Springfield Symphony, Springfield, MA
March 12, 2016
by Michael J. Moran
In his invaluable “Rhodes’ Reflections” column in the
program book, SSO Music Director Kevin Rhodes noted that “what unites this
evening’s compositions [is] their differing connections to the ‘spiritual.’”
The first was “The Last Sleep of the Virgin,” an orchestral interlude from
Massenet’s 1878 oratorio “The Virgin” which, in Rhodes’ words, “depicts the
Apostle Thomas coming to the tomb of Mary to say his last farewell.” The SSO’s
performance was hushed and reverent.
Next came the evening’s main event, the world premiere of
Kenneth Fuchs’ piano concerto, whose three movements he named after the
paintings by Helen Frankenthaler which inspired them. Commissioned for multiple
orchestras by soloist Jeffrey Biegel, the music is tonal, often jazzy, and
easily accessible. In his own program notes, the composer describes the first
movement, “Spiritualist,” as “playful in spirt,” the second, “Silent Wish,” as
“introspective and reflective,” and the third, “Natural Answer,” as “buoyant
and optimistic.”
The easy flow of Biegel’s virtuosic playing expressed both
his obvious affection for the 21-minute piece and the importance of music in his
life, after a piano stimulated his recovery of hearing and speech at age three.
All sections of the orchestra also reveled in the score’s many opportunities
for bright and subtle instrumental colors.
Two familiar ballet suites completed the program after
intermission. Copland’s “Appalachian Spring” includes preparations for a
wedding and quotes the Shaker hymn, “Simple Gifts.” The passionate account by
Rhodes and the SSO reinforced how pivotal this music written for modern dance
pioneer Martha Graham in 1944 was in defining the open harmonies of Copland’s
distinctively American sound.
Based on several Russian folk tales involving magic and the
spirit world, Stravinsky’s “Firebird” was his breakthrough piece, the first of
several ballets he would write for Serge Diaghilev’s Paris-based Ballets
Russes. The full-bodied rendition by orchestra and conductor, from the
mysterious, dark opening to the triumphant climax, again evoked how original
this music must have sounded at its world premiere.
An appearance several days earlier at Bay Path University by
Fuchs, Biegel, and Rhodes is exactly the kind of community outreach that many
classical ensembles should be doing.
