The Fort Wayne Philharmonic Orchestra, conducted by Andrew Constantine, presented the third of its all-American programs on Feb. 28, at Purdue Fort Wayne. The concert featured music by George Gershwin, Ernest Bloch, and Michael Daugherty.
A two-week trip to Cuba in February 1932 inspired George Gershwin to compose his symphonic work, “Cuban Overture.” Gershwin was impressed with the exotic music and instruments he heard, so they provided a rich framework for the composition. It was premiered on August 16, 1932, in New York City’s Lewisohn Stadium (demolished in 1973) with Albert Coates conducting the New York Philharmonic Orchestra.
Members of the Fort Wayne Youth Symphony joined the Philharmonic for the Gershwin masterpiece. The work has a fast energetic beginning with colorful brass and abundant percussion. The players gave a top-notch performance. There were wonderful flourishes by individual players that added to the animated nature of the music. For some reason, Constantine decided to cut the slow middle section, reducing the performance from the usual ten minutes to just six. However, the overall rendition was quite exciting and delightful.
Swiss-American composer and teacher Ernest Bloch moved to the United States in 1916. His Schelomo: Hebraic Rhapsody, a work for cello and orchestra, was the last composition he completed before he left Switzerland with his family. Set in three major sections, the work was based on the Biblical accounts of King Solomon, the son of King David. In particular, Bloch was inspired by the Book of Ecclesiastes. The cello solos actually represent the voice of Solomon. The rhapsody was premiered on May 3, 1917, with Hans Kindler as soloist with Artur Bodansky conducting the New York Philharmonic in Carnegie Hall.
Bloch’s work began with a lyrical and sensitive cello solo by the Philharmonic’s principal cellist, Andre Gaskins. There was simple but heartful orchestral accompaniment. Gaskins played with great feeling and beauty in an extended solo, which was eventually joined by the orchestra. The music definitely had a serene and spiritual quality that became more animated and serene. The work showed Solomon’s complexities as a wise but eventually troubled leader.
Bloch made effective use of two harps and some percussion in creating an exotic and unique atmosphere. The performance had considerable drama. It had much in common with the Biblical film scores of the Hungarian composer Miklos Rozsa. A portion of the score was quite mysterious and intriguing through effective use of the winds and strings. The music became more agitated and troubled with some fine brass playing that enhanced the brilliant string performances.
Constantine brought out all of the powerful elements of the score. It was truly dazzling. This was followed by an eloquent passage that included a lament by the cellist. Gaskins was deeply involved in this very moving music. The mood became more hopeful and cheerful, led by lush string playing. Bloch built up the emotions with wonderfully inspirational music. Again, there were some mysterious moments as the music came to a slow and sad end.
The final work on the concert was Michael Daugherty’s Metropolis Symphony.
This five-movement work, which was inspired by the Superman comic books, was composed between 1988 and 1993 and premiered in November 1993 in the Palace Theater in Manchester, New Hampshire, with James Bolle conducting the New Hampshire Symphony Orchestra.
The first movement, Lex, dealt with Superman’s arch villain in the stories and movies. Yana Bourkova-Morunov, who served as concertmaster for the concert, had a brilliant and showy solo. The music was mischievous and fiendish as it represented a notorious character. There was ample percussion in this music, which had some humorous moments. The music was played very fast and with energy. There were menacing and diabolical qualities which featured a spectacular marimba solo. The music became more intense and troubling. During a bizarre dance tune, Bourkova-Morunov had quite a solo that was played brilliantly and intensely, accompanied by repeated police whistles and some timpani rolls. The music built to a feverish pitch.
The second movement - Krypton - depicted the doomed planet from which Superman came. Here the music began with a troubled and tragic mood; it was dissonant and strident. A shrill and anguished section was relentless, much in the style of Edger Varese. There was superb string playing, accented by the brass and percussion.
The third movement - Mxyzptik (pronounced “mik-sil-plik”) - was a picture of a devious and devilish villain who opposed Superman. Two flutes, played by Luke Fitzpatrick and Vivianne Belanger, introduced the music with some “comments” by Bourkova-Morunov and other string players. This movement was troubling but featured brilliant and dazzling playing by the musicians. The music switched to a lyrical mood that was followed by a more animated section that suddenly ended.
The fourth movement - Oh, Lois! – was a tribute to reporter Lois Lane, who was Superman’s friend. The music began with agitation as if it was a chase or pursuit. There were more brilliant string performances with amazing brass contributions. It was a picture of the dangers Lois sometimes faced in her work, with Superman coming to her rescue.