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Comments from ACO's October 31, 1999 "Protest" Concert The first concert of ACO's 1999-2000 season continued its "20th Century Snapshots" series of Millennium themed concerts. "Protest" featured four works of social commentary, each in a distinctly different style, and each with its own particular social focus. The concert program raised the question as to whether music works as social commentary, or whether a social agenda limits the music's interest. The composers were: Alvin Singleton, Robert Beaser, Curtis Curtis-Smith, and Louis Ballard. Some felt that the mix of music and message was more than the sum of its parts: "I was surprised that at the emotional impact expressed in the music." "The music did fit the program's theme eloquently, poignantly, dramatically." "I was greatly inspired by today's program. For me this music was a call to social action. My psychological response overwhelms me as I write this. In a lifetime of music this is an unusual response." "Music can be effective in that it can help one empathize. For example in Beaser's work without having to be Jewish or Catholic; or with the Ballard without being Indian, or the Singleton, without having to be black." "Music can be effective as social commentary, one need only think of Satie's "Parade." "For me, music can be very effective as social commentary. It adds the emotional 'experience' to my intellectual convictions about the issues presented." "makes one more aware of feelings underlying actions." "connections to vital social issues." "stimulating both thought and emotional response, and connects various aspects of life." "The theme makes one listen more carefully for the various motives." "It can move people to 'see' with their ears." For as one listener reported, "I have my doubts as to whether concert music can be effective as social commentary." Others also had their doubts: "At best, titles are labels which manipulate the audience." "I don't think one can reasonably expect music to change social policy-- but it can reflect the reactions of some segments of society." "Music does not an unambiguous conceptual argument make." "If there are words, there is commentary, if notes alone, then only dramatic, comic, or emotional emphasis. "Though the titles helped me to understand the composers' ideas, the titles might have been added afterwards." "The pieces purported to be related to non-Caucasian incidents sounded very white American to me. This may sound arrogant, I know, but I was expecting more tonal diversity." Occasionally music is effective as social commentary, as in Shostakovich's irony, or much of Kurt Weill, both of whom criticize the prevailing society." Still others felt that the music on the program didn't necessarily carry through on a social message, but that needn't necessarily detract from the music's worth: "If contemporary composers are iconoclastic enough, they don't have to depend on a label." "Once the music began, I forgot about the titles and let the music come through me." "when the quality of a piece isn't worthless outside of the "message" than it can be effective as social commentary." "Absent the theme, it is not evident that the concert was organized around any specific concept." "The protest theme was more useful to the presenters as an organizing device than it was to the listener." "Titles provide a context for unconventional form, harmony, and melody. Instead of the expectations of classical form, the titles and theme provided a kind of substructure to support the innovative components." And for one listener, the idea of thematic "Protest" concert may have backfired: "Of course the music is social commentary, but unfortunately, in this gloriously played program, it was heard by the converted-- those who have protested social injustice from the days of Sacco and Vanzetti to the era of Harvey Milk. In a way, those who should have attended the concert, thereby having their consciences piqued, were not here." Louis Ballard: Incident at Wounded Knee Louis Ballard, a native-American composer, was actually inspired by two incidents at Wounded Knee--the 19th century massacre, and the more recent Indian protests and trials that took place in that place, which is now considered sacred ground. For many listeners Incident at Wounded Knee was both a compelling reminder and a strong creative statement: "Most attractive piece on the program." "Wounded Knee, which I have visited, was experience in a deeper way today." "Yes, Louis Ballard's piece effectively reflected its theme, but also went beyond the theme." But for some, the work came up short: "Ballard's piece sounded 'un-Indian'--a cross between middle European (say, Mahler), 1950s movie music for a wild west extravaganza starring John Wayne." "Hardly ground-breaking." "I expected something in Wounded Knee that didn't remind me of Copland." Robert Beaser: The Heavenly Feast There was near unanimous praise for Robert Beaser's The Heavenly Feast, which received its New York premiere with soprano Lauren Flanigan. Based on texts by Gjertrud Schnackenberg, the the work recalls, in the first person, the story of Simone Weil, a Jewish-born nun who died on a hunger-strike protesting Nazi aggression. Here is a representative sampling of the passionate audience response to this work: "profoundly moving." "spectacularly dramatic and much more melodic/consonant than I expected." "text and intense involvement of soloist made this the most effective work on the program." "beautiful commentary, especially at this time of year." "the music deeply intensified the emotions of The Heavenly Feast. Transformed a unique choice into an understandable response to a real-life situation." "Bravas for the soloist!!" "the poem and subject matter make this most effective. Having the poem made it much more meaningful." "familiarity with Simone Weil greatly influenced my perception of the work." "I did not expect to experience these emotions." "I was moved to tears and thoughts of the Holocaust." A few in the audience felt the work was indeed emotional, but much more personal and rather less universal in its nature: "of today's works, The Heavenly Feast could have been social commentary, but the tone was so inward and intimate that the piece seemed more like a realization of Ron Hanson's novel, "Mariette in Ecstasy," than something about Word War II. (Britten is perhaps a better 'social protester here?) "certainly expressed anguish, but I am not sure it went beyond." Alvin Singleton: 56 Blows Alvin Singleton's 56 Blows was inspired by the Rodney King beating and by Bill Bradley's speech on the Senate floor, denouncing the acquittal of the Los Angeles police officers involved. In that speech, Bradley struck the podium 56 times, recalling the 56 blows captured the infamous videotape. While the work was inspired by the events, composer Singleton, maintains the work is symbolic, but not programmatic. For some listeners, 56 Blows made a strong impression, recalling the violence of the incidents which inspired the work: "an example of social commentary that works." "a real connection to reality." Programmatic or not, other listeners felt the work lacked the full range of drama and depth that the subject required: "lacked sufficient structural unity to be effective, though the drum solos were first rate." "I was surprised by the shallowness of the Singleton piece. I expected a lot." Curtis Curtis-Smith: GAS! - The Great American Symphony Curtis Curtis-Smith's GAS! - The Great American Symphony closed the program. The piece was distinctly different in intent from the three previous works. Where the others were inspired by specific events, GAS! strove to provide a satirical commentary on contemporary American life. The work included some unusual instrumentation, including banjo, saxophone, mandolin and electric bass, along with the orchestra. Curtis-Smith freely used quotations from popular music, Broadway, and more. In the final movement, Curtis-Smith freely alternated between a harmonically "warped" version of The Star-Spangled Banner and I've Got a Gal in Kalamazoo. The composer's aim for satire was appreciated by some audience members: "used humor to skewer pomposity." "I particularly enjoyed GAS! I may have supplied the irony for myself, but it seemed to be there." But for others in the audience, the work seemed neither funny, nor unique: "Mr. Curtis-Smith seems to be a very, angry, bitter man. I don't think his piece is funny." "Gas is as ponderous as the composer's comments. The piece is ersatz Ives--but without Ives's originality or humor." "By coincidence a good title, but it is a very bloated work!!"