Aaron Copland’s El Salón México paints a wonderfullycolorful picture of a Mexico Citydance hall visited by the composer. My guess is that there was limitedrehearsal before the Friday performance; it was stirring but a bit tentative. Saturdaywas more assured.
MSO principalclarinetist Todd Levy urged Marc Neikrug (b. 1946) to complete an unfinishedConcerto for Clarinet and Orchestra for him. The impression it leaves is of theclarinet solo line leading the orchestra through changing sonic landscapes.There are magical sounds along the way, particularly the shimmering orchestraleffects near the end. Levy is an amazing player, and played his difficult partamazingly, showing unrivaled technique. His tasteful phrasing and musicalitymade the concerto feel somehow rooted in standard literature. The solo writingtakes the clarinet into an extremely high range, which Levy pulled off withstylish aplomb.
John Adams’ Doctor Atomic Symphony (2007) is basedon his 2005 opera. For those who know the original, the opera is impossible todismiss; it’s an effort to hear the symphony as an entity unto itself. However,it has undeniable, serious power. More than any other American composer, Adams is the voice of our time. Trumpeter Mark Niehausconjured an elegiac, apocalyptical spell in one of the longest and mosteffective orchestral solos ever written, a transcription of the aria “Batter myheart,” based on a John Donne sonnet.
After music about thecreation of the atomic bomb there was something poignant about hearing theexuberant, pre-nuclear age innocence of George Gershwin's An American in Paris. This was an especially difficult concert toplay and conduct, and also a challenge to rehearse. Guest conductor GiancarloGuerrero brought expression and clarity to all this diverse music. Theorchestra was at the top of its game.
The Saturday eveningconcert began movingly, with the basses of the orchestra playing a tribute inmemory of Peter Cujé, who played in the section 1970-2004.
