Continuing the celebrations of the 250th anniversary of American Independence, the RSNO’s ‘West Side Story’ programme at Edinburgh’s Usher Hall was always likely to be a crowd-pleaser that stood a good chance of bringing in a more diverse audience than the purely classical repertoire we’re more used to hearing them play.
The programme culminated with Bernstein’s ‘Symphonic Dances from West Side Story’, with the rest of the pieces leading up to the big finale. Under the baton of RSNO’s Associate Artist Kellen Gray – renowned as an expert and interpreter of the music of African-diasporic composers – we started with Copland’s ‘Appalachian Spring Suite’ – a bit idiosyncratic for October perhaps, but totally in keeping with the rest of the programme musically. It should be said that the name was a bit random, chosen from a favourite poem by Martha Graham, choreographer of the original ballet, after the music was finished. Apparently she just liked the sound of the words.
Originally composed with the working title ‘Ballet for Martha’, it tells the story of a young pioneer couple preparing for their wedding – and it won Copland a Pulitzer Prize. The full orchestral Suite developed from the ballet music, which was written for a 13-piece ensemble. It’s all soaring strings and haunting woodwinds initially, but very soon the pace picks up, and the music is the epitome of post-war optimism, incorporating themes from jazz and Shaker traditions, most notably the variations on the very recognisable Shaker hymn ‘Simple Gifts’.
The piece moves between quiet romanticism and barn-raising jollity, but it is those variations on ‘Simple Gifts’ that are the most memorable, even though the finale goes back into quiet, pastoral mood. I believe Bernstein’s studio recording of the Suite with the New York Philharmonic is still considered the ‘best’, with Bernstein bringing out a theatricality and intensity that Copland himself did or could not.
“Continuing the celebrations of the 250th anniversary of American Independence, the RSNO’s ‘West Side Story’ programme at Edinburgh’s Usher Hall was always likely to be a crowd-pleaser…”
The first half of the concert had to have a change to the original line-up. Jeneba Kanneh-Mason was due to play Florence Price’s ‘Piano Concerto in One Movement’ but, due to a hand injury, was unable to perform. Big disappointment I have to say: I was looking forward to hearing Jeneba play again – like the rest of her siblings, she’s an absolute marvel – but even more so to hearing the Florence Price piece, as I’d only heard recordings before and this was to be the Scottish premiere. Quite something for a piece first performed in 1934. Hey ho.
Kanneh-Mason’s place was taken, at short notice, by RSNO’s Leader Maya Iwabuchi, performing ‘Three Pieces from Schindler’s List’ by John Williams. For the uninitiated, ‘Leader’ means she plays the violin so, no, we were not going to hear Florence Price or anything on the piano. Initial disappointment soon dissipated when Iwabuchi brought the full beauty and emotion of Williams’ work to the stage.
Even if you’ve not seen the film, you’re more than likely familiar with the music. It’s unbelievably gorgeous and heartbreaking at the same time. Her violin soared over the rest of the orchestra and yet somehow seemed a quiet, poignant presence. It never fails to astound me how top soloists seem to produce an altogether different sound from their instruments compared to the wider ensemble. Sublime.
William Grant Still and Bernstein’s Symphonic Dances
After the interval, the title of William Grant Still’s ‘Symphony No. 1 in A-flat major, Afro-American’ kind of speaks for itself. It’s a fusion of classical symphony and African American tradition, and you get that interweaving right from the get-go. It’s intoxicating.
I suppose we were all anticipating the Bernstein finale, and what a brilliant piece this was to get us in the mood. The four movements – longing, sorrow, humour and aspiration/sincerity – incorporate tunes you feel like you already know and use both the cor anglais and banjo. It’s an unusual and wonderful mix, and it’s no wonder that it was the most performed American symphony for a couple of decades.
Bernstein’s ‘Symphonic Dances from West Side Story’ is a heart-thumping joy from its finger-snapping start and hints of the themes to come to its heart-rending finish. If you’ve seen the film, you’ll know most of the music. If you haven’t, you’ll still almost certainly know many of the songs from it. Iconic isn’t a word I use lightly or often – hardly ever, it’s too hackneyed – but really it’s the best word I can think of for Bernstein’s masterpiece.
How I wish I’d been around to watch him conduct it himself. At least we can watch it digitally nowadays. But back in the Usher Hall, Kellen Gray did a fantastic job of corralling the fabulously enthusiastic orchestra. ‘Somewhere’ is a tear-jerker at the best of times, but in this swirling, gorgeously rich version it makes you think of all the heartbreak you’ve ever encountered. It’s visceral. And utterly beautiful.
“Bernstein’s ‘Symphonic Dances from West Side Story’ is a heart-thumping joy from its finger-snapping start and hints of the themes to come to its heart-rending finish.“
And then all of a sudden you’re woken from your reverie by the scherzo, and then almost immediately finger-snapping is replaced by shouts of ‘Mambo’! Sharks and Jets for sure. Each of the nine movements conjures up scenes in your head and the strains of ‘Maria’ in the Cha-Cha section certainly did that. And we’ve no sooner fallen into the romanticism of the boy-meets-girl theme when we’re back with the gangs in the rip-roaring Cool Fugue and Rumble movements. And finally the adagio – the Finale – with echoes of ‘Somewhere’ and a standing ovation. Very well-deserved.
All Images: RSNO West Side Story (c) Clara Cowen
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