The Annapolis Symphony Orchestra opened its 49th season last weekend with a program celebrating Hispanic heritage that reflected the innovative programming skills of maestro Jose-Luis Novo in the sweep of 20th-century Hispanic music. Novo is beginning his sixth season as ASO music director and conductor.
On this program were the sharply contrasting works of two short-lived near contemporaries — Mexican composer Silvestre Revueltas, whose socially conscious, brooding atonal music was illustrated by his film score "Nets," and the quintessential American composer George Gershwin, who captured the vivid rhythmic pulse of Latin dance in his "Cuban Overture."
Argentine Astor Piazzolla blended tango rhythms with classical music in Concerto for Bandoneon, and Argentine native Alberto Ginastera blended a variety of indigenous music into his "Suite From the Ballet Estancia."
American composer Gabriela Frank, who has a multicultural heritage, swept the audience into the 21st century with her "Three Latin American Dances."
The program opened with Revueltas' "Redes (Nets) Suite," which was the first of the composer's seven film scores. This one documents the struggles of fishermen and is considered a masterpiece in combining cinematography and music. The dramatic opening by a trumpet contrasts with the trudging march of the poor fishermen that is followed by the mournful music of "The Child's Funeral" — a motif later heard depicting the funeral of a slain fisherman as the mourning fishermen return.
Next was Piazzolla's Concerto for Bandoneon "Aconcagua" (highest peak in South America) featuring as soloist Daniel Binelli of Argentina, a master of the bandoneon, a spring box instrument with a total of 70 buttons and no keyboard. Binelli is the pre-eminent exponent of Piazzolla's music.
Meeting the challenge of playing his instrument almost constantly, Binelli introduced the hypnotic tango rhythm that blended with a classical-sounding theme. The second movement evoked a more sensuous mood in Binelli's soulful playing, the melody echoed by the orchestra.
Described by Rachel Franklin in her pre-concert lecture as "high-end cafe music that represents the struggle of the poor people," Piazzolla's tango music rose to a momentous crescendo as Binelli's bandoneon soared above the orchestra for a magnificent conclusion. The appreciative audience roared its approval in a prolonged standing ovation.
After intermission, the audience was swept into Frank's 21st-century music of "Three Latin American Dances," challenging the breadth of ASO's fearless musicians.
Each of the fresh original dances reflected its own mood and evoked American dances, Andean culture and shifting weather in innovative orchestration. There was also a seemingly unending workout for the prescribed four percussionists with xylophone, marimbas, crash cymbals, a thunder sheet, rain sticks, conga drums, chimes, tambourines and wooden clackers. This also provided the audience an exciting listening adventure across a dynamic range.
Among the fascinating aspects of Frank's music is a fresh originality and musical freedom that may result from what seems to be an improvisational quality. The hallmark of classic jazz — improvisation — seemed here to become a part of the first "Jungle Jaunt" section that was reminiscent of composer Leonard Bernstein, who also seemed to be echoed in the third section, "The Mestizo Waltz."
Throughout, Novo and the ASO musicians met every challenge with gusto, seemingly anticipating Frank's arrival next year when she will be composer in residence during ASO's 50th anniversary season.
Gershwin's "Cuban Overture" provided a delightful classic jazz contrast that proved America's iconic composer remains remarkably fresh with his eternally seductive rhythms, here with a distinctive Latin flair. Again the ASO musicians were fully engaged in a masterful rendering.
The program concluded with Ginastera's most popular work, the four-section "Suite From the Ballet Estancia." All of the vigorous machismo energy of the Argentine gauchos in their pursuit of the ranch girls was recalled along with the hard-working Argentine cattlemen. ASO's performance undoubtedly inspired many audience members to envision a troupe of dancers bringing this ballet fully to life.
The opening concert also marked the beginning of ASO's celebration of the Annapolis community, starting with the recognition of Centro de Ayuda (Center of Help), a nonprofit organization that helps Latino-Hispanic families in the Annapolis area to assimilate.
The series will continue with "Side by Seaside" on Nov. 5 and 6. For information and to order tickets, call the box office at 410-263-0907.