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Evelyn Glennie, percussion soloist
Leif Bjaland, conductor
Fort Worth Symphony Orchestra
Bass Performance Hall
November 17, 2001
HARBISON
Remembering Gatsby: Foxtrot for Orchestra
SCHWANTNER
Concerto for Percussion and Orchestra
PROKOFIEV
Symphony No. 5, Opus 100
I
failed to realize that I had done something so terrible
on Saturday that I deserved punishment. I did not
learn this fact until I was forced to sit through
the second most unbearable symphonic performance of
my life. The worst will always remain the Dallas International
Organ Competition and hearing the same unbearable
piece of music three times. But Saturday’s performance
was definitely second. All of that suffering could
have been avoided if I had only known that this weekend
was
apparently this year’s “experimental”
music weekend – when the Fort Worth Symphony
does their best to appear as avant garde as the Dallas
Symphony. Don’t they realize that we like them
because of their traditional repertoire and continued
dedication to playing the classics? I guess not.
The evening opened in strange fashion. The first work,
“Remembering Gatsby: Foxtrot for Orchestra”
seemed to have potential. It was strange to hear that
kind of music at the Bass Hall, but I realized they
were going for a different kind of sound, so it worked
all right. There were particularly nice performances
from several of the Orchestra’s musicians, and
it was short. All in all, not too much about which
to complain. The guest conductor, Leif Bjaland, seemed
to have a nice, easy manner and a friendly smile.
Then it was on to hell. I have never had my senses
so assaulted in my life. The Fort Worth Symphony’s
performance was good; Evelyn Glennie’s percussion
performance was good; together it was a terrifically
awful cacophony of sounds I had hoped to never hear
in my life. There are pieces that just wouldn’t
be complete without a strong beat and rhythm. Schwantner’s
Concerto is not one of them. Obviously composed with
a strong percussion soloist like Ms. Glennie in mind,
this piece is frighteningly bad.
 I
did not know at the time I was watching the concert
that Ms. Glennie is deaf. Honestly, the fact that
she is deaf and a musician matters little to my opinion
of her performance. What I do care about is the protestations
she makes on her web site (http://www.evelyn.co.uk/index.htm)
about the fact that her deafness is irrelevant. Of
course her deafness is important. Ms. Glennie’s
performance was intended for those of us who do not
share her profound loss of hearing. As such, we do
have an
interest in how she is able to perform. I would never
tell Ms. Glennie that she is somehow incapable of
performing. But I do take exception to the idea that
what everyone hears is subjective.
Music
is subjective on a certain level, in terms of what
effect it has on the listener and how it makes us
feel, but it is also fiercely objective. Precision
is key to a good musical performance. Why else would
musicians spend hours practicing, making certain that
they hit every note perfectly, in just the right time
and tempo, if not everyone hears music the same way?
Why bother to write down the notes if the music is
subjective? That is a lie. There is fundamental truth
in the world around us, and it is still applicable
to music. To say anything else is an insult to all
musicians.
- Rebecca
Lewis, Classical Editor, dallasmusic.com
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