I left last night’s performance convinced that Roderick Cox is a major talent destined for something great. Winner of the 2018 Sir Georg Solti Conducting Award, Cox had caught my interest last year leading a Barber in San Francisco Opera’s return to live performance. Those were unusual circumstances dictated by social-distancing rules (with a parking lot as the auditorium, the music transmitted to our car radios), so it was splendid to get to experience this young conductor in the limelight, with a full orchestra, unhampered by any pandemic restrictions more cumbersome than a mask. [UPDATE: Check out the film Conducting Life, an intimate portrait of Roderick Cox and his path toward his vocation.]
Cox chose a challenging program that revealed an impressive gift for communicating his musical vision. The first half was given to William Levi Dawson’s Negro Folk Symphony of 1934–a landmark of early 20th-century American symphonic writing has been shamefully, disgracefully neglected while so many tireless mediocrities continue to clutter the repertoire.
This performance had the quality of a double epiphany, confirming what an excellent piece of music we’ve allowed ourselves to be missing out on and at the same time shedding light on the journey Dawson’s symphony traces–outwardly, the harrowing passage from Africa to the New World, but also an implicitly personal journey. He clarified the originality of Dawson’s response to the challenge Dvořák had issued to cultivate an authentically American voice. For Dawson, that meant writing a symphony that, as the composer put it, “is unmistakably not the work of a white man.”
Negro Folk Symphony is a marvel of the imaginative, indeed, symphonic, transformation of simple, ready-made folk material–Dawson draws on three spirituals in particular–into a complex, multi-faceted structure. Cox led a dramatically compelling account that highlighted Dawson’s elaborate use of rhythmic mottos as a unifying device, while also lavishing attention on the orchestral details that give this score such resonance. His spacing of the implacably tragic minor chords ending the “Hope in the Night Section” was especially memorable. This was the SSO’s first performance of the Dawson, and part of the excitement came from the sense of the players sharing in these discoveries along the way, clearly inspired by Cox’s guidance.
Concertmaster Noah Geller gave a deeply felt and polished interpretation of the 1904 Violin Concerto in A minor by Alexander Glazunov–who, like Dawson, straddled a period of drastic change in musical values and pressures. Basking in his warmly expressive lower register in the opening passage, the violinist kept the audience at an attentive hush in Glazunov’s extended cadenza, counterbalancing the piece’s gentler lyricism with its giddy high spirits and vivaciously articulated virtuosity.
Cox proved fearless in Belá Bartók’s Suite from The Miraculous Mandarin, a piece that doesn’t tolerate weak-willed, insecure conducting. He drew an electrifying performance from the outset, never letting go of the ominous, hair-raising tension and danger that animate this early Bartók score. The music echoes, though in a very original way, impulses from Stravinsky’s Rite of Spring and Strauss’s dancing Salome, also hinting at the spirit of film noir to come. Cox emphasized its brutal violence but also knew how to bring out the delicacy and spookily muted colors of Bartók’s orchestration, loosening the reins to give the platform to Benjamin Lulich for his arresting clarinet solos.
The glowing rapport between the players and Cox left me hoping to see much more of this conductor on the Benaroya stage. Thursday’s audience, though relatively sparse, was enthusiastic and grateful. What a pity it would be to miss this excellent program, which repeats Saturday at 8pm and Sunday at 2pm.
Review (c) 2022 Thomas May
Filed under: Bartók, conductors, review, Seattle Symphony
MEMETERIA by Thomas May 