It’s opening evening on the new Atlanta Symphony Orchestra! The beginning of the 78th season, with a brand new music director, epic repertoire, a brand new inventive agenda! Champagne, ball robes and tuxedos, long-winded speeches — nobody is aware of social gathering just like the ATL!
Besides that each one begins in two weeks. Nathalie Stutzmann takes the rostrum for the primary time because the ASO’s fifth music director, highlighted by Beethoven’s Ninth Symphony, on October 14.
However Thursday in Symphony Corridor, formally Week Certainly one of Season 78, the live performance was a extra modest affair — deliberately delicate, maybe, to not spoil the season’s first large glittery occasion.
Conductor Peter Oundjian, a daily ASO visitor, led a really Atlanta-like program, together with a Mozart piano concerto with a favourite soloist, a current work by a younger composer and Rachmaninoff’s Symphonic Dances.
The spotlight of the night, an unique new voice, sat within the center. Oundjian introduced with him Joel Thompson’s To Awaken the Sleeper, a bit that the conductor and his Colorado Music Pageant commissioned in 2020 throughout an infected yr of societal unrest.
The composer is native. Raised in Gwinnett County, Thompson is an Emory College graduate who lately accomplished his composition doctorate at Yale. He’s shifting quick, with main commissions from the Houston Grand Opera, the Metropolitan Opera, the New York Philharmonic and extra. His most talked-about work is Seven Final Phrases of the Unarmed, from 2014, the place every motion is linked to a Black sufferer of police and vigilante violence, together with Trayvon Martin, Michael Brown and Eric Garner. The piece ends with the phrases “I can’t breathe.” By musical construction and title, he likens the murdered males to Christ on the cross.
In To Awaken the Sleeper, for orchestra and narrator, Thompson was impressed by “the insightful and prophetic phrases” of James Baldwin, and he quotes from three of the writer’s writings, establishing a seamless narration on justice, democracy, tyranny and an oppressive “vocabulary which now can’t bear the load of actuality.”
At first, the music explodes in kaleidoscopic cacophony. A listener’s ear jumps throughout the stage manically, greedy for a phrase or a hook to hold on to. Quickly what may be an Ivesian marching-band tune seems and fades someplace in a thicket. It will get loud. It dissolves into sweeping blocks of sound. The orchestral colours are sometimes dazzling. As narrator, Thompson — showing poised and relaxed in a crisp brown go well with — enters with the phrases “So be it! We can’t awaken the sleeper, and God is aware of we now have tried . . .”
Baldwin’s trendy prose, each line of it, may very well be reprinted to explain the important thing moments in Thompson’s work. The composer doesn’t brush previous any of it, as a substitute having the orchestra provide a working commentary on the textual content. In devastating moments, he is aware of to skinny out the orchestral scoring and let the phrases do the speaking: “Ask any Mexican, any Puerto Rican, any Black man, any poor particular person — ask the wretched how they fare within the halls of justice, after which you’ll know whether or not or not it has any love for justice, or any idea of it.”
Moments later, he evokes the fife and drum to encompass Revolutionary Struggle language: “When energy interprets itself into tyranny, it signifies that the rules on which that energy depended, and which had been its justification, are bankrupt.”
When “rules on which a brand new world will probably be constructed” take us towards decision, Thompson places a halo of strings round it, maybe borrowing from earthy English string serenades. But there’s nothing cliched in his writing, no acquired musical knowledge. Thompson has his personal story to inform.
Thompson’s music is alive and inquisitive, in fixed dialogue with itself and the textual content. He pays shut consideration to compositional craft, with out wasted effort. There’s nonetheless a hint of the coed in his writing — an overuse of cymbals rolled by gentle mallets, like a slow-motion metallic splash, for instance — however a lot originality and lucid power and stylistic confidence. He’s an necessary voice to comply with. The ASO, clearly, should fee him instantly.
As befits opening evening, first up was “The Star-Spangled Banner.” The brass part went principally their particular person methods, so it appeared like an Oktoberfest efficiency by the world’s most luxurious German oom-pah-pah band.
Following the anthem, they began the present with a smallish, Classical-era ensemble on stage and the estimable Emanuel Ax on the keyboard for Mozart’s beautiful, undervalued Piano Concerto No. 18. (Even the selection of concerto signaled this wouldn’t be a night of fireworks.)
A gray-haired teddy bear of a person, Ax is, as ever, pure grace and class. On a superb evening, there’s virtually nobody else you’d moderately hear on this repertoire. For the concerto’s march-like introduction, Oundjian had the strings play fantastically and really quietly — a superb signal that the conductor had his musicians beneath full management. Ax entered, his phrases so liquid, his contact mild and lyrical but filled with depth. There have been even hints of operatic Mozart, splendidly, as if the pianist had been a Marriage of Figaro character and the ASO had been accompanying within the pit. Musically, it rings true.
They couldn’t fairly maintain that strategy. The sluggish center motion was buttery heat if low in power. Within the finale, they discovered moments of depth and appeared to be progressively constructing rapport. However all through the concerto, the entire was by no means higher than the sum of its many delicate and wonderful components. (Saturday’s repeat efficiency must be notably improved.)
It’s loopy, however because the pandemic, there have been no encores at ASO live shows — regardless of the evident approval from the viewers and regardless of the convenience of applauding for a couple of extra seconds to yield yet one more curtain name, bringing again the soloist who would humbly give thanks . . . after which sit down to supply a small reward to appreciative listeners. Nope, no extra. Encores appear one more beloved exercise misplaced to Covid.
After intermission, Oundjian closed the night with the Symphonic Dances by Sergei Rachmaninoff, his final work, composed in 1940. Moody, sensible, pessimistic, each nostalgic and trendy, the Symphonic Dances aren’t fairly dance music, at the same time as every of the three actions have a rhythmic, dance-like theme. The feelings are saved at arm’s size.
In Atlanta, we’d been spoiled by former music director Robert Spano’s unusually highly effective conception of this turbulent work and, to me, he appeared to have carried out it as memorably as something in his repertoire. He made it sound higher than it in all probability is. Spano’s interpretation — and right here I grossly oversimplify — was vertical: You had been listening to the music up and down the complete rating, in all its harmonic complexity and connectivity. Internal voices had been generally delivered to the fore, to richly satisfying impact. All of it sounded very three-dimensional, bristling with power.
Oundjian, extra historically, took a moderately horizontal strategy — a refined however actual distinction — letting the lengthy singing melodies unspool, if usually seemingly with out internal assist. It sounded extra Romantic and somewhat kitschy, missing a agency standpoint — a grand assertion that fell wanting its personal ambition.
However, To Awaken the Sleeper, by a serious new Atlanta composer, shouldn’t be missed. The live performance repeats Saturday at 8 p.m.
Pierre Ruhe was the founding government director and editor of ArtsATL. He’s been a critic and cultural reporter for the Washington Put up, London’s Monetary Occasions and the Atlanta Journal-Structure, and was director of inventive planning for the Alabama Symphony Orchestra. He’s publications director of Early Music America.