Boston Connection: Boston Modern Orchestra Project

by David Cleary

Saturday, January 22, 2005, 8:00 PM
Jordan Hall, New England Conservatory, Boston , MA

Presenting a midwinter concert in Boston is a risky business.   There's always the chance a snowstorm will scare away audience members or kill off an event entirely.   The weekend of January 22-23 of 2005 saw Beantown hit by a blizzard of epochmaking proportions. But surprisingly, this didn't deter the crowd of listeners who turned up for the January 22 nd Boston Modern Orchestra Project concert-a testimonial to the excellence of this fine group.

Among the selections that pleased was Concerning Sunspots (2004) by Eric Chasalow .   Cast in a three movement fast/slow/fast schema devoid of old-style constructs, this intense, yet likable piece exudes formidable strength and sincerity.   And despite liberal employment of rhythm and pitch elements from Monteverdi's opera Orfeo , this is all Chasalow ; borrowed material is subtly integrated into a thoroughly contemporary concoction.   Folks who think that pieces containing copious amounts of indeterminacy routinely lack guts and structure should hasten to hear Elliott Schwartz's excellent Chamber Concerto IV (1978) for saxophone and ten players.   This raw, demonstrative, highly-charged opus possesses not a whiff of Expressionism.   And its format, a modified ternary with coda, is cunningly delineated.   Concertino for Clarinet and Orchestra (2003) demonstrates a surprising change of approach for its composer, Donald Martino.   The large backing ensemble's accompaniment almost totally consists of homophonic textures-unusual indeed for a tonemeister whose entire mature output is known for imaginative exploration of contrapuntal writing.   But unlike the proverbial "old dog," Martino shows he can execute new tricks with ease; harmonies and textures are handled with confidence and imagination.   Concertino's forms, while looking back to classical models, have no museum dust covering them.

Dating from 2004 but primarily composed seven years prior, William Thomas McKinley's Childhood Memories is scored for marimba and orchestra.   There are several intriguing aspects to this work, including tasteful incorporation of process techniques, utilization of a character-piece approach to the concerto genre, and felicitous handling of a jazz-tinged, early 20 th -century style harmonic language.   But its sizable duration, overwritten accompaniments, and persistent obbligato solo writing present problems for the listener.   Your reviewer believes in cutting student composers plenty of slack, which is why no more will be said here regarding Murder (2003) by Michael McLaughlin, winner of the latest BMOP/NEC Composition Contest.

The three soloists heard this evening were on top of their game.   Saxophonist Eliot Gattegno , this year's student concerto competition winner, performed with confidence and forceful vigor.   Ian Greitzer navigated the spectacular difficulties of Martino's work with laudable skill.   And Nancy Zeltsman's presentation of Childhood Memories was a sterling combination of technical prowess and riveting stage presence. Whether in the spotlight or laying down an accompaniment, Gil Rose led his orchestra with intelligence, insight, and effectiveness.