October 29 Fort Wayne Philharmonic

On Saturday, October 29, at the Embassy Theater in Fort Wayne, Andrew Constantine and the Fort Wayne Philharmonic performed music by Leonard Bernstein, Patrick O’Malley and Carl Orff.

The major work on the program was Carl Orff’s 1937 secular cantata “Carmina Burana” or “Songs of Beuren”, which is a setting of poems from the 11th to 13th centuries, mainly in Latin and Middle German, as well as some old French people. (Beuren is part of the Bavaria region of Germany.) The performers were soprano Maeve Hoglund, tenor Patrick Muehleise and baritone Christian Bowers, who were joined by the Fort Wayne Philharmonic Chorus (prepared by Benjamin Rivera), the Fort Wayne Children’s Chorus (prepared by Jonathan Busarow), the Purdue Fort Wayne University Singers (prepared by William Sauerland), and an expanded orchestra that included extensive brass and percussion. As the stage was filled with singers and orchestra, conductor Andrew Constantine stood on a podium at the very edge of this stage.

It is hard to imagine that such an “earthly” work would have been premiered in Nazi Germany by the Frankfurt Opera in a fully staged version including sets and costumes. Despite some concerns from a rather moralistic and even old-fashioned government, the success of the music convinced the leaders not to suppress or condemn “Carmina”. It has usually been presented as part of a concert and that was the case with this performance.

The music begins and ends with a full chorus that partially translates to “O Fortune, like the moon, you are changeable, ever waxing and waning; the hateful life first oppresses then appeases at the whim; poverty and power melts them like ice.”

It definitely serves as a musical bookend for a work that features lyrics celebrating the joys and pleasures of life, including drinking, eating, playing, and making love. It’s hard to imagine that such texts would be collected by medieval monks, but it’s possible they saw them as things that people should avoid and not adopt. It is difficult for us today to understand or appreciate medieval mentalities, which were often rather vulgar and even obscene by modern standards.

Anyway, the chorus was sung with great diction and precision. The orchestra provided a very colorful and lively accompaniment in this music as well as in all the other pieces of the cantata.

The baritone, Christian Bowers, was the first of the soloists to be heard. He sang with a rich, resonant, and compelling voice that suited the down-to-earth side of the lyrics. He was joined by the male chorus in one of the most difficult parts of the cantata, “When We Are in the Tavern”. This text celebrates gambling and drinking and makes it clear that EVERYONE likes to drink. It was sung as a grand jubilant celebration with considerable gusto and enthusiasm.

Tenor Patrick Mueheise had only one solo, the mournful song about a swan being roasted on a spit and soon to be featured on plates. There is a mixture of tragedy and comedy in the song “Once I Lived on Lakes”. The male choir joins the baritone in this memorable piece. Muehleise sang with a high, pleading and pitiful sound and he was looking for pity or sympathy, but it was a hopeless cause. As a “stage gesture”, he finally fled the stage after singing with such emotion.

Soprano Maeve Hoglund is a tall, imposing woman and she wore a mostly red floral strapless evening dress. She was joined by the children’s choir in one of the riskiest numbers, “Cupid flies everywhere”. This song deals with desire and laments “the girl without a lover (who) misses out on all the pleasures”. Later, she sang the short, ecstatic solo, “Sweetest boy, I give you everything.” She demonstrates considerable virtuosity.

This performance turned out to be a real showpiece for the singers and the orchestra. It is remarkable how Orff varies the accompaniment in the multi-verse songs, providing considerable variety in the mostly melodic musical language. Orff did not attempt to write anything controversial or particularly modern; his music speaks at all times. He was expertly guided by Constantine and was almost uniformly top notch.

Constantine told the preview audience that we should focus on Orff’s colorful music rather than the confusing lyrics because it’s hard for us today to understand what life was like in medieval times. “Carmina” has indeed enjoyed many performances since 1937 and it has transcended the controversial eras and thoughts in which it was created. The lyrics are the product of a bygone era, but the music remains vivid and unique to this day. Indeed, “Carmina” became a virtual “hit wonder” for Carl Orff, whose other works are mostly forgotten and overlooked today.

The concert opened with another product from another time, the “Three Dance Episodes” from Leonard Bernstein’s 1944 musical “On The Town.” It’s essentially a short orchestral suite from Bernstein’s ballet-inspired wartime musical for “Fancy Free.” Both works celebrate three sailors who are on leave in New York from the United States Navy during World War II. The musical’s most famous tune, “New York, New York”, is included in the third section, titled “Times Square: 1944”. Although the story is now dated, the music remains alive and listenable. Constantine made sure we heard the wonderful details of the score, from the jazzy moments of the first and third sections to that “bluesy” and poignant second section.

The Philharmonic had a world premiere with Patrick O’Malley’s Concerto for Viola and Orchestra, “The Horizons”, featuring violist Brett Deubner. The work is divided into four sections: (1) Fantasia – Crystal Visions, (2) Scherzo – Ventures and Motions; (3) Adagio – Solitary Compass; (4) Final decision. O’Malley, who grew up in Fort Wayne, said, “My viola concerto is concerned with a process of rejuvenation, beginning a place of stasis and uncertainty, and moving to a hopeful gaze toward the future. ‘future (the Horizons).’

The concerto begins with a number of musical fragments scattered among the musicians, as if to depict a search, a search, a wandering and a questioning. First, there is a lack of direction or clear purpose. It sounds rather bizarre and abstract, certainly confusing, until the viola begins to deliver increasingly lyrical statements. The first minutes are certainly trying, both for the musicians and for the public. I was aware that some around us were puzzled, confused or troubled by what was happening. However, the musical language eventually shifted to something quite beautiful and meaningful.

The scherzo was, as expected, quite lively and cheerful at times. The soloist displayed great virtuosity and zeal as the section progressed, reaching a climax that fooled some audience members into thinking the concerto was over. However, this was followed by the very intense and introspective third section, the truly “spiritual” part of the work. Here the music seemed to find more meaning and purpose. All of this led to the real finale: a spectacular, exciting and energetic song for viola and orchestra.

Overall, many of us appreciated this very original work, which is a real spectacle for the viola and other musicians. I detected some influence from Sir William Walton, but the concerto was generally quite personal and likeable. Some of us stood to cheer on the violist, Deubner, but others looked puzzled or puzzled. At least the general reception was favorable and I must say that it is a work that should be listened to again, whether in concert or on recording. Perhaps, since the entire concert was recorded, a recording may be released of this performance and other recent Philharmonic performances.

The Philharmonic itself will present mostly “pop” concerts in November and December, as well as another “candlelight” performance of Handel’s “Messiah” oratorio at the Rhinehart Music Center in Purdue Fort Wayne on December 16. at 7:30 p.m. the regular series “Masterworks” will resume on January 28, 2023 at 7:30 p.m. at the Embassy Theater.

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