The Chattanooga Symphony presents World Premiere

Kayoko Dan conducts a Chattanooga Symphony Orchestra rehearsal at the Tivoli Theater in Chattanooga.
Kayoko Dan conducts a Chattanooga Symphony Orchestra rehearsal at the Tivoli Theater in Chattanooga.

Those present for Thursday evening's moving concert at the Tivoli Theater were privileged to witness a musical birth. The Chattanooga Symphony & Opera, under the baton of Music Director Kayoko Dan, performed the World Premiere of American composer Kendra D'Ercole's fascinating and insightful new work, Wie die Blätter des Herbstes herabfallen (As the Autumn Leaves Fall). This composition, inspired by one of Beethoven's letters, was perfectly framed by two timeless classics of Beethoven, Egmont Overture and Choral Fantasy.

The concert began with a stirring performance of the Egmont Overture, opus 84, composed in 1809. The slow weight and resolute strength of the opening measures, which can be notoriously challenging for conductors and players, was very well done; powerful without being ponderous. The supreme triumph that Beethoven no doubt had in mind for the concluding section of the piece was exhilarating to hear.

And, it provided a very meaningful and fitting context for a fuller appreciation and more complete understanding of the work that followed; the premiere performance of Wie die Blätter des Herbstes herabfallen: Das Heiligenstädter Testament (As the Autumn Leaves Fall: The Heiligenstadt Testament), by Kendra D'Ercole.

Written for solo baritone, piano, chorus and orchestra, the work is a highly creative setting of what is essentially the last will and testament of Ludwig van Beethoven. But, Beethoven's letter is much more than a simple document expressing how he wished his assets to be distributed at his death. Written in 1802 in the city of Heiligenstadt (now part of Vienna), it reflects his despair over his increasing deafness and desire to overcome nearly constant pain to complete what he considered to be his artistic destiny.

D'Ercole's wonderfully expressive new work received an excellent performance by the CSO, choir and soloists. What is most striking is the insightful way in which D'Ercole reflects the shifting emotions of Beethoven's letter in her music, and does so in a way that continually engages the listener.

The work is an example of a form of modern music that has come to be referred to as "response pieces." Response pieces are basically newly composed works that are in some way related to, or inspired by, well-known classics in the orchestral literature, such as works of J.S. Bach, Mozart, Stravinsky, and yes, Beethoven. According to Jane Moss, Lincoln Center's artistic director, the core assumption these days is that many classical concertgoers have a built-in distaste toward modern music. Perhaps more than in other arts, audiences tend to prefer what they already know. Response pieces can lead audiences to a greater appreciation of new music by lending context, and provide a pathway for people to engage with it.

The composer chose to use the original German words of Beethoven, not an English translation. A wise choice, because it gave us the sense of being directly in the presence of the master. The use of supertitles above the stage of the Tivoli provided ongoing English translation. We, the audience, could appreciate the despair and struggle that was being so effectively brought out in the music.

The baritone soloist was Robert Barefield, who performed with passion and depth of feeling. Pianist Spencer Myer brought out the nuanced elements of his role with great sensitivity and control. And, the combined CSO Chorus (directed by Darrin Hassevoort) and the Lee University Chorale (directed by William Green) sang the sometimes challenging score beautifully and convincingly, exhibiting a warm and full blend of sound throughout.

The deep emotion, sadness and hope that are so much a part of this composition were particularly apt for this occasion. Prior to the performance, Don McDowell, CSO Board President, announced that the concert was being dedicated to the memory of Molly Sasse French, the much beloved and respected former Executive Director of the CSO, who passed away last week.

After intermission, we were treated to a rousing and delightful performance of Beethoven's Fantasia in C Minor for Piano, Chorus and Orchestra, Op. 80 that concluded the program. The outstanding vocal soloists were Caitlin Hammon Moore, Lucia Sanchez, Sara Snider Schone, Ron Brendel, James Harr and Robert Barefield. Spencer Myer was, once again the excellent piano soloist.

Review author Douglas Hedwig was a trumpeter with the Metropolitan Opera Orchestra in New York City for 27 years and also was on the faculty of The Juilliard School.He is Professor Emeritus of Music at The City University of New York and his compositions are published by Carl Fischer Music and TNR Music Publishers. He and his wife moved to Chattanooga in 2013.

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