It was a classical music concert suitable for the Fourth of July. But since that date falls between two of the Mid-Atlantic Symphony Orchestra’s subscription seasons, music director Michael Repper put together a program with all three scheduled pieces written by American composers.
Most notable is the two-state premiere of a music project spearheaded by pianist Jeffrey Biegel who persuaded Peter Boyer to write an homage on the centennial of the premiere of George Gershwin’s “Rhapsody in Blue,” one of the greatest hits in the American classical repertoire. But rather than lean on Gershwin’s masterpiece, Biegel, the concert’s guest piano soloist, says Boyer “tips his hat to Gershwin” while turning more toward themes of American music written after his death at age 39 in 1937.
Known almost as much for big projects as his piano virtuosity – displayed with masterful expressive range and change of pace Friday night in Lewes, Delaware – Biegel once assembled a consortium of 25 orchestras to celebrate the millennium with a concerto composed for him by Ellen Taaffe Zwilich. His intention on this project, Biegel notes, is to have the new “Rhapsody” performed in all 50 states by 2026. Because the MSO regularly performs in both Maryland and Delaware, the only professional symphony orchestra on the Delmarva Peninsula has the honor of premiering “Red, White and Blue” in both states: first in Lewes – fittingly so as Delaware was the first state to ratify the U.S. Constitution in 1787 – as well as Saturday night in Ocean City, with a Sunday matinee encore at Chesapeake College, both, of course, in Maryland.
One Boyer composition was performed as part of President Biden’s 2021 inauguration. He’s also received dozens of orchestral commissions that reflect American musical traditions along with populist Hollywood-style themes – both evident in his “Rhapsody” re-invention – especially a passage that might as well be straight from a Spielberg soundtrack. Written by Boyer for piano and orchestra, his new concerto makes fleeting folk references to other great American composers – among them Aaron Copland, whose beloved “Appalachian Spring” anchors the program with its rhythmically beguiling harmonies.
Its best-known melody is inspired by the Shaker hymn “Simple Gifts,” which he deployed in scoring “Appalachian Spring” as a 1944 ballet for Martha Graham. As performed with Repper conducting, you can almost see the sweeping dance motifs as you listen without dancers to cue your imagination. Much of the woodwind and reed section – led by Rachael Yokers (flute), Dana Newcomb (oboe), Cheryl Hill (clarinet) and Terry Ewell (bassoon) – plays a poignant role in imbuing “Simple Gifts” with moods ranging from introspective to exuberant and from delicate to triumphant.
The third piece in the All-American program but the first to be played is a rarity in that it is performed by an Indigenous composer, Jerod Tate, whose Chickasaw American Indian name is Impichchaachaaha. “Chokfi’ ” (pronounced CHOKE-fee) is the Chickasaw word for rabbit, a trickster creature in American Indian lore, particularly in the South. Written for string orchestra and percussion, this rabbit makes a thunderous drumbeat entrance thanks to lead percussionist Aubrey Adams. The musical message seems to be “don’t mess with the bunny.” We know one named Bugs who always comes out on top, an outcome that subsequent racing strings in the performance animates.
Aside from these widely varying works on the printed program, three bonus pieces admirably filled out what would have been a short concert timewise. After two standing ovations, Biegel returned to play Chopin’s Ballade No. 1 accompanied only by the orchestra’s rapt attention. Then, as a prelude to “Appalachian Spring” following intermission, Repper called on his brass quintet who have played intimate ensemble recitals to deliver a raucous “Chevy Chase Rag” followed by brass and percussion players getting the audience in a Copland mood with a robust “Fanfare for the Common Man.” Six pieces in all. Only the Chopin was not by an American.
Meanwhile, “Rhapsody in Red, White and Blue,” Biegel says, with its obvious nod to the “Star-Spangled Banner,” was written and now played to “unite us” in the “Rhapsody” centennial year. May it be so in what also happens to be an election year.
Mid-Atlantic Symphony Orchestra Season Finale
Cape Henlopen High School, Lewes, Delaware, Friday night, May 3, Two more performances: 7 p.m. Saturday, May 4, Ocean City Performing Arts Center, and 3 p.m. Sunday, May 5, Todd Performing Arts Center, Chesapeake College, Wye Mills. midatlanticsymphony.org
Steve Parks is a retired New York arts critic now living in Easton.
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