Cleveland
Museum of Art
May
1
Lavish treatment that modern music seldom gets. |
The
most striking thing about the first night of California Masterworks
was how conventional the music sounded – relatively speaking.
Composers Henry Cowell, Dane Rudhyar and Lou Harrison expanded the
horizons and possibilities of American music with their forays into
new tonal systems and Asian forms and instrumentation. But in the
context of their contemporaries and successors, their work sounded
less like radical departures than steppingstones to the modern era.
And
the polished performance by James Feddeck and the Cleveland Orchestra
gave their music a gravitas and dignity it doesn’t often achieve.
Cowell
was one of the first composers to stick his hands inside the body of
a piano and play the strings rather than the keyboard, laying the
groundwork for John Cage’s development of prepared piano, a
mainstay in modern music. Cowell’s Sinfonietta
(1928) for a chamber ensemble of strings and woodwinds still has a
foot in both worlds, employing classical structures to explore new
ideas in harmonics. Dissonance is the spine of the piece, and Feddeck
handled it so smoothly that even when the strings and woodwinds were
playing in different rhythms and keys simultaneously, the sound never
became shrill or grating.
His
deft direction and the players’ precise articulation opened up
space for compelling solo lines by cellist Richard Weiss, and some
striking tones. A low-pitched combination of cello, viola and bass
(played with a bow) in the third movement sounded electric, like the
musicians had suddenly plugged in their instruments. The clarity was
also a function of Feddeck’s well-measured tempo, which neatly
balanced expression with the technical demands of the piece, and gave
it an edge without becoming overheated.
Dane
Rudhyar’s Out of the
Darkness (1982) was a
world premiere, and very likely the best performance this piece will
ever get, with lavish care and attention devoted to its many colors,
effects and dramatic intensity. Quite unlike the sunny sounds one
would expect from California – NewMusicBox
Senior Editor Frank Oteri invoked the Beach Boys in his opening
remarks on the California scene – Out
of the Darkness is just
what its name suggests, a landscape of ominous rumblings and anxious
undercurrents that build to Wagnerian dimensions. Even with a large
ensemble the sound was beautifully transparent, with particularly
fine work from Feddeck creating vivid colors in the second movement.
Highly
descriptive and deeply distressed, Out
of the Darkness sounds
cinematic, even quoting Bernard Herrmann’s shrieking Psycho
strings at one point. Feddeck’s careful control kept it suspenseful
rather than overblown, and he steered a final, unexpectedly warm glow
to a gentle finish.
Lou
Harison’s Suite for
Violin with String Orchestra
(1974) was the dominant piece of the first night, essentially a
concerto originally written for solo violin and American gamelan,
Harrison’s version of Indonesian percussion. Richly inventive, the
piece incorporates a range of exotic but accessible sounds into
traditional forms, with straightforward melodies offset by bursts of
dissonance. Touches like the bass players tapping their instruments
for percussive effects add dashes of humor and experimentation.
The
solo part presents some serious technical challenges early on, which
Stephen Rose handled with aplomb, hitting perfect strings of tiny
high notes, even with his left hand crowding the bow. His evocation
of changing atmospherics in the “Three Jahlas” was masterful, as
was his handling of the unabashedly sentimental final movement, which
sounded romantic without becoming cloying.
But
it was Feddeck who ultimately made the piece work, with a great feel
for the nuances of the music, its shifting moods and dynamics,
moments of breathtaking beauty, and the spirit of joy that runs
throughout. There were a few spots when the gamelan accompaniment was
missed – but not many, as he modulated the orchestra to support the
soloist. And once again, his tempo was excellent, setting a pace that
made the music sound spirited and spontaneous without losing any of
its thoughtfulness.
More
than anything, the performance was an impressive demonstration of
what 20th-century music can sound like in the hands of a highly
skilled ensemble. Too often, works like these are an afterthought on
a program, or played at festivals that don’t have the resources to
devote serious time and attention to them. In this short series,
benefiting from the expertise of a devoted conductor and world-class
orchestra, they were a revelation.
For
more on Henry Cowell:
http://www.henrycowell.org/hc/default.cfm?CFID=27130789&CFTOKEN=45792856
For
more on Dane Rudyhar:
http://www.beyondsunsigns.com/rudhyaraudioarchives.html
For
an interesting interview with Lou Harrison:
http://musicmavericks.publicradio.org/features/interview_harrison.html
Photo by Roger Mastroianni
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