Percussion concerto ‘Drum Circles’ steals show at HSO
HARTFORD– The second installment of the Hartford Symphony Orchestra’s Masterworks Series at The Bushnell is billed as “Brahms and Haydn,” yet the most intriguing piece on the concert is by neither of the two titular composers.
Johannes Brahms is represented by his Variations on a “Theme of Joseph Haydn, Op. 56a (1873),” which serves as the concert opener. The Haydn on the menu is his “Symphony No. 103 in E-flat Major, Drumroll (1794-5).” While that work ends the concert, the real climax of the show is Christopher Theofanidis’s new work “Drum Circles” for percussion quartet and orchestra (2019).
Brahms’s “Variations on a Theme of Joseph Haydn” was performed respectably by the HSO, but was a weak concert opener. The program follows the overused model of overture followed by concerto and then symphony, but the work is longer than a typical opener and doesn’t grab the listener’s attention right away. The theme —which is most likely not in fact by Haydn at all — is pleasant but banal, providing little interest on its own. And, despite having been heralded as the next Beethoven by composer and music critic Robert Schumann, Brahms did not produce anything as profound as the Diabelli Variations here. Though he does eventually transform the theme into something a bit more memorable, the music takes a while to get going and feels more like a palate cleanser than a something that should start a concert.
Theofanidis’s “Drum Circles,” on the other hand, starts with a literal and figurative bang. The piece commands attention from the moment the soloists take their positions at an impressive array of percussion equipment through the work’s gorgeous ending. Each of the five movements features a different mood and approach to percussion writing, taking the audience on an epic journey. There are moments of sheer beauty alongside whimsy, wit and visceral power. Despite its length, the work seems to fly by, and my only critique is that the material was so compelling, I didn’t want it to end.
The featured soloists are four members of the Percussion Collective: Victor Caccese, Ayano Kataoka, Doug Perry and Svet Stoyanov. They were outstanding. The soloists demonstrated a jawdropping level of skill, precision and artistry in the performance. The music not only demands individual virtuosity but an extreme synergy in executing not only the complex rhythmic patterns but the intricate, lyrical lines. The four percussionists worked together so seamlessly that they almost seemed to share a kind of psychic connection. Hearing (and seeing) them perform was a pure joy.
Kuan and the HSO also were at their best in this piece. Because the soloists are at the front of the stage and thus behind the conductor’s back, acute attention and elaborate choreography are necessary for facilitating communication between the orchestra and the soloists. Additionally, the soloists are often facing in different directions, making it difficult for them to see the conductor. Kuan handled these challenges with aplomb, syncing with whichever soloist seemed to be leading the quartet at the time and guiding the orchestra to lock in perfectly. The HSO’s performance was dynamic, colorful and intense. This was the standout piece on the program and surely will be one of the highlights of the season.
Finishing the concert with Haydn’s “Drumroll” symphony felt decidedly anti-climactic. Kuan and the HSO certainly did the work justice with their performance, but the piece was overshadowed by the percussion concerto that closed the first half. It seemed like the Brahms and the Haydn pieces belonged on one concert, with
“Drum Circles” two other works on another — and honestly, I would have preferred to see a concert truly built around Theofanidis’s concerto and unfettered by concerns of logistics or programming traditions.
Still, it is important to note that the HSO is part of a consortium of elite orchestras that commissioned “Drum Circles.” Each participating orchestra gets to give a regional premiere of the new piece, and this is the first performance of the concerto in New England. Despite the fact that neither Theofanidis nor his work was mentioned in the concert title, commissioning a new composition is extremely noteworthy and should be celebrated. In addition to significant investments of money and time, commissioning requires an impressive amount of trust in the composer. Even when the composer has a proven track record like Theofanidis, there is an element of risk involved. Clearly that risk was rewarded here, as Drum Circles is a knockout.
Commissioning is essential to keeping classical music a living tradition, and the HSO’s participation in this consortium shows its commitment to shaping the art form’s future. Additionally, commissioning a local composer—Theofanidis is based in New Haven — ties into the HSO’s current “Music Builds Community” initiative. In commissioning, programming and performing works like “Drum Circles,” Kuan and the HSO show their ability to serve as leaders in the field of orchestral music.