The world is very different now (world premiere)
Violin Concerto in D minor Op. 47
Murder of a Great Chief of State Op. 405
Symphony No. 3 in E flat major Op. 55, “Eroica”
Symphony Orchestra/Jaap van Zweden
Across America and around the
world, individuals and organizations paused on November 22 to reflect on the 50th
anniversary of the assassination of President John F. Kennedy (JFK). In Dallas,
Texas, the occasion had special significance because it was in that city that
the murder took place. In remembrance of President Kennedy, The Dallas SymphonyOrchestra (DSO) had commissioned a new work, part of an evening of music supposedly
relating to his death in one way or another.
Tao Tribute "Ultimately About Memory"?
The concert opened with a
17-minute piece by 19-year-old pianist-composer, Conrad Tao (photo: right). The title of the
piece comes from JFK's inaugural address (1961). In that speech the new
president compares the world today with the way it was when the country was
founded. Kennedy states that today man has both the power to eradicate poverty,
and the power to destroy mankind itself. Which is it going to be? Kennedy expresses
great optimism that Americans will choose a path toward greater freedom,
creativity and peace in the world. A short time later JFK’s optimism and
judgment were sorely tested during the Cuban missile crisis; his steady resolve
and restraint averted what might have been a nuclear conflict.
Mr. Tao is a remarkably
talented young musician, but one wonders what qualified him to write a work in
memory of JFK for this important occasion. Surely it would have been more
interesting to commission a composer who had lived through that terrible event.
Mr. Tao tells us that he visited the Sixth Floor of the Texas Book Depository Building in preparation for his assignment - a necessary undertaking, but hardly sufficient schooling for this
historic commission. Further, with extraordinary presumption, Mr. Tao writes in
his program note that The world is very
different now “is ultimately about memory” – a puzzling statement from a
young man who could himself have no memory of the assassination.
In any case, on first hearing,
Mr. Tao’s piece did not seem to “recall” anything in particular and conveyed
neither deep emotion nor the power one might employ in evoking the literally
earth-shaking significance of the murder of a popular U.S. president in his
Video Collage an Uncomfortable Adjunct
Then there was the video that
accompanied the music - incoherent in itself, with little obvious connection to
the music – which apparently was not part of the original commission and was
conceived long after the music had been written. The executive producer of this
video was Peter J.G. van Ingen, who also produced this season’s imaginative and
expertly directed short video previews of DSO concerts, featuring Maestro van
Zweden talking about the music programmed for each evening. As good as the
previews were, the JFK assignment must have been a greater challenge, as in
this video Mr. van Ingen offered us little more than a collage of news photos
and films from the period, assembled in a way that did little to enhance our
understanding of the terrible event, JFK or Mr. Tao’s score. The succession of today’s
faces, filmed in color, at the end of the video suggested what? Diversity? We
haven’t forgotten? The world is very
different now? A bit of “today”
tacked on to the end of a jumbled vintage collage – incongruous, at best!
An Exquisite Collaboration
The new Tao piece was followed
by a perennial favorite, the Sibelius Violin Concerto, featuring Joshua Bell (photo: right), one
of the most popular classical artists before the public today. Bell was in
great form and with van Zweden and the DSO as sensitive collaborators, the
performance was wonderful. Under van Zweden’s baton, the solo violin could
always be heard and phrasing in the orchestra superbly complemented the poetry
of Bell’s performance. Rarely have I heard the solo part so perfectly
integrated with the orchestral accompaniment!
The orchestral passages in the
Sibelius concerto can easily be played with a power that is out of all
proportion to what the solo violin can do, but not so in this performance; van Zweden
built the climaxes with such great intensity that the result was a satisfying “illusion”
of tremendous volume.
The slow movement was
exquisitely played by Bell and by the orchestra, especially the horns. At the beginning
of the finale, timpanist Brian Jones switched to harder sticks so as to articulate
the insistent rhythm as clearly as possible, and it paid off. Again, we had
clarity and intensity instead of volume.
After intermission came another
JFK-related piece: a four-minute work by Darius Milhaud, written in memory of
the fallen president. Unfortunately, like so many pieces by this facile French
composer, it was quite forgettable.
DSO in Top Form; Eroica at Top Speed!
Finally, van Zweden conducted the
longest piece on the program, Beethoven’s Eroica
Symphony. I have never heard a performance of the Eroica played without trumpets - the piece is simply unimaginable
without them. Had I not seen the two DSO trumpeters sitting at the back of the
orchestra, I might have thought they had forgotten to participate; never once
in the performance did van Zweden allow them to play more than mezzo forte. I have no idea why van Zweden took
this approach but for me it robbed the climaxes of much of their elemental
power and majesty.
As always, van Zweden had the
rest of the orchestra playing in top form and many passages came through with
unusual clarity of articulation, even at high speed. Speaking of tempo, I
really must take issue with van Zweden’s tempo for the first movement; too many
moments went for nothing. It’s all very well to achieve perfect balance between
the sections of the orchestra but in Beethoven the point of it all is not
balance, but heartfelt emotion and abandon. If the metronome marking does not
allow the music to breathe naturally, then it might be time to reconsider the
It was good to see the DSO
honoring the memory of JFK; that said, the two pieces directly linked to JFK
were disappointing. Beethoven’s Eroica
Symphony, given its moving funeral march, and its subtitle ("composed to celebrate the memory of a great man") was a good choice for the occasion,
in spite of the misconceived (in my opinion) performance. The Sibelius Violin
Concerto, while it had nothing whatever to do with JFK (apart from the fact
that, as the liner notes state, it is a serious and weighty piece) and probably
shouldn’t have been included in this concert, was so brilliantly performed that
one can hardly complain about its inclusion in the program.
In Case You Hadn't Heard...
The day after this concert, the
DSO announced that Jaap van Zweden’s contract had been renewed until 2019 - great news in the light of how much fine music making he has
given Dallas audiences! The DSO board and management deserve great credit for
locking in this extraordinary conductor early, before he is lured away by other
Labels: Concert_Review, Conrad Tao, Dallas Symphony Orchestra, Jaap van Zweden, Joshua Bell, klassische Musik, musica classica, musique classique, product_review