to restrain the heat (second movement) of his Latin spirit, and to liberate the harp as an instrument capable of the virtuoso spotlight. His answer, ten years in the making, covers every artistic demand. The irresistible dance rhythms driving the two outer movements, engage the harpist to ride the waves, dance, duel, and entwine with strident Latin energies – unusual and challenging duty for an instrument stereotypically associated with Heaven's Gate! The decidedly delicate orchestral sonorities of the Molto Moderato, and the extended cadenza which opens the Finale, bring the solo harp into full focus. How? By extended techniques exploring sonic capabilities. and thematic material exhibiting the harp's pitch and expressive range. Fully strummed, open arpeggios, powerful tenor melodies with precious accompaniment above, and explorative finger and nail glissandi strokes up a single string, percussive frame-knocking comprise a set of extended harp sounds along the lines of Bartok's slap-pizzicato for string instruments in the 1930s. To my ear, the shadow of Bartok's Music for Strings, Percussion, and Celeste and his 3rd Piano Concerto lurk stealthily, as the harmonically cold, modal fughetta unfolds to open the slow movement. The Harp Concerto's 3rd movement opening cadenza, with its ornamental sounds of rapid open-string strumming, is then used as accompaniment for a highly accented unpredictable modal melody.
Such emulation is not criticism of Ginastera, only a nod to the tall shoulders of the Hungarian genius he stood upon. This is highly original, stylized, European orchestral art technique, applied through the powerful lens of Argentinian rhythms and spirit. Overall, and the with riveting encore gifted by Kondonassis, this was a most effective and satisfying finish to an ear-opening first half.
Such emulation is not criticism of Ginastera, only a nod to the tall shoulders of the Hungarian genius he stood upon. This is highly original, stylized, European orchestral art technique, applied through the powerful lens of Argentinian rhythms and spirit. Overall, and the with riveting encore gifted by Kondonassis, this was a most effective and satisfying finish to an ear-opening first half.
“Conduct to my heart, and I will follow you anywhere!” has been the relationship of Music Director and orchestra ever since José Luis Gomez arrived in Tucson two short years ago. This ensemble, brought to a highly professional level and well-accomplished under longtime Music Director, George Hanson, continues to grow and excel under the energetic and passionately expressive baton of Maestro Gomez. The drama of the musical interpretations is always fresh, while the expressive qualities of individual instrumentalists and sections, hue ever closer to the bright vision of its Latin director. The Tucson Symphony Orchestra is a joy to hear and experience.
This performance of Brahms First Symphony – maybe old hat to some concertgoers – showed how finely tuned of an instrument this orchestra has become. Brahms writing is both subtle and extremely complex, challenging the players' instrumental mastery in service to an iconic, yet soul-revealing musical epic. The woodwinds, covering the most intricate elements of Brahms writing, were spectacular. The leads – Dario Brignoli, clarinet; David Barford. Oboe; Letitia Bryant, bassoon, and Alexander Lipay, flute, were tight as a group and outstanding in their solos. I believe Maestro Gomez could not be happier to have this kind of talent and responsiveness at the tip of his baton for his interpretation of this classic prize. On this night, the biggest prize was won by the audience – just by being there.
This performance of Brahms First Symphony – maybe old hat to some concertgoers – showed how finely tuned of an instrument this orchestra has become. Brahms writing is both subtle and extremely complex, challenging the players' instrumental mastery in service to an iconic, yet soul-revealing musical epic. The woodwinds, covering the most intricate elements of Brahms writing, were spectacular. The leads – Dario Brignoli, clarinet; David Barford. Oboe; Letitia Bryant, bassoon, and Alexander Lipay, flute, were tight as a group and outstanding in their solos. I believe Maestro Gomez could not be happier to have this kind of talent and responsiveness at the tip of his baton for his interpretation of this classic prize. On this night, the biggest prize was won by the audience – just by being there.
~ Steven Gendel
HEAR IT - Humanity's Expressive Artists Reveal & illuminate Truth
Comments
Post a Comment