Symphony gets a little rebellious
By Nathaniel Miller - Herald Arts & Entertainment Editor
February 28, 2003
Every musician has to let down his or her hair now and then. And
every listener will occasionally need an aural rousting. Arthur
Post understands these things. Sunday afternoon ’s San Juan
Symphony concert at the perfume-reeking Fort Lewis College Community
Concert Hall was an entirely pleasant deviation from the ordinary.
The program, featuring works by Montague, Ives, Ellington and Beethoven,
was aptly named “Groundbreakers.” The concert began
with “Snakebite,” by modern American composer Stephen
Montague, who is particularly enamored of the Texas fiddle. The
piece is meant to cross the experience of a snake attack (and the
subsequent spread of poison) with an old fiddle tune called “Dusty
Miller.”
Naturally, there were all sorts of hisses, sharp starts, slaps,
stomps and slitherings up the violin neck. Dynamic is the only word
for it. At times, the orchestra seemed to be spread out in every
direction – there were moments of real cacophony – and
then all the disparate pieces would be pulled together in beautiful,
violent resolution. The droning chords that initiated and continued
throughout Charles Ives ’ “The Unanswered Question”
were more than just the backbone of the piece. Played off-stage
by a few strings, the notes – identified as “The Silence
of the Druids” by Ives – came through as simple and
serene. When the trumpet pestered with its dissonant question (re:
the meaning of life) from the high balcony, the druid sounds were
undeterred. Even when the four woodwinds on-stage attempted to answer
the question in their jabbering manner, the druids kept on keening,
immutable.
The piece was expertly done, but probably one of those musical
experiences where you’re supposed to feel confused afterward.
Those who say they got it are revealing the fact that they didn’t
get it. Mr. Duke Ellington always did have a flair for the dramatic,
even when he was composing for orchestra and ballet. “The
River” is full of big, big sounds and sweeping phrases for
the brass, and this symphony jumped right into it, showing off how
well the different sections worked together. Everyone was game.
Some of the more thrilling moments were when the orchestra broke
into swing, as though the musicians couldn ’t help it –
they couldn’t play it straight any longer. The trumpets were
up to task in the bawdiest moments with their “wa-wa-WAAAA!”
“ The River” is broken up into seven movements, five
of which were performed Sunday. Each one was characterized by a
flash of something new: irrepressible snare-fire in “Vortex,”
for example, or a thick melody anchored by a chorus of walking basses
in “Riba.” In all, the sheer breadth of emotion was
enough to knock a listener back in his seat.
The second half of the program was taken up by Ludwig Van and his
musical bulk. The strings had some tonal problems and a few hesitant
starts as they were sawing off during the Allegro, but hardly noticeable.
What an adjectival glorious piece of music, although not as good
as the Ninth.
Adam Neiman, the guest pianist, did not disappoint. These young
piano prodigies always seem old before their time, but Neiman was
not without a sense of humor. It was evident in his fingers. And
the Adagio un poco mosso was heartbreaking ... lest we forget that
Beethoven was far more than a composer of dark, brooding turmoil.
He had an almost impossible grasp on beauty. Conductor Arthur Post
really got the most out of his post during this concert. His challenging
program was only challenging so far as listeners would have had
significant difficulties disliking it. Post appeared to be enjoying
himself, and he had the right.
