By Kathryn Olsen
Salt Lake City‘s Abravanel Hall has been hallowed ground for musicians and music-lovers alike, but in this weekend’s Tchaikovsky Serenade for Strings with Sowande and Barber by the Utah Symphony, it has been restored to its role as a haven. With extensive measures in place for both the musicians and a significantly diminished audience, it is the Utah Symphony as it has never been experienced before. It is unsurprising that they have approached the 2020-21 season in a novel way, as the Symphony has been broadcasting music throughout the pandemic, whether through recitals or educational programs given by members of the ensemble, or broadcasting Ludwig van Beethoven‘s Symphony No. 7anywhere from the Salt Flats to the steps of the capitol building. The Symphony has never left its audience behind and this marks the first time in months that the audience has been able to come to them. Naturally, I was thrilled to be a part of this event’s attendance.
Following the national anthem that patriotically begins each season, Maestro Thierry Fischer opened the program with “Joyful Day” from the African Suite by acclaimed Nigerian composer Felo Sowande. The composer emigrated to London to study civil engineering, and then followed a calling to pursue music as time went on. This suite, composed during the second World War, is a celebration of various African musical styles and the exuberant opening to this concert transplants the audience from Salt Lake City to a village teeming with life and love of the world. The orchestra, composed entirely of members of the string ensemble, is able to playfully interact with the various rhythms and melodies to immerse the audience in the music. It is a fitting ovation to the return of the orchestra to their venue.
The second piece serves a much more subdued purpose. Samuel Barber’s Adagio for Strings, which premiered in 1938, is known the whole world over for its use in moments of grief. It has been played in the wake of the September 11 attacks and the assassination of President John F. Kennedy, Jr., for example, and in these concerts, the organization has dedicated the rendition to the lives lost in the worldwide COVID-19 pandemic. As Fischer says in his remarks, “As we head back into the hall, we harness music to uplift and reflect the vast emotions we are experiencing together as a collective, and also in isolation. Music has an ability to connect us all.” His conducting style allows the orchestra to perform on a highly empathetic level so that they respond to their melodic lines and counterpoints and end in a more serene set of chords. The maestro held the final beats for a prolonged moment of silence that gave the audience closure for the overwhelming experience that the piece invoked. It brought to mind the words of German poet Friedrich Schiller, “Be embraced, ye millions, with a kiss for the entire world.” (“Ode to Joy”)
Ending the program is Piotr Ilyich Tchaikovsky’s Classical period masterpiece, Serenade for Strings. The four-movement piece runs the gamut from stately court music to a teasing rondo. Each section contributes a unique style, whether it’s the driving rhythms of the lower strings, the countermelodies of the violas, or the cat-and-mouse elements of the second movement that the violinists play. As a long-time violinist myself, I am most familiar with the waltz and the lyrical third movement while tonight’s performance exquisitely highlights the musical cues that are borrowed from each of the previous movements to create a triumphant ending for the ensemble as well as a kind of musical embrace for those who attend.
Unexpectedly, Fischer took the microphone to announce four additional pieces as his gift to those who have expressed their optimism and love for the Symphony as they begin this new season. Following Giaccomo Puccini’s lilting I Crisantemi, the orchestra returned to the even-more-engrossing “Akinla” movement.of the suite that began the concert. The audience could not help but be heartened by the familiar “Hoedown” from American composer Aaron Copland’s Rodeo. The final treat of the evening, however, was the most moving for this reviewer. Fischer announced that they had commissioned composer Augusta Reed Thomas to compose aFanfare of Hope and Solidarity, which featured not only the live performance, but the remainder of the orchestra who had recorded their parts from their own homes. Accompanied by visuals that invoke something from Walt Disney’s Fantasia film, it stirs the soul as evocatively as the Barber, but leaves the audience helpless to resist the peace and strength it conveys.
Audience members for this year’s programs should be assured that the Symphony is taking extensive measures to protect its audiences and musicians. Only 15% of the seats are filled to allow for social distancing, while masks are required of every person in the building and hand-washing and sanitization options are available throughout every public area. Each program has been abbreviated so there is no intermission. For those seeking a way to experience live music while protecting themselves, this is a wonderful experience.
This concert is appropriate and engaging for children as well as adults. There are only two more performances and seats are very limited, so don’t wait for an invitation to a hoedown to waltz over to Abravanel Hall for an unforgettable opening to the symphony’s season.
Utah Symphony Presents Tchaikovsky Serenade for Strings with Sowande and Barber
Abravanel Hall, 123 W S Temple, Salt Lake City, UT 84101
Sep 17-19, 2020, 7:30 PM
Tickets: $10-92
www.usuo.org
Contact: 801-533-5626
Utah Symphony Facebook Page
Tchaikovsky’s Serenade For Strings With Sowande and Barber Facebook Page
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