By Kathryn Olsen
As the Utah Symphony continues its captivating 2018-19 season at Salt Lake City’s Abravanel Hall, this weekend’s concert features emotionally powerful music from Bach to Boulez. Johann Sebastian Bach’s Baroque classics Brandenburg Concertos 1 and 2 bookend the first half of the concert, with a contemporary piece by Pierre Boulez ushering the concert from one concerto to the next; the second half features Aaron Copland’s Symphony No. 3. It is a concert that allows the entire ensemble to shine, but also features dazzling soloists. I myself approached the concert more familiar with other works by Bach and Copland, having grown up with later Bach concertos and having an affinity for Copland’s “Americana” works.
Conductor Thierry Fischer has been known to interact with the audience to enhance the concert experience and this production was no exception. Rather than launch into the first concerto of the night, he introduced the listeners to some of the unfamiliar instruments used and explains that these piccolo trumpet and piccolo violins are the reason for the different sounds in the Bach works. He then requested that the audience refrain from applause until the end of the first half so they would be able to better the experience the styles of the music. I found this to be a masterful stoke as it engaged the audience and enriched the overall experience.
The Brandenburg Concertos themselves are rightfully considered to be classics. They are some of the earliest examples of the concerto grosso that evolved into the modern concerto. In concerto grosso, the flamboyant spectacular of a solo concerto changes hands between all of the sections and it is a more inclusive style than the modern concerto. In Concerto No. 1, concertmistress Madeline Adkins shines as the first violin soloist, though the most striking passages are played by the brass section. It is at this point in the concert that Fischer essentially allows them to conduct themselves, with one part playing an ostinato that almost acts as a metronome while the others leave their mark on the concerto. The conductor almost dances along with this section, simply enjoying the talent of his musicians and recalls another moment in the concert when he encouraged the tempo of a minuet by miming the dance movements.
The second concerto has more easily identifiable stars, as there are four soloists. Travis Peterson, the principal trumpeter, leads the quest with confidence and audacity and his fellow soloists defer to his phrasing. Principal flutist Mercedes Smith clearly weaves her intricate music through the movements, but most of her passages are a response to Peterson rather than an attempt to outshine him. Principal oboist James Hall, meanwhile, is the soloist whose most effective talent lies in conversing musically and effectively with the others, Claude Holter, principal second violinist, is relegated to a role where virtuosity is demanded, but humility is required so that his musicianship binds together the rest of the solo musicians and he performs it marvelously.
Boulez’s Derive No. 1 is an interesting transition between these two pieces, but as the program notes state, this is a composer who was fascinated by the pull of music between different instruments. His seven-minute interlude features just six musicians and experiments with the tensions and relations between all of the players. It is intense and quavering at times, haunting at others, but the audience heads into the third piece of the night paying attention to the ebb and flow of music and that is an excellent tool to bear in mind when preparing to listen to Bach.
The second half consists entirely of the Copland symphony and this one work is as emotionally invigorating as the three pieces that comprised the first. Much as Ludwig van Beethoven hints at the finale through all parts of his 9th symphony, Copland spends three movements allowing the orchestra to quote passages of the fourth movement’s famous fanfare. The first three movements are physically demanding and emotionally taxing, driving through rigorous themes at some moments, but building a symphony out of simplicity at other times. It is in the finale that the majesty of the work stands forth in an elaboration on his previously-composed Fanfare for the Common Man. The original is a stark and unabashed work for eleven brass players and three percussionists, but in this symphony, it is introduced by the woodwinds, heralded by the percussion section and even echoed by the strings. The brass section still holds court and spearheads the finale, but it is under their guidance that the symphony ends in undeniable triumph. As I remarked to my concert companion, “Aaron Copland expresses the most emotion with the fewest notes.”
Utah Symphony’s Bach’s Brandenburg Concertos 1 and 2 is an experience not to be missed, but it will only be performed once more. You cannot help but enjoy a night of such compelling musical bravery.
Utah Symphony Presents Bach’s Brandenburg Concertos 1 and 2. Music by Johann Sebastian Bach, Pierre Boulez, and Aaron Copland.
Maurice Abravanel Hall, 123 W South Temple Salt Lake City, UT 85101
November 16-17, 2018 7:30 PM Tickets: $28-102
Contact: 801-533-6683
Utah Symphony Facebook Page
Bach’s Brandenburg Concertos 1 and 2
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