COLIN CURRIE, UTAH SYMPHONY, Deer Valley Amphitheater, Friday.
DEER VALLEY — As was the case the previous weekend, Friday's Utah Symphony concert wasn't particularly well attended. But those who did turn out witnessed a concert that was noteworthy for two of the works on the program — Joan Tower's "Tambor" and Michael Daugherty's "UFO." Also for percussion soloist Colin Currie's remarkably stunning performance.
Tower is one of today's most respected and significant composers. Her music is distinguished for its dramatic lyricism, which is articulated in terms of bold expressiveness and dynamic vitality.
"Tambor," commissioned by the Pittsburgh Symphony and premiered by Pittsburgh under former music director Mariss Jansons in 1998, is a vigorous piece propelled by a restless energy that turns the work into a perpetuum mobile.
Tower's piece features the percussion section as a soloistic unit that alternately blends and contrasts with the rest of the orchestra. On Friday, under the baton of guest conductor Edwin Outwater, the percussion group gave a fabulous performance, as did the Utah Symphony. Especially notable was the luminous duet between concertmaster Ralph Matson and principal cellist Ryan Selberg, in the work's sole lyrical interlude.
Daugherty's "UFO," from 1999, is no less imaginatively drawn than "Tambor." A concerto for percussion, "UFO" ingeniously sets off the soloist within his orchestral surroundings.
The solo part of "UFO" demands a pyrotechnical display from the soloist, and Currie didn't disappoint, giving a tour de force performance that was astonishing for its precision and musicality.
Each of the three movements of "UFO" that Currie and the symphony played (the two that were omitted are improvisatory) centers around a different set of percussion instruments, and each movement is distinctly unique in character and mood.
The first movement is hard-hitting and driven, and focuses on the xylophone, while the middle movement centers around the vibraphone and looks to the blues and film music for its inspiration. The final movement is rock-inspired and allowed Currie to show off his talents on a drum set.
The rest of the concert was devoted to music of Ravel.
Outwater opened the evening with the "Pavane pour une infante defunte." It opened with some rather choppy playing by the French horn section. And with Outwater's maddeningly slow tempo, the piece lacked cohesion and seamless phrasings.
The last two Ravel pieces fared noticeably better.
The "Rapsodie espagnole," while lacking vitality, was distinguished for some fine playing in the numerous solos throughout the work's four movements.
Outwater finally showed what he was capable of in "Bolero." His interpretation was dazzlingly alive, passionate and dynamic. The orchestra gave a wonderfully radiant performance, and the individual members and sections were superb in their articulate and well-defined playing.
E-mail: ereichel@desnews.com