John Corigliano

Evelyn Glennie

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May 2, 2015 Hearing a recording of John Corigliano’s hugely variegated percussion concerto, “Conjurer,” with the brilliant Evelyn Glennie as soloist is exciting enough. But watching her move about as she manipulates a, well, battery of mallets and sticks to strike, whack or stroke more than 50 different instruments makes the experience an incomparable aural/visual adventure. The performance was the centerpiece of the San Antonio Symphony concert May 1, led by guest conductor Steven Sloane.The concerto was bookended by the premiere of “Clave Dorada,” by Mexican composer Arturo Márquez, and Beethoven’s Seventh Symphony. Mr. Corigliano has a longstanding relationship with the San Antonio Symphony, dating to 1966 when his father, John Corigliano Sr., became concertmaster (1966-1975). In 1968, the young composer's first piano concerto was premiered by the orchestra with Hilde Somer as soloist, conducted by Victor Alessandro. Today, his honors and awards place him among the top living composers. Last year, he won his fifth Grammy award. It was was given for “Conjurer,” the 2014 best classical instrumental solo, featuring Evelyn Glennie and the Albany Symphony, led by Davd Alan Miller (Naxos label). orchestra, often as eerie slides, sustained pedal tones and the like. There is also fair amount of conversational give and take with the soloist, as in a conventional concerto. Scottish born Ms. Glennie was the first percussionist to build a career as a soloist. Her virtuoso performance here proved why she has received so many awards and accolades, and why she ought to earn credit as an athlete-choreographer. With strength, stamina and grace, she twirled or danced among the instruments, fluidly switching mallets with hands that were as eloquent as the rhythms and sounds they created. The result was a revelatory essay in color and nuance by all forces, with Mr. Sloane confidently at the helm of a balanced, keenly responsive orchestra. Sloane had told a preview audience, by the way, that 20 years ago during his first months as artistic director of the Bochumer Symphoniker – a post he still holds – one of his first concerts was an evening with the then-unknown Evelyn Glennie. Small world… The beautiful opening Márquez score, another of the specially-commissioned pieces that open each concert this season, held some of the essence of his best-known work, “Danzón No. 2.” According toa program note, “Clave Dorada” means golden claves (resonant dowels), but also mean keys or codes to organizing rhythmic patterns. Thus, there is an underlying samba-like rhythm beneath soaring strings and winds. Lasting just three minutes, the textures are rich, with tonal harmonies accented by Afro-Cuban patterns. Mr. Sloane's view of the Beethoven, conducted from memory, was appropriately dramatic and full of carefully judged dynamics and nuance. The adagio was played a little faster than customary and had an unexpected sort of lilt. The presto was crisp and clear with unfailing rhythmic precision and nicely drawn inner-voice lines. The finale was vividly detailed and downright exhilarating. Kudos for fine work from section soloists and especially well-balanced, vibrant winds. Diane Windeler

San Antonio Symphony, Steven Sloane, Evelyn Glennie

Arturo Márquez Photo: Andres Fonseca

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An essay in color and nuance

The score is divided into three movements, each devoted to a percussive material: wood, metal and skin. Wood consists of xylophone and marimba, for example, supplemented with wood blocks, claves and other wooden instruments. According to the composer's directions, the stage is set up with three percussion stations in front of the musicians, each holding dozens of instruments and accoutrements relating to wood, metal or skin. Each movement is introduced by a brief cadenza, then the instruments are played until a theme appears and its rhythms and pitches are reflected or underscored by the

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