Cameron Carpenter.
This weekend’s National Symphony Orchestra (NSO) program highlights two iconic American composers of the previous century, along with a very brief work by John Adams, whose compositional voice may well endure to have the same lasting ring as those he shares the program with.
However, all of the evening’s works were preluded by the “Star Spangled Banner.” This particular week, it was difficult not to wonder if the NSO and guest conductor, Cristian Măcelaru, were not tip-toeing a bit near one of the controversial topics du jour. Or, was it a politically-benign nod to the quality of selections available when drafting a concert exclusive to composers of our own nation, performed by our namesake orchestra? Whichever, upon conclusion, a gruffly shouted, “Long live President Trump!” by an audience member that, remarkably, was met with little more than restrained mutterings from the remainder of those in attendance, served to forge an uncomfortable tension in the hall.
This astriction gradually abated during the rhythmic “Short Ride in a Fast Machine” by John Adams, which officially got the concert underway. Măcelaru’s more moderate-tempoed focus on the intrinsic, driving pulse allowed the work to breathe, but perhaps at the expense of liveliness. It is worth noting that this is the second time in as many weeks that the area’s major orchestras have opened a concert with this work, the previous being the Baltimore Symphony at both their Meyerhoff and Strathmore locations.
…an orchestra that possesses energy and vibrancy…
Next was to be the evening’s compositional highlight, Aaron Copland’s “Symphony for Organ and Orchestra,” a work premiered when he was only twenty-three and the first playing of his music that the young composer would ever hear by an orchestra. Novice or not, this modern-sounding piece made clear to audiences of the time that not only did young Copland have great creative potential, but he also possessed the ability to auditorily master the plus-size orchestra into a vehicle of both intimacy and exuberance.
The NSO, along with guest organist, Cameron Carpenter, as high-profile a name as currently exists in the jet-setting solo organist market, played well together. On the whole, the two entities were stylistically, dynamically, and interpretively on the same page, if a tad stifled by Măcelaru’s strict adherence to staid and steady tempi. The first movement possesses a strikingly introspective and chamber-like quality but was treated to little, if any, rubato. In the second movement, Carpenter’s bold style of playing fit well with the full-voiced shouts from the brass. Măcelaru, in the final and longest movement, at last, began to allow the music to show its full depth and scope, pulling more subtlety from the dynamic range and freeing himself and the orchestra to enjoy more nuance with pacing and space for silence. An encore was anticipated, given the billing Mr. Carpenter has received leading up to this program, but the applause was shy of bringing him back to the stage.
The second half of the evening turned to the familiar and accessible. Copland’s suite from “Appalachian Spring,” if not recognizable by name, is vernacular enough that even the most casual of concert-goer could find opportunity to hushedly hum or tap along. Overall, this was an excellent and enjoyable reading. Strings were warm and thoughtful in their approach to the softer moments, bringing out the work’s simple, but subtle and tender qualities. The solo playing from nearly the entirety of the wind section was confident, colorful, and colloquial to the reflective character of the piece. A nod should also go here to Maestro Măcelaru. Though perhaps a touch exaggerated between slow and fast, his treatment of the work’s contrasting sections showed thoughtfulness. Particularly, the final whisperings of the strings were delicately paced and captivating.
The concert concluded with Leonard Bernstein’s “Divertimento,” a suite of eight short musical vignettes that range as much in styles as they do colorful names – “Sennets and Tuckets,” “Turkey Trot,” “Sphinxes.” Though light and airy on the surface, each portrait was performed with nuance and depth. The NSO fully embraced each movements individual quality and succeeded in showing the uniqueness of Bernstein’s voice in our nation’s artistic fabric. This was a wonderful pairing of a conductor who flourishes in exhibiting contrast and an orchestra that possesses energy and vibrancy, perhaps especially for their year-long excursion through the music of an American icon.
Running Time: One hour and twenty minutes, including an intermission.
The program will be performed again on Saturday, September 30 at 8 pm in the Kennedy Center Concert Hall. Tickets can be found here. For information about more programs at the Kennedy Center, click here. For Cameron Carpenter’s website, click here.
