The Notre Dame Symphony Orchestra, under the direction of Daniel Stowe, recently took center stage with their performance of “Epic: Fall Promenade Concert,” embarking on a musical odyssey like no other. The concert promised a grandeur that lived up to its name, and the audience was in for a treat that would transport them through a kaleidoscope of emotions.
The evening commenced with Rossini's “William Tell Overture,” a piece famous for its dramatic narrative. The overture's haunting cello solo, executed with meticulous care, was impressive. The cellist's handling of long, mellifluous notes added depth to the piece. Further, the pastoral oboe and flute duet nestled within the overture was truly enchanting. The gentleness of these notes showcased the orchestra's remarkable ability to delicately handle transitions, each note a carefully crafted brushstroke on the canvas of sound within the interplay of contrasting melodies. Each varied section of the music seemed to tell a story of its own, painting a vivid picture of the Swiss countryside and the swashbuckling tale of William Tell. As the overture surged forward into the exciting march, the orchestra burst into full splendor, filling the hall with an electrifying energy.
Stowe himself provided valuable insights into the performance, highlighting the late appearance of the familiar cavalry section, which only shows up after we have coursed through the other vignettes of the piece. He emphasized how “William Tell” was not only one of Rossini's last operas but also a groundbreaking example of “grand opera” with its spectacular scenes and cast of thousands, setting the tone for the epic performances of its era.
The musical journey continued with Beethoven's Symphony No. 4 in B-flat major. Stowe described Beethoven, the quintessential epic composer, as composing in a more intimate mood. The symphony, composed in 1806, echoed the classicism of Haydn and Mozart, displaying Beethoven's witty, sparkling and elegant side.
Stowe shared Robert Schumann's pseudonymous review of the symphony, which encouraged the audience not to search for the abnormal in Beethoven but to turn to the source of his creativity. The Fourth Symphony, while conventional and mostly consonant in many respects, still brimmed with tension and excitement. The conductor's choice of a slightly faster tempo injected a newfound vitality into the piece. The symphony opened with an ominous and foreboding atmosphere. The first movement, marked “Adagio — Allegro vivace,” began with a sense of mystery and anticipation. The slow introduction unfolded with dark, brooding chords that seem to linger in the air, setting a somber tone. This foreboding quality was heightened by the orchestra's skillful use of dynamics and articulation, creating a sense of tension that pervaded the movement.
However, as the symphony progressed into the Allegro vivace section, a dramatic transformation occurred. The ominous clouds gave way to a burst of enthusiasm and vitality. The orchestra's performance here was characterized by energetic and lively themes with a spirited tempo that propelled the music forward. The dynamic contrast between the initial darkness and the subsequent exuberance was striking and demonstrated the orchestra's ability to convey a wide range of emotions within a single movement. Both “William Tell” and Beethoven's Fourth Symphony showcased the orchestra's dexterity with the strings' rapid finger movements producing exhilarating notes that mesmerized the audience.
The concert's grand finale paid a heartfelt tribute to John Williams' iconic “Star Wars” score. The orchestra's brass section shone, particularly in the rendition of the Main Title theme. The dazzling light show also deserves mention. The hall plunged into darkness, only to be illuminated by various colors corresponding to different character themes, calling our attention to the leitmotifs present in Williams' music, a tradition born in opera. The use of fog added an epic mystique to the performance, enhancing the immersive experience.
From the blue glow of Leia's theme to the ominous red of the Imperial March, the interplay of light and music was nothing short of magical. Yoda's theme emerged in a serene green hue, all enveloped by a mystical fog similar to the ambiance of Yoda's scenes in the movies. In the intervals between pieces, a single spotlight illuminated the conductor, adding a touch of drama to the proceedings. Not to be overshadowed, the shape of the instruments themselves became a part of the appeal, their surfaces reflecting and glowing with the colorful lights, adding an extra layer of visual delight.
In the grand crescendo of “Throne Room and End Title,” the colors alternated, creating a visual symphony that perfectly complemented the music. As the theme circled back to the main, iconic motif, bathed in white light, it perfectly matched the mood of the credits rolling at the conclusion of the final scene in the first Star Wars movie. The multitude of colors that danced throughout the performance was a sight to behold.
The concert was a testament to the power of music to convey stories, emotions and adventures. As we eagerly anticipate what they have in store for the upcoming season, one thing is certain: The orchestra's ability to weave epic tales through their music is something to look forward to with great excitement.
Notre Dame Symphony Orchestra tells grand musical stories
Trey Paine | The Observer
