Image via www.mso.com.au
The broad brush that painted the American Panorama collaboration between Melbourne Symphony Orchestra, conducter Keith Lockhart and Time for Three music ensemble told of the illustrious tale, 100 years wide, of the blurring of the colour line and emergence of the quintessential American Concert Hall Music. The melodious, off beat and commercially driven pioneers, Bernstein, Gershwin, Copland, Williams and Brubeck shimmered across the seas and into the hearts of the Hamer Hall audience who were able to experience, with a first hand authenticity, this grand and noble idiom – a unique fusion of music that transferred the American story of hardship to heartfelt joy, pride and identity. From the bright and bold Bernstein breeze, the versatile fluidity of the Gershwin stamp, the human and empowering Copland, heart tugging sentiment of Williams, the charm and durability of Brubeck and irresistible enthusiasm of son Chris Brubeck, made for a program of fated success as a line up of prodigal talent lay bursting at the seams.
The riptide of influence that the American plight, negroes and white settlers alike, has had on the emergence of the passionate, bold, melancholic and merry melodies of the American heartland was ablaze throughout the oversized program. The MSO showed vitality and a sense of purpose after their recent return from an enriching and successful European tour. They responded healthily to the charismatic and clear direction of Lockhart. Teeming with life, Lockhart (Principal Conductor of the BBC Concert Orchestra) delivered stylistically unmistakable recounts and the MSO was far from ungainly as they attacked the Jazz idiom. Bernstein’s witty Candide was embodied with its intended spirit of joyful satire and havoc with “all is for the best in this best of all possible worlds” a fitting philosophy. As categories were scrambled the orchestra delighted in finding the blue notes, vivid characterisation, thick tessitura and radiant optimism of Gershwin’s vivacious Three Preludes, in particular the double basses and horns adding the well received jazz kick.
The rural weave of Copland’s Ballet ‘Rodeo’ (4 movements) took until the popular Hoedown to settle and was initially, somewhat stiffly delivered. The sheer beauty of the ‘blanket blue sky’ melodies in movement two and three were highlights and carried by the impeccable woodwinds. But the dancing-in-the-dust and pioneering sensibility was far from the hearts of the city bound musicians who struggled to connect (percussion most successful) with the spirit of the heavily reliant folk heritage of the Rodeo Suite. The slight dip in momentum was regained in the soaring pop orchestral sound of the lilting love story of Williams ‘Far and Away Suite’.
The comrade spirit congealed and set post interval as trio ‘Time for Three’ light-heartedly bounded on to stage and preceded to devour Dave Brubeck’s popular and rhythmically playful Blue Rondo á la Turk, arranged for orchestra by Chris Brubeck. Brubeck Junior showed he is not following his father per se but tumbling up and away with a spirit and rigour that is pioneering in itself. United, effervescent and persuasive Nick Kendall, soulful and connected Zach DePue, curious and cheeky Ranaan Meyer boldly showcased their virtuosity with a charismatic air that was layered with extroverted celebration, humble observation and respectful delivery. The glove fit of the final piece, especially written for the trio by Chris Brubeck, allowed the trio to journey through and provide an honest carving of the crucible of American Music from its Negro spirituals via its dusty boot fiddler tunes and through the rhythmic family tree, from its blue roots to its cajun tips. The audience considered rocking to standing after the double encore and well, maybe they should have.
Rating: 5 out of 5 stars
American Panorama
The Arts Centre Melbourne, Hamer Hall
Keith Lockhart conductor
Time for Three instrumental ensemble
Bernstein Candide: Overture
1 November – 2 November 2014
