The Orchestra Now (10/1/17)

James Bagwell, conductor; Nathaniel Sullivan, baritone

Valse triste, from Kuolema, Op. 44, No. 1 – (1903, rev. 1904) – Jean Sibelius (1865–1957)
Frankenstein!! A pan-demonium for chansonnier and orchestra after children’s rhymes by HC Artmann – (1976–1977) – Heinz Karl Gruber (b. 1943) – Nathaniel Sullivan, chansonnier
Symphony No. 104, London (1795) Adagio – Allegro; Andante;
Menuet: Allegro; Finale: Spiritoso – Franz Joseph Haydn (1732–1809)

The Sibelius was written as music to accompany a play. After the six performances of the play, the music came into its own as a concert piece. It opened with soft pizzicato (plucked strings) as a very slow waltz, with a second theme that had a stop-time-rhythm. A fuller, sweeter section followed, ending with a slightly nagging, though pretty, feel.

Frankenstein!! was a whimsical, fun-filled piece. Literally. It included blowing up and popping brown paper lunch bags as well as a slide whistle played by the speaker/singer. The piece also used those plastic thingies you swing around your head (the ones I referenced in a recent string quartet post) to make controlled woo-woo-woo pitches. One of the movements (there were eight—and no, I’m not naming all eight) incorporated the use of a toy piano. One of the most ‘normal’ movements featured the vocalist/speaker playing a kazoo. There was one movement with distinct Latin rhythms. Throughout, the silliness factor was a big plus. At one point, the chamber orchestra also doubled as a chorus. I can’t imagine what type of response this got in the late 1970s because it seemed pretty bizarre (though fun) by 2017 standards. Both the conductor and the vocal soloist entered into the fun-house atmosphere wholeheartedly.

In a truly classical vein, the Haydn had a solemn, almost brooding intro/opening—the allegro that followed perked things up with its bright fun and many musical ideas strung together. The second movement was gentle but with a pleasant rhythmic touch. There was nice interplay between the strings and the woodwinds, with interesting dynamics back and forth, including the occasional dead silence—that didn’t last too long. The third movement was not quite your standard one-two-three minuet; at times there was a one-two-three thrown in for good measure. There were also a few more dead stops added in where they weren’t quite expected, which added to the enjoyment. The Finale had a drone (in the bassoon?) followed by what sounded like a Scottish folk tune. By the time the full orchestra was in, they were all in the spirit of the spirit of things. Driving rhythms were used throughout, generating lots of energy, though with a few contrasting sections as a breather. It was a bright and cheerful finish to a very interesting concert. TŌN has a free concert coming up in November; I plan on being there.

ConcertMeister