The Scottsdale Symphonic Orchestra presented an exciting and innovative program on Mother's Day at the Scottsdale Center for the Performing Arts under the baton of Desmond Siu. The program comprised works by American composer Henry Flurry, African-American composer William Grant Still, and Dvořák's Cello Concerto in B Minor, performed by Peter Eom.
There is an excitement and a buzz around this new orchestra, founded in just 2023. Executive Director Denise Wilson commented on the importance of creating "shared experiences, weaving together diverse perspectives and histories into a harmonious expression of the human spirit", and this was reflected in the creative energy of the program.
The concert opened with a bright, bustling, and brisk fanfare by Henry Flurry – his Fanfare for My City – with open fifths signaling some of the scenic vastness one might associate with Aaron Copland, but with added carnival-like fun in the rhythmic and harmonic expression.
The piece was something of a prelude to the extraordinary symphony which followed. The symphony was composed by William Grant Still in 1930, and is titled Symphony No. 1 in A-Flat Major, Afro-American Symphony. It began with a melody in the English horn which was then passed to a muted trumpet, perhaps with a nod to the opening of Gershwin's Rhapsody in Blue.
However, the cultural and historical background of the work gave it a rhetorical quality that is far from Gershwin's musical language. In his journal, Still commented "I seek in the Afro-American Symphony not to portray the higher type of colored American [sic], but the sons of soil, which still retain so many of the traits peculiar to their African forebears". The movement showed the charm, charisma, and playfulness of Gershwin, but there was a soulful and spiritual premise that brought it into its own.
The second movement showed some of the most special musical language in the program, akin to Mahler meeting blues. It was as though the moments of harmonic intensity in the luscious string passages were released not by classical harmony, but into blues harmony. It was apparent that blues was the true basis of the language, rather than an inherited classical idiom. The rhetorical quality of the music is what made it most special. It was as though one could hear the voices of African Americans of the past; encouraging and tender at times, and dark and foreboding at others.
"It was as though one could hear the voices of African Americans of the past; encouraging and tender at times, and dark and foreboding at others."
The third movement began with syncopated rhythms – similar to Gershwin's "I Got Rhythm" – followed capriciously by a marching-band section. The symphony was like a large-scale tone poem with a rarely-heard tone and narrative that's fundamental to American culture. There were numerous unbridled, "play it out" moments that were great fun.
The final movement was very stirring with broad, scenic landscapes painted by the strings with a rich, tenor-like timbre. The ends of phrases were punctuated by the harp, as through to frame the picturesque scenes. There were hollers from the strings, and the capricious melody encapsulated many moods and tones which altered rapidly and yet connected intuitively, communicating something meaningful and profound. The tone of the melody seemed to be the most important characteristic – rich, moralistic, and spiritual in its qualities.
Towards the end of the symphony, the music slowed down to almost a complete stop before modulating to a minor key – a very different aesthetic to the razzmatazz of Gershwin – and symptomatic of the poetic quality of the work. It felt as though the soulful narrative was more important for Still than a glamorous finish.
Peter Eom performed Dvořák's Cello Concerto in B Minor with flamboyance and confidence, demonstrating sophisticated phrasing and intricate tonal qualities with rich vibrato and melodic intensity. The variety of Eom's tonal color was exceptional, and the intonation during double stops and string crossing in the high register was impeccable. His performance was met with standing ovation, and Eom played an encore - from Paul Desenne's Jaguar Songs - that was full of flair. It was percussive and mysterious to start, then energetic and rock-like before moving into salsa-style rhythms. The timbral variety was intense, engaging, and eclectic – sounding like an electric guitar in one moment and an Asian folk instrument in another. The encore sounded like a duet at one point, with intricate double stopping and glissandi. The virtuosity of the left-hand pizzicato section was enthralling, especially since the fingering and bowing figurations were already intricate and complex.
The Scottsdale Symphony orchestra begins its 2025-26 season with its first concert on Sunday, October 19, 2025, marking America's 250th anniversary. The season is entitled, "The American Journey: Struggle, Spirit, and Triumph", and reflects the enduring resilience, diverse voices, and shared aspirations that have shaped the nation's path from its founding to its future.
