ASO delivers powerful performance in Troy
Ukrainian National Anthem, “Sibelius” among selections
Power, life and beauty infused the three works on the Albany Symphony’s Saturday program in Troy.
Each of the selections packed a wallop that was unique and more powerful than what had come before, culminating with the Sibelius First Symphony. But first came the Ukrainian national anthem, a welcome gesture to an ally under attack.
The concert was dedicated to the memory of longtime principal clarinetist Susan Martula, who died last year at age 80.
It was no accident that the program dedicated to the clarinetist featured one of the great clarinet solos in the literature, the opening of the Sibelius First. Graeme Steele Johnson played the haunting passages with an elegant and rounded sound. That was about it for gentle lyricism, however.
The symphony is assertive and robust, often belligerent but always orderly, and on the breadth
and scale of Mahler. The ASO was equal to the task and delivered an impressive performance with fine work from every section of players.
The night began with “Stride” by Tania Leon, which was premiered by the New York Philharmonic in early 2020 and subsequently won the Pulitzer Prize. This was its first performance since then.
Leon writes in a highly personal blend of musical languages. From a prickly and unmoored bed of sound there emerged gestures and tunes from other traditions, including Latin jazz.
The structure is both detailed and loose, and Miller seemed to strike the right balance. The music offered triumphant moments but a more lasting feeling of weary struggle as fate moves ever forward. The woman’s suffrage movement was one of the inspirations
for the composition.
The Walton Viola Concerto brought the return of Richard O’neil, who won a Grammy for his recording with the ASO of the Theofanidis Concerto. The Walton is a buoyant piece, and he played with great character and finesse.
The lush writing felt particularly verdant and sweet coming after the Leon.
During some lengthy orchestral passages, O’neil tried to remain in the game. He turned completely around to face the ensemble, vigorously nodded his head in
time, and almost gave cues. It was great fun to watch. Yo-yo Ma is only other soloist who appears so engaged with what the other musicians on stage are up to.