InForum reviews the American mid-west premiere of Force Majeure by Elena Kats-Chernin, with the Fargo-Moorhead Symphony Orchestra and maestro Christopher Zimmerman.
Link: https://www.inforum.com/lifestyle/arts-and-entertainment/fm-symphony-orchestra-finds-triumph-with-guest-pianist-lisa-moore
Lisa Moore and maestro Christopher Zimmerman
The star of the show was guest soloist Lisa Moore who brought with her Elena Kats-Chernin’s “Force Majeure” Piano Concerto. The contemporary composer is known for scores and soundtracks for films, plays and ballets and “Force Majeure” had elements of each. Despite the name, the piece isn’t necessarily a tour de force performance for the pianist, but it does showcase some of her talents.
The work opens with the energetic, tonal movement , “Rotor,” with the pared down orchestra and only the principals on clarinet, flute, oboe, trombone, trumpet, bassoon and harp, playing behind Moore. The rhythmic aspect shifts in the 2nd movement, “Broken Barcolle,” with Moore tip-toeing on the keys before the strings end the section on a quiet ascension. The 3rd movement, “Twisted Rag,” lives up to its name with definite jazz influences. Listeners may feel like they’re in a cabaret, waiting for dancing girls to take the stage. That’s not the only music that impacted the composer, as it calls to mind circus music at times. Likewise the 4th and final movement, “Czardas Noir,” bares the imprints of Hungarian folk music.
Commissioned by Moore, it is a challenging composition that rewards the listener with so many references to other music.
While Moore may have been the center of attention, the percussion section was as much fun to watch and listen to, as musicians played all sorts of instruments, including snare drums, log drums, brake drums, wind chimes, stones, pots and pans and, of course, cow bell. After a standing ovation, Moore returned to the stage, announcing that music director Christopher Zimmerman suggested she play the third movement, “The Alcotts,” from Charles Ives’ signature, Piano Sonata No. 2, or the “Concord Sonata,” celebrating the late composer’s 150th anniversary.
On the front, the piece seemed more in line with traditional classical selections, as Ives delivers a glimpse at New England and Moore was allowed more room to show her dynamic playing. There’s even a reference to Ludwig van Beethoven’s Symphony No. 5 for the close listener.
Moore had a hard act to follow after Quinn Mason’s “She Dreams of Flying.” For the second year in a row the young composer opened a Masterworks concert.Aptly, the number begins with a light, airy passage with a trumpet (Tom Strait) sounding offstage and later clarinetist Cassie Keogh played a flurry of notes, rising and falling, with flutist Debora Harris following suit.The whirling music was enough to have the composer anxiously leaning forward on the edge of his seat, then springing to his feet with applause after the number.
Zimmerman has stated his desire to play more music from largely underrepresented groups and Mason, a young Black man, obviously appreciates the commitment as he came on stage and gave the conductor a hug following the performance.
Those in the crowd looking for something more familiar got to relive Jean Sibelius’ Symphony No. 2, one of the first pieces Zimmerman conducted when he took over here in 2013. The work sounded as good as ever with the heroic 4th movement driving home the concert’s triumphant theme to close out the night.