I have actually heard, I forget where, the complaint that classical music “isn’t loud enough.” Friday’s Lancaster Symphony Orchestra concert at the Fulton Opera House was more than loud enough, with a program that was full both musically and emotionally. And not only was the orchestra expanded for the occasion but the concert marked the debut of the newest version of the Lancaster Symphony Chorus and its new chorusmaster, William Wright.
You want hits? Here was Gustav Holst’s “The Planets” in all its cosmic, terrifying glory. You want popular, accessible, upbeat music? Take noted film composer John Williams’ “Call of the Champions,” composed for the opening ceremonies of the 2002 Winter Olympics and just as rallying and forceful as you would expectof tension (not without lighthearted moments). As the strings slid up and down, a storm built up in the brass section and the chorus entered, singing on the wordless syllable “ah.” As the strings ran wild, the brass returned with a stern theme and the whole movement came to a sudden and unresolved end.
The second movement, “Ignacio’s Dream,” featured the chorus, against a background of violins, singing the words of Ignatio calling out to his love: “Marcelina can you hear me? … Was it a dream?” Marcelina and Ignacio, the soldier who killed Marcelina’s father and whom she must learn to forgive, are the central characters of the opera. The movement also includes a lovely solo for the flute. Lively Latin rhythms and a cheerful, upbeat mood pervade the third movement, “Rhythm of a City” as the chorus, entering on a long-held “Oh,” sings “Can you hear it coming? Can you hear it humming? Can you hear the rhythm?” The mood changes radically in the solemn “Ave Maria,” in which high, hushed strings and harp accompany the chorus, which enters on the notes of the tritone, a dissonant interval which establishes a mood of quiet pleading. (According to the program notes, this is sung as the townspeople of Barelas watch the silent fallout from the White Sands nuclear test in 1945.)
Tenor Blake Smith shone in the fifth movement, in which Ignatio, now homeless, laments his loneliness amid the drug dealers and street people of the present day. He brought the character to life (hinting at what the full opera would be like) as he sang of his seemingly hopeless love for Marcelina. In this movement, consoling and lovely moments — moments for piano and harp, the chorus singing a reprise of “Ave Maria” alternate with dramatic and terrifying passages. It all ended in a violent chord as a dying woman who plays a prominent role in the opera calls for the curse on Ignatio to be lifted. In the final movement, “Sunrise,” the brass plays fanfares and chorus and orchestra join in a song of triumph, in a percussive and pounding finale ending in a series of shouts from the chorus. It was colorful, breathtaking and LOUD. The man next to me observed “It may not have legs, but it certainly has lungs!”
In accepting the Composer’s Award, del Aguila called the list of composers who have received the award since it was instituted in 1959 “truly a who’s who of American composers” and noted that “I am the first Spanish-sounding name” on the list. Del Aguila also speculated that, being on the same program as “The Planets,” he had been recruited to supply the movement for the Earth that is missing from that work. “I humbly accepted, to represent all humanity,” he said wryly, adding that “I put my foot down” when informed that there were also “a few pages missing from Uranus.” (An LSO first, at least on stage.) More seriously, del Aguila told the audience that “the most important thing for me is the emotion; to be able to talk to you in the voice that is my voice that is music.” And the audience got the message, to judge from the shouts and cheers that erupted at the conclusion of the work.
“The Planets” is a very familiar piece of music and it got a pulse-pounding performance Friday night. The warlike “Mars” section was suitably overwhelming, the “Jupiter” section was as “positive and joyous” as one could wish. “Mercury” was fleet, “Uranus” was humorously scary and the launch into the unknown with “Neptune, the Mystic,” contained all the mystery one could wish. On the other hand, the “Venus” section went by a little too quickly.
The flute section shone in this performance, as did the two harps and the trombones. There were some problems with the French horns, however, which had a detrimental effect on the Venus and Neptune movements. And, in this case, the particular acoustic quality of the Fulton Opera House really worked against the music. Most of the time one can ignore the space’s dry sound, but in this case, for the moments in which the flutes and harps join and most especially when the offstage women’s chorus fades into nothingness at the end, the lack of reverb was something of a disadvantage.
On the other hand, I’ve heard so many muddy recordings of this work that I’d take this performance, horn goofs and all, over quite a number of others. The Mars movement, in particular, is worth it all by itself. The del Aguila piece is a can’t-miss work, and as for the Williams, it’s another highlight. From an Orff-like beginning from the chorus crying out “Citius, Altius, Fortius” (higher, faster, stronger), the Olympic motto, through brass fanfares, stirring string melodies and all the positive spirit one could want from such a work, it was given a sparkling performance (thanks in part to the glockenspiel).
I should also note that the performance also saw the debut of a new associate concertmaster, Netanel Draiblate, from Israel by way of Baltimore, who revealed a rich and romantic manner in his solos. Looking forward to hearing more from him, as well as from the chorus, who displayed fine enunciation when it was called for.
This is the only concert I’ve been to (as far as I recall) that had an art show associated with it: Kathleen Abel’s shallow-relief paper sculptures of the seven planets (and their symbols) represented in the Holst work. The colorful works are displayed on the second-floor lobby.
The performances continue today and Sunday (Nov. 15 and 16). Check here for details.
