Andrew Constantine conducted the Fort Wayne Philharmonic Orchestra's April 11 concert at Purdue Fort Wayne. It featured music by Joseph Schwantner and Sir Edward Elgar.
Joseph Schwantner composed his Concerto for Percussion and Orchestra for the New York Philharmonic Orchestra. Leonard Slatkin conducted that orchestra at Lincoln Center on January 6, 1995, in the world premiere of this spectacular, virtuoso work.
Lisa Pegher was the solo percussionist in the Fort Wayne performance of this three-movement work. She utilized two extensive arrays of percussion instruments, one in back of the orchestra and one just to the right of the podium. For the first and third movements, Pegher played instruments in the back; she shifted to the front for the second movement.
The concerto began with strident and intense music that also included some mysterious string playing. The solos were colorful as Pegher was in constant motion while she played a number of instruments with great intensity and volume. Some of the music reminded me of the “rumble” in Leonard Bernstein’s score for the musical “West Side Story.”
The second movement was slower and very strange, much like a musical quest. We were in a different world with some incredible contributions from the soloist and members of the orchestra.
Pegher had to be quite versatile and flexible, going from one instrument to another. At one point, she beat the edges of the snare and bass drums with drumsticks. The orchestral accompaniment was actually tonal and even serene at times. There was fine, sensitive use of the violins. Several times, Pegher took a cymbal and played it with a drumstick as she immersed it in and out of a tub of water. All of the musical effects were quite intriguing and very impressive. She made great use of the bass drum with trills and rolls. She returned to the snare drum and she also played the bells and the marimba.
The third movement had more energy. Pegher was aided by other percussionists. The accompaniment resembled “Mars” from Gustav Holst’s “The Planets.” The strings and winds provided brilliant color with strong rhythms. The music was much in a Latin style and was dancelike. The percussion playing was again very intense and unrelenting in its energy. This built to a brilliant and spectacular drum solo that also used cymbals. The orchestra joined in, providing some excellent accompaniment.
Pegher received a huge standing ovation from the audience. She then played a special encore on the marimba in the back of the stage. This music was more lyrical and very impressive – quite a contrast from the concerto. This work, which was unidentified, was songlike and pretty.
On Feb. 28, 1911, the British composer and conductor Sir Edward Elgar completed his epic second symphony. He dedicated the four-movement work “to the memory of His late Majesty King Edvard VII,” who had died on May 6, 1910. The symphony premiered on May 24, 1911, with the composer conducting the Queen’s Hall Orchestra in London’s Queen’s Hall.
The composer called this dramatic work “the passionate pilgrimage of the soul.” Although it became known as one of Elgar’s greatest works, and he even conducted the London Symphony Orchestra in an impressive recording of the music in 1927, the symphony initially had a lukewarm reception and reviews were also mixed.
Elgar was a late romantic and, like many composers who pursued this style, his music was sometimes considered “old-fashioned” until there was a major revival of his music well after his death in 1934. Yet the symphony began to gain in popularity around 1920, thanks to some memorable performances led by Elgar’s friend Sir Adrian Boult.
The first movement began with slow, stately, and steady grandeur that included impressive brass playing and lush strings. This was very emotional and heartfelt music. The music was sentimental and sensitive with lovely string playing.
The performance was enhanced by sweet wind playing. Elgar built up the intensity in the orchestra with dazzling and energetic music. The music shifted to a serene theme that contrasted with the opening music. There was additional color from the two harps. Constantine brought out details in this performance that have sometimes been absent in recordings of the symphony.
The second movement had a slower and sadder mood, much the equivalent of a funeral march. There was sensitive string playing with poignant wind contributions. This was a very impressive and strong rendition with glorious moments. It was triumphant without being rushed or hurried. The winds and brass had important contributions with the strings providing very fine support.
The third movement, a scherzo, was playful and energetic, providing a real contrast to the preceding movement. The winds were particularly delightful and impressive. There was a wistful quality with some nostalgic moments, all played with real appreciation of the score. Elgar again builds up the intensity of the music, and this is very dramatic and amazing with more use of percussion than earlier in the score.
The fourth movement is slower and more introspective. It has majestic movements with a sense of triumph. Here we had more excellent playing by the orchestra that was appreciative and dignified. This was definitely the climax of the symphony. Constantine ensured that there was a steady and sure tempo. There was some sadness in the music, but it was not overwhelming.
This performance featured brilliant strings and winds with brass accents. Elgar builds up the music in a glorious manner. This was a memorable part of the performance with march rhythms that enhanced the overall experience. The music subsided and there was a serenely peaceful mood with more lyrical moments. It came down to a relatively quiet and beautiful ending with a final musical swell.