A CONCERT OF CONTRASTS

Fresno Philharmonic presents Beethoven's Ninth and a world premiere.

Fresno Philharmonic with Theodore Kuchar, conductor, Esther Budiardjo, pianist

March 6 and 7, 2010, William Saroyan Theatre

Armenian Rhapsody for Piano and Orchestra by George Warren

Symphony No. 9 in D minor, Op. 125 by Ludwig van Beethoven

By Larry Warkentin

Contrasts abounded in this program: Armenian and German, twenty-first century dissonance and nineteenth century tonality, young composer and mature master, intellect and emotion. There was also a compelling unity of purpose. The Armenian Rhapsody remembers a time when more than a million Armenian people were killed, yet the music acknowledges that hope for the future can be found. The Choral Symphony thunders about the need for the millions to embrace so all people can live together in peace. No wonder Leonard Bernstein selected this symphony for the musical celebration of the reunification of the German nation, though he changed the word “joy” to “freedom” for the occasion.

Can a friend review a friend’s composition? Robert Schumann reviewed the music of his friend Frederic Chopin and wrote, “hats off, a genius.” Edward Hanslich knew all the composers of Vienna and wrote perceptive reviews of their music. He did not remain friends with some of them. So I take a risk in reviewing the music of George Warren. Those who heard the premiere of Armenian Rhapsody can judge for themselves if I have spoken truthfully. Others may take my opinion with a grain of salt.

I begin with a question: Can a non-Armenian write a tribute to the Armenian spirit? The answer is yes, if he knows the culture well and if he does his homework. If the Polish composer Krzysztof Pendericki can compose a memorable Threnody for the Victims of Hiroshima then an American can compose an Armenian Rhapsody. In my opinion George Warren has done his homework and he certainly knows the culture having married into an Armenian family.

The style of Warren’s music seemed somewhat eclectic, ranging from what sounded like carefully crafted atonality or perhaps serial music in the first movement, to tonal music with jazz overtones in the third movement. Throughout the three movements Warren maintained a significant level of dissonance which commands respect for its consistency if not necessarily for its beauty. The piano writing in the first movement scattered notes across the keyboard like pearls falling from a torn necklace onto a frozen lake.

Alan Hovhaness has written evocative descriptions of the Armenian mountains, Aram Khachaturian has captured in his music the expressive emotions of the Armenian people. George Warren, especially in this first movement, portrays the Armenian intellect.

The second movement evokes the desolate ruins of the town of Kharpert where many Armenian people died at the hand of the Turkish military. The music is slow and filled with provocative orchestral color. There is sorrow here, but not despair.

The third movement, Diaspora, speaks of rebirth and optimism. Armenians in America, and significantly in Fresno, have created a new culture based on old traditions. Warren’s music illustrates this beautifully with its lively tempo, its jazz harmonies and a good dose of jazz rhythms.

This work is not a concerto, it is a rhapsody. The piano is not the featured soloist. It is often absorbed into the orchestral sound and only occasionally speaks alone. The soloist, Esther Budiardjo, played with brilliant technique when that was needed, and with subtle tonal color when required. The orchestra was well prepared and conductor Kuchar was in command of the score.

Following intermission Kuchar led the orchestra in a stirring performance of Beethoven’s Ninth Symphony. Everyone anticipates the final choral movement but without the preceding three movements the impact of Schiller’s poem would be diminished. The orchestra played brilliantly even when Kuchar demanded fast tempos.

The second movement felt rushed. The sudden timpani strokes in this movement are meant to be surprising but were exaggerated to the point of overpowering the texture. This was not the fault of the timpanist. The exaggeration was clearly directed from the podium.

In the third movement, however, was the most beautiful playing I have heard from the orchestra in recent years. Kuchar brought out the thematic entrances and controlled the dynamics in a masterful way. This movement very effectively prepared the way for the concluding choral movement.

The choir of hundreds entered and crowded the stage. The music began. And then came a moment that, while expected, exceeded all expectation. Gustav Andreassen filled the hall with his rich baritone voice, “O friends, not these sounds! Rather let us sing more pleasing songs, full of joy.” This is a voice to remember. It brought to mind the first Beethoven Ninth that I heard in Fresno more than forty years ago. Paul Vermel was conducting the Philharmonic in Roosevelt auditorium and a young baritone named Roy Klassen sang these same words.

One can chart a lifetime by performances of the Choral Symphony and this performance was a highlight. The quartet of soloists was outstanding. Matthew DiBattista projected a strong and secure tenor, Stacey Rishoi blended well with her warm mezzo soprano, and Linda Mabbs soared to soul stirring heights with her pure soprano.

The choirs prepared by John Sorber and James Foxx became a single unit and balanced perfectly with the orchestra. If ever there was a time when Beethoven’s music and Schiller’s words were needed, this is it. The full house in Saroyan theater recognized the import of this music and the effectiveness of the performance by springing to an enthusiastic standing ovation. As Schiller writes, “Be embraced, ye millions! This kiss is for the entire world.”

Larry Warkentin is a composer and pianist. He is professor emeritus at Fresno Pacific University where he served on the faculty for forty years.

[Editor's note: The review of the Warren is presented unedited, as received, except for formatting.]