By Benedicte Dansie
Dvořák’s New World Symphony, presented by the Utah Symphony at Abravanel Hall in Salt Lake City, Utah is a night of fanfare, the phantasmic, and fateful frontiers. The concert hall is absolutely packed, people are rushing through the lobby in a last minute dash to get to their seats. People chatter, heels click across the wood floor, and seats clatter; but then the symphony begins to tune. There is nothing comparable to the way a rowdy crowd falls silent as the first strains of the tuning notes are played.
The Symphony opens the concert with Gioachino Rossini’s “Overture to William Tell”. The piece starts with a sweet, melancholic cello solo that grows into a beautiful, hopeful melody. It’s all fluttering fingers on the strings accompanied by tremulous timpani. This shifts into a quiet, light section comprised of quick notes from the brass section. Everything swells until it tumbles into a dark rise of swirling strings and forceful brass. Then it falls back into rapid strings until finally there’s just a solo flutist. This sweet moment feels like the blooming of springtime, which is quickly disrupted by Rossini’s famous moment of bellowing trumpet and galloping horses. This is an obvious crowd favorite as the piece hits its peak and people break out into peals of laughter and quiet cheers. Thierry Fischer is extremely animated and concise as he pushes the musicians toward staccato perfection. He even goes so far as to jump at the end of the piece, so overcome with the players’ pull and everyone’s rapidly growing enthusiasm. The piece is the perfect mix of sweet springtime and the exubrancy of life that comes with warmer weather.
Following this, the Symphony plays Henri Dutilleux’s “Tout un Monde Lointain (A Whole Distant World)”. This piece starts with light percussion and a soulful cello solo. Soloist Alban Gerhardt is an absolutely phenomenal musician. He plays with his whole body, dipping and swaying to the haunting piece. Technically he is perfect, seducing his cello into singing out in high, haunting tones. He is possibly one of the most talented cello players I’ve ever had the pleasure of watching. The piece is a sharp contrast from Rossini’s bright and youthful journey across the frontier. There are many discordant notes and clattering stops. All of the musicians are constantly plucking at the strings of their instruments. Gerhardt plays so hard, giving himself over to the music, that I half expected his fingers to be bloodied, caught up in the frenzy of the piece. There is so much clashing between the alternating sections and swelling sounds that it’s almost overwhelming. It sounds eerie and otherworldly, the exploration of distant galaxies and planets that warp the laws of sound and sense.
The third piece of the night is Antonin Dvořák’s “Symphony No. 9 in E minor, Op. 95, “From the New World””. This piece starts out strong and stunning, quickly shifting into something deep and dark. The whole piece is a work of dynastic juxtapositioning and the interweaving of four totally distinct movements. The New World Symphony is majestic and passionate, blazing trails into uncharted territories. The Largo section is comprised of several lovely soloists. It’s smooth and comforting, with the familiarity of a childhood lullaby. This swirls into the light and lilting Molto Vivace movement. This bit alters back and forth between playful airiness and boldly commanding. The musicians really fly through this movement, dimming and rising until they crest into a bold finish. The final movement is a beautiful melding of threads from the three previous movements. It’s bold, familiar, and full of contrasts that leave you feeling on edge. When the piece finishes, the audience surges to its feet with raucous applause, cheering, and whistling.
The Symphony Presents Dvořák’s New World Symphony
Abravanel Hall, 123 W South Temple, Salt Lake City, UT 84101
Tickets: $15-89
Contact: 801-533-6683
March 29-30, 2019 7:30 PM
Utah Symphony Facebook Page
Dvorak’s New World Symphony Facebook Event
At the request of the symphony: Individuals ages five and older are welcome at this performance. Parents should ensure their children are able to sit quietly through the performance without disturbing others around them. No babes in arms will be admitted.
Alban Gerhardt’s Webpage https://albangerhardt.com
0 Comments