Simon’s “Four Black American Dances” Make A Powerful Impression
By George B. Parous
Valentine’s Day, the program, the guest soloist, the conductor, or any combination of the four brought a good-sized crowd to Heinz Hall last evening to hear the Pittsburgh Symphony Orchestra. As usual, the audience enjoyed a stellar performance by these excellent musicians. Last evening they played remarkably well under the guiding hand of Maestro Manfred Honeck, who gave another display of his stamina and devoted enthusiasm. The Dvořák symphony, especially, demonstrated the dignified passion he has for the sound pictures he paints so beautifully.
The program opened with Carlos Simon’s Four Black American Dances, a PSO subscription première, but not before the young composer himself gave a brief talk on the background of his composition. He was surprisingly young, hardly forty, and the “Dances” are a few years old. He spoke eloquently, and had the audience in his corner before the first note was played. Once the music began, it was apparent that it would be enthusiastically received had he been there or not. His “Dances” are an exceptionally engaging, remarkably orchestrated composition.
Each of the four pieces is quite evocative of the message they mean to bring. As the composer himself has explained, the first, “Ring Shout,” is based on a religious ritual practiced by enslaved Africans, with the worshipers moving in a circle, stomping feet and clapping hands. The composer uses percussion and fast passages in the strings and woodwinds to enhance the atmosphere. You hear and feel – almost see – the dance taking place, so clever is the orchestration, and how well it and the others were played last evening. “Waltz,” the second dance, reflects the gradual appearance of debutante balls for affluent Black Americans in the 1930s, with the growing influence of Black sororities, fraternities and other social encouragements. The music is most definitely waltz material, but with an ultra-modern twist that is fascinating. Again, the orchestration takes you to the ball.
Much of the same can be said of “Tap!” and “Holy Dance,” the third and fourth pieces of Simon’s composition. “Tap!” is, of course, easily imagined, but again, brilliant orchestration using side rim of the snare drum, short passages in the strings and jazz harmonies from the brass make the music come alive. Finally, “Holy Dance” is a powerful piece, like the others, and takes its theme from the dancing, shouting and singing that takes place in Black congregations in Protestant Christian denominations such as the Church of God in Christ and others. Its climactic “Amen” cadence brought the audience to their feet with a roar of enthusiasm, and the composer was obliged to bow to one of the longest ovations heard in some time. Simon’s work deserves the applause it received.
Camille Saint-Saëns’ Concerto No. 3 in B minor for Violin and Orchestra, Opus 61, was almost a novelty in that it hasn’t been heard here since 2007. It’s a thing of great beauty, which was enhanced by the return of the guest soloist, Spanish violinist María Dueñas. She has a brilliant resume of performances all over Europe, Canada and America. The young musician (born in 2002) swept onto the stage with a roar of applause to greet her. Her playing was spectacular. Her method is dignified and classic, her attack neatly precise and pinpoint accurate. She produces sweet, singing tones no matter where the music takes her, and Saint-Saëns’ concerto took her many places. The orchestra played with its customary excellence, and the ovation, with a few recalls, brought Ms. Dueñas back for the obligatory encore. She played a generous, beautiful piece which she didn’t announce and I didn’t recognize. As she’s a gifted composer as well, possibly it was one of her own works?
Antonín Dvořák’s Symphony No. 9 in E minor, Opus 95, “From the New World,” was preceded by a brief projected video of a great-great-granddaughter of the composer. Maestro Honeck had met her in Hong Kong, and she told a short, amusing bit of family lore about Dvořák. Alert, there will be no spoiler here. The orchestra, and Honeck, as mentioned above, were at the top of their game in this work, and the concert closed to the customary pandemonium, recalls and bouquets.
There are TWO more chances to catch this exceptional program – tonight, Saturday, February 15, 2025, at 7:30, and tomorrow’s matinee at 2:30. Visit the box-office or the PSO website for tickets. This one is a must hear.
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