There are some concert program combinations that are simply too intriguing to pass up—for any number of reasons. Maestro Aram Demirjian and the Knoxville Symphony Orchestra unlocked one of those combinations this past weekend, cutting an enjoyable swath through music history from early Romanticism through turn-of-the-century Impressionism, then finally introducing a compelling new work by a living American composer. The fact that KSO audiences not only seem to accept innovative programing, but also find that they enjoy the experience of the very new when presented in the proper context, is a notable accomplishment of Maestro Demirjian.
In this case, the very new was Sarah Gibson’s to make this mountain taller, which opened the second half of the program. The 9-minute work was commissioned in 2023 by the League of American Orchestras with the support of the Virginia B. Toulmin Foundation—a process that also granted the KSO one of the first performances. With Gibson present at the performance, she noted the inspiration for the work, her own feelings on the day Roe v Wade was overturned, with the title coming from a poem by Rupi Kaur. The work uses an expanded orchestra with extra woodwinds and extensive percussion and altered instrumental/vocal effects. Non-programmatic, the work has an infectious shifting tonality of sliding pitches, guttural punctuations from low brass, rhythmic motifs from trumpets and horns, abstractions and melodies from the strings, and an energy that seems to emerge from all corners of the orchestra. It’s a work that begs answers to questions even if the listener isn’t sure what those questions are. On this first listen, it appeared that the orchestra met the work’s daunting performance challenges.
While it is undeniable that the Beethoven Violin Concerto enjoys a hallowed place in the “warhorse” category of repertoire works, that’s a bit unfortunate in its implications. The fact is, it had been almost seven years since it last appeared on a KSO program. And, its depth and sophistication offers a wide range of interpretive opportunities for violinists to probe and explore. Given this familiarity, violinists are unlikely to attempt the work without having a fresh point of view to set themselves apart. On this occasion, it was an opportunity for the New Zealand-born, 26-year old violinist, Geneva Lewis, to ride the warhorse and share her take on Beethoven’s showpiece.
It was a bit surprising, yet ultimately satisfying, to find Lewis and Demirjian taking an extremely nuanced path, with careful tempos, articulated details, and subtle, almost delicate dynamics. Interestingly, the sophistication and elegance of the score accepted this approach as if it had always been intended and practiced. This approach, embracing the recent tendency to remove excessive ponderousness from Beethoven in general, takes courage on the part of a violinist for it exposes technique and execution to closer examination. In this case, Lewis’ show of maturity as a still-young artist was impressive and was indicative of what a busy and varied performance schedule can do for a soloist.
After the entrancing Allegro ma non troppo and its cadenza, Lewis doubled down on a careful tempo for the Larghetto in which the strings lay a foundation of poignant lyricism. That lyricism later turns gently pizzicato as the violin continues dabbing achingly beautiful tonal passages with meditative color. The Rondo gained momentum as its dance energy carried the listener to Beethoven’s festive finale.
Demirjian concluded the evening with Debussy’s La Mer (The Sea), yet another work that is performed less than one seems to think. After the enjoyable tonal cacophony of Gibson’s to make this mountain taller, Debussy’s colorful voyage seemed miraculously accessible, if not joyous, with Demirjian and the orchestra luxuriating in the sweeping details of its grand ebb and flow.
The 3-movement Impressionistic work, undulating with passages that range from picturesque to savage, is naturally a feast for musicians and this sea voyage was no exception—from Concertmaster William Shaub’s solo moments to the work’s five trumpets, to flute and piccolo, to Ayca Yayman on English horn and Claire Chenette on oboe, to the sparkling of two harps, and on to the warmth of the horn section (Jeffery Whaley principal). In this case, the voyage was the destination.
