By Jason and Alisha Hagey, Front Row Reviewers
Once again, the Utah Symphony continues to set a standard for musical excellence. In downtown Salt Lake City, at the Maurice Abravanel Hall, the Utah Symphony’s Appalachian Spring & Bach performance with pianist Awadagin Pratt is thrilling, captivating, and simply excellent. Spending an evening engrossed in the gorgeous craftsmanship of these fabulous artists is an evening worthy of your time. Their sumptuous talents will pull you in, hold you, and keep you yearning for more when they are through.
Breaking the tradition of wearing show blacks or tuxedos, Awadagin Pratt (pianist) came out in a loud and fun print button-down shirt. He was relatable, that is until he started playing. He is just remarkable. There is so much fluidity in his technique. If there were ever a rockstar in the classical world, I would be a groupie of Pratt.
The evening begins with Johann Sebastian Bach’s “Keyboard Concerto in A Major.” Pratt shines with his ethereal musicianship; I’ve never heard this Bach piece played better. The first chair violinist joins Pratt. It then becomes a playful dance between the two. By the third movement, you forget you are in this glorious symphony hall. The music feels personal. Among 2,800 other audience members, I could have been in a salon participating in an intimate evening.
Following Bach, the Symphony treated us to something new. Something even more incredible (if that is even possible). The arrangement begins with chaos. The discordance gradually transforms into something that seems so familiar yet entirely unique. The music interweaves into a round as all the musicians swell together in this insane and profoundly moving interpretation of T.S. Elliot’s poem, “Four Quartets.” “Rounds for Piano and String Orchestra” by Jessie Montgomery left me breathless. Have you ever heard something that fills you to the point you have a visceral reaction? That was what listening to this piece (and re-listening over and over on my drive home) did. I’m grateful for contemporary composers. They reflect our today with new eyes.
Pratt did not disappoint while performing Rounds. He flies over the keys on the piano. I’d almost swear there had to be two pianists; Pratt was so fluid. You felt each moment, each change, each fractile piece as he textured the music. Montgomery’s music faintly reminds me of Steve Reich, but although there were glimmers, this work is entirely original. The color was rich and almost overwhelming. As an aside, I’ve never seen anyone pluck the strings of a piano almost like it was a harp. ‘Rounds’ is mesmerizing. I just craved more. Pratt really is a classical music rockstar. His three standing ovations (well deserved) are a tribute to his talent and grace.
Our Conductor for the evening is Teddy Abrams, and after the intermission, he rouses our senses with his overture to The Greatest, a rap opera he wrote about Muhammad Ali. At the Louisville Orchestra, Abrams works to be an industry innovator. He brings that innovation to the Utah Symphony with The Greatest, a powerful, percussive, and immersive piece that hints at Ali’s life through instrumental sounds reminiscent of Ali’s 1960s. The music is bold, with the bravado that made “The Greatest” a pop culture icon. Additionally, Abrams conducts with virtuosity and dazzle that perfectly reflects the music and the man the piece is about.
Composed by Aaron Copland in 1944, initially with ballet choreography by Martha Graham, “Appalachian Spring” evokes a broad, nostalgic sense of pastoral Americana. The ballet follows the story of a newlywed couple building a home together in a 19th-century rural American community. You feel this same feeling as you listen to the simple and direct melodies, but the nuances characterizing the music are, though subtle, a powerful anthem of optimism and hope. Copland captures the American landscape, the sense of wonder, the thrill of nature, and the profound love of a country with so much potential. Utah Symphony’s performance is the entire Copland score (most orchestrations omit about 8 minutes) and captures Copland in all the grand strokes. Still, their sense of precision and remarkable grasp of feeling propels Copland into yet another transcendent level of beauty. Utah Symphony’s interpretation of “Appalachian Spring” dances with delight.
Each selection for this evening weaves together a story. The whole night’s music felt reminiscent of nature. That very nature made it completely relevant. I can’t think of a better way to start this holiday season than a reminder of our connection to one another and to this place we call home. There is one more night to be in the room, allowing the music to wash over you. Live music is a profound gift. Please give yourself a glorious treat and come to the Utah Symphony on Saturday night. You won’t regret it.
LOBBY ACTIVITIES
-Join us for a pre-concert chat about the evening’s program with Assistant Conductor Matthew Straw, joined by pianist Awadagin Pratt, held 45 minutes prior to the performance start time in the First Tier Room.
-Complete a Behind the Music card found at the high-top tables in the lobby and bring it to the gift shop for a discount and to enter a drawing for free tickets.
-Awadagin Pratt will be signing CD’s in the lobby during intermission.
PROGRAM
Johann Sebastian Bach: Keyboard Concerto in A Major
Jessie Montgomery: Rounds for Piano and String Orchestra
Teddy Abrams: Overture to The Greatest
Aaron Copland: Appalachian Spring
Utah Symphony’s Appalachian Spring & Bach performance with pianist Awadagin Pratt
Abravanel Hall
123 W. South Temple, Salt Lake City, UT 84101
December 1, 2023: 7:30 PM
December 2, 2023: 5:30 PM
Tickets are $10.50 – 57.60
Discount for Students and those under the age of 30
Website to Purchase Tickets
Utah Symphony Website
Facebook
Instagram
Awadagin Pratt
Teddy Abrams=
Jessie Montgomery
0 Comments