South Florida Classical Review

Daniel Bjarnason conducted the New Word Symphony in music of Glass, Reich and Bjarnason Saturday night. Photo: Alex Markow

The 90^th birthday anniversaries of Steve Reich and Philip Glass, two of the founding fathers of minimalism, were the principal focus of the New World Symphony’s concert Saturday night at the New World Center. The debut of Icelandic composer-conductor Daniel Bjarnason and a stunning performance by violinist Jennifer Koh contributed to one of the orchestral academy’s most compelling programs of the young concert season.

It is difficult to think of Reich and Glass as nonagenarians. Seemingly, only a few decades ago, they were the young Turks who were forging a new path forward for the contemporary classical music canon. Once considered rebels against the atonal dogmas that dominated musical academia during the 1950’s and 60’s, they have gone on to win numerous prizes and grants and their works have become a regular component of the concert repertoire.

The program opened with Reich’s Three Movements for Orchestra. The 1986 opus marked Reich’s second symphonic work after years of writing for his own ensemble. (The score was recorded by New World co-founder Michael Tilson Thomas with the London Symphony Orchestra.) The composition finds Reich in full minimalist mode. Like his compositions for his own group, there are pairs of marimbas, vibraphones and pianos which are here set amidst an orchestra divided into two ensembles.

Bjarnason’s relaxed podium style allowed Reich’s distinctive voice to speak for itself. It was fascinating to hear the composer’s gradual changes to the repetitive thematic material. The slow movement forms a graceful interlude in the high-energy writing, almost neo-Baroque in character. The finale reveals rock and jazz influences with electric guitar and mallet percussion strongly prominent.

Glass’s Violin Concerto No. 1 was the composer’s first orchestral work, commissioned in 1987 by conductor Dennis Russell Davies, who has continued to be one of Glass’ biggest champions. The concerto is one of his finest creations. Both virtuosic and lyrical, the score projects Glass’ rapid vision of “music with repetitive structure” (his preferred description) but also a more ruminative side of his musical persona.

In the ultra-minimalist opening movement, wind lines blend with the violin’s figurations to hypnotic effect. Koh’s singing tone and gripping agility seemed tailormade for this music. Bjarnason was on top of every detail of Glass’ orchestral palette and the players brought dedication and enthusiasm to their reading. The second movement is introspective and haunting and Koh drew a multiple array of colors from her instrument.

Jennifer Koh performed Philip Glass’s Violin Concerto No. 1 with the New World Symphony Saturday night. Photo: Alex Markow

An initial driving rhythm in the finale showcased Koh’s thrilling speed and accuracy. The concerto’s epilogue turns meditative, even spiritual in its incandescence. Koh soared through Glass’s beautiful invention. Soloist and conductor received a standing ovation for a terrific performance of what may be the last great violin concerto written in the twentieth century.

Bjarnason led his own Emergence from his 2011 triptych of the same name. The nine-minute work utilizes a large orchestra in slow, darkly agitated layered textures. A dynamic range that runs from the edge of silence to multiple fortes adds to the sense of underlying drama. Enthusiastically received, the vignette gives a strong indication of why Bjarnason is one of Iceland’s leading composers.

Symphony in Three Movements was the first composition Stravinsky wrote after emigrating to America as the clouds of World War II engulfed Europe. It is a neo-classical masterpiece requiring brilliant orchestral execution and the New World fellows were equal to the task. Bjarnason sustained tension throughout the episodic opening Allegro. String articulation was crisp and the important piano part emerged with special clarity.

The Andante interlude, based on Stravinsky’s rejected score for the Hollywood epic Song of Bernadette, featured gorgeous wind melodies against the undercurrent of pulsing strings, delineated exquisitely. Bjarnason distilled the ominous martial character of the Con moto finale with all sections playing in top form. Exposed trombone and bassoon solos were perfectly rendered and the blazing final pages capped a bright and edgy reading.

Recent seasons have seen the quality of players and performance rise exponentially at the New World Symphony. This difficult program of contemporary music admirably illustrated that continuing high standard.

The New World Symphony repeats the program 2 p.m. Sunday at the New World Center in Miami Beach. nws.edu

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