UK's Symphony Orchestra is certainly a crackerjack ensemble. On Friday, under John Nardolillo's direction, they pulled off a virtually flawless first concert of the season which consisted of the opening Prelude from Bizet's Carmen, the world premiere of Thomas Pasatieri's Symphony (written for the UK Symphony), and Berlioz' monumental and dazzling Symphonie Fantastique of 1830. With this early-season leaning toward things French, Nardolillo must be perfecting the orchestra's Gallic timbre for Gounod's Romeo et Juliette, which will be presented by UK's Opera Theater next month at the Lexington Opera House.
Although it seemed well-played by the orchestra, Thomas Pasatieri's Symphony, composed this year after some forty years of churning out operas, concertos, sonatas, chamber music, songs, and scoring music for films, has to be one of the most hackneyed and unimaginative pieces of music that I have heard in a long time. The cloying opening theme (one imagines seeing "opening titles" marked in the score), presented numerous times without variation, would appear to have been inspired by Richard Rodgers' "The Sweetest Sounds" from 1962, which itself had been inspired by the second Brahms piano concerto from 1878. It all might have worked as a collage or even a spoof of where generic background music had been in the 1940s or 50s, but I was left with the impression that Mr. Pasatieri had actually been earnest in this first symphonic effort. It is utterly amazing to me that the most daring, adventurous, and all-out audacious composition on this concert was the one written first.... in 1830.
Bravo, Dave! You took Greg Sandow's point 1 and 5 (have a point of view and an opinion) to heart and pounced. I was speechless (and thoughtless) about the piece, not sure what to make of the pastiche, but your comments are convincing and help clarify my stupor. I would like to hear it again (believe it or not!). Thanks for the straight talk!
ReplyDeleteI love your ability to cut to the quick and, as Dr. Brunner also applauded, pull no punches. Now I'm really sorry I missed the performance...also, bonus points for using the phrase "Gallic timbre" in a well-crafted sentence.
ReplyDeleteDave, you have written an excellent review. I performed in the orchestra and also prepared the score as an assistant conductor. I must say, that your assessment is quite accurate. From an orchestration standpoint, it appeared solid upon first glance. However, the orchestration took so few risks that it became commonplace at best. The errors became even more egregious when paired with Berlioz's adventurous orchestration. From a thematic standpoint, the work lacks on every level. The themes reek of Hollywood cliches lack any development. Formally, it is episodic and lacks coherence. Furthermore, the lack of editing in the parts and the score reveals the level of craft. In all, Pasatieri's music reminds me of Korngold without the originality and craft.
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