VIBRANT, DYNAMIC PLAYING HIGHLIGHTS UTAH SYMPHONY CONCERT FRIDAY

UTAH SYMPHONY, Abravanel Hall, Nov. 11; second performance 8 p.m. Nov. 12, tickets at 801-355-2787 or 888-451-2787 or online at www.usuo.org

Thierry Fischer continues to knock it out of the park with his Beethoven symphony cycle. The Utah Symphony, under Fischer’s guiding hand, painted a vivid musical picture and offered a clear window into the emotions of the three composers on the program Friday night.

First up was Beethoven’s sublime Sixth Symphony. Though Beethoven is probably known best for his bombast, it’s the opposite that works best in the Sixth. Friday night’s performance of the work was full of restraint, subtlety and energy. The work opens with one of the most beautiful themes imaginable. The first movement was labeled by the composer as an awakening of cheerful feelings upon arrival in the country. If a picture is worth a thousand words, then perhaps the opening theme of the Sixth Symphony is worth a thousand pictures. The cheerfulness was palpable. It was a truly stirring musical experience.

This is not to say that the orchestra never unleashed its full ferocity during the work. During the famous fourth movement, a depiction of a thunderstorm, the sound became furious and frenzied. It’s here that the brass and timpani finally got into the music in a meaningful way, and they did so with maximum effect, bringing muscle to the storm.

The works after the intermission included two pieces by Wagner (Prelude to Act 1 of Lohengrin, and Ride of the Valkyries) and a 1997 piece for percussion and orchestra by Christopher Rouse featuring percussionist Colin Currie. The Wagner works highlighted the patient pacing, lush orchestral colors and raw drama that Wagner brings to the table.

Rouse’s piece has an overt connection to Wagner. In Alberich Saved, Rouse takes inspiration from the character in Wagner’s Ring cycle. Currie, who offered an impeccable, virtuosic performance, was required to play so many different percussion instruments that it was necessary for him to walk between four different stations at different points during the performance.

Rouse’s music was thoroughly modern. After an opening proclamation by the orchestra, the soloist began at a whisper.  The piece soon grew into a wild and aggressive mixture of sound from the solo percussionist and the orchestra. This section gave way to a lush middle section that was quiet and gentle, with a sustained drone in the strings and sparse marimba chords from Currie. Soon enough, the aggressive, almost violent sound returned and built to a towering climax before ending with another whisper from the soloist.

Classical music audiences are often derided for being unwilling to accept new works into concert halls, but this was not the case with Alberich Saved. While it was clear that the piece didn’t win over the entire audience, the standing ovation given to Currie and the orchestra by the vast majority of the audience was proof that listeners here in Utah are ready for more modern works. It’s become clear that Fischer intends to program more modern works for the Utah Symphony, and this reviewer sees that as an exciting development for the music scene here.

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About Matt Dixon

Matt Dixon is a performing musician, music educator, audio engineer and founder of the Salt Lake Electric Ensemble, a group dedicated to the performance and recording of electro-acoustic music. Their 2010 debut recording, "The Salt Lake Electric Ensemble Perform Terry Riley’s In C," received praise from critics throughout North America and Europe. He holds a bachelor of music degree from the University of Utah and a master’s degree in music technology from IUPUI in Indianapolis. He can be reached at mdixon@reichelartsreview.com. Reichel Recommends is also on Twitter @ReichelArts.

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