All-English program features Walton Viola Concerto, works by Elgar and Anna Clyne
By Peter Alexander May 15 at 12:10 a.m.
The Boulder Philharmonic finished the 2021–22 classical concert series with sound and fury last night (May 14).
No, that is not a criticism. The first piece listed on the program was Anna Clyne’s Sound and Fury, inspired in part by Macbeth’s soliloquy featuring that phrase. In practice, though, Clyne was preceded by an “off-menu special,” in the words of conductor Michael Butterman: Elgar’s familiar “Pomp and Circumstance” March No. 1, in honor of the region’s recent graduates.
The performance was led by an honorary guest conductor, Boulder’s outstanding arts patron Gordon Gamm. Looking dapper in a fedora, Gamm did a creditable job of getting things started and holding the orchestra together. Indeed, the only audible error—one out-of-place note—cannot be laid to the conductor.
Butterman preceded Clyne’s Sound and Fury with a helpful music-appreciation style introduction, with an explanation of it’s connection to “The Scottish Play” and illustrations from a Haydn symphony quoted in the score. The performance was strongly profiled, with contrasting sections nicely characterized and distinguished, lacking only the precision necessary for clarity in the skittering string parts and the full depth of sound that a larger orchestra could provide.
The recorded voice speaking the “Tomorrow, and tomorrow, and tomorrow” soliloquy near the end was not always intelligible, but it did show how those words fit into the scheme of the piece. This is a new piece (2019) that is definitely comprehensible and enjoyable for the classical audience, and I would welcome hearing it again.
A friend told me about this concert, “The Walton Concerto won’t sell any tickets.” If that’s right, I’m sorry for anyone who was not sold a ticket because they don’t know Walton’s music. They missed a fun piece, and a stunning performance by violist Richard O’Neill, the newest member of the Takács Quartet. Where is their sense of fun, of adventure, interest in new things? This is not difficult music.
Composed in 1929, the Viola Concerto shows the composer’s quirky style to good advantage. At times lush, at times shifting, surging and dying away, its kaleidoscopic episodes and unexpected turns provide an ideal palette for an instrumental soloist of O’Neill’s qualities.
His performance was glittery (and no, I don’t mean his shoes) and perfectly assured. Visibly reacting to every twist and turn of the orchestra part, he showed in both gesture and musical interpretation his connection with the players. Utterly at ease playing all the virtuoso material the concerto throws at the soloist, O’Neil gave a solo performance of the highest caliber.
Here the issues were of balance, both within the orchestra and (from where I was sitting) with the soloist. The boisterous second movement was my favorite, but the more gentle moments were equally well played. Two profound tributes to O’Neil: he held the audience in silence for at least 20 second at the end of the concerto, and it was the orchestra, stamping their feet, that brought him back for his final curtain call.
Again channeling his inner Leonard Bernstein, Butterman gave an insightful introduction to Elgar’s “Enigma” Variations, showing how the variations brought their subjects—the composer’s friends—to life. This to me is a better preparation for the audience than program notes about “the return of the subsidiary theme” or “remote tonalities.”
Elgar’s “Enigma,” one of the greatest sets of orchestral variations of the Romantic or any period, received the best orchestral performance of the evening—maybe because it is a piece well known to all orchestral pros. Rehearsal time then can be devoted to details of interpretation, of unity, of sound. Butterman found the telling elements in each variation and brought out their individual characters.
As one hopes and expects, the familiar “Nimrod” variation swelled calmly from shimmering pianissimo strings to a rich, full orchestral climax before falling back. Other variations had the sparkle, or the weight, to communicate character and meaning. This is a fun piece for brass, who enjoyed their moments of grandeur, and for the timpanist, who brought both visual and aural flash to the performance.
Finally, this program had many of the ingredients of a successful concert: some exploration, a dazzling soloist, a great piece of music. I happily note the inclusion of a living female composer in the stew. It’s a recipe musical organizations should follow.