The CCO Premieres A New Concerto By Local Composer James DeMars.
By Dave Irwin
COMPOSER JAMES DeMars has been to the outer reaches of
modern music, performing works marked by atonalism and harsh dissonance.
And then he stepped back.
"Sometimes people hear my music and say, 'Oh, it's
so tonal, it's not cutting edge,' but that's
a conscious decision on my part," the composer declares.
"I wanted to come back to things that resonated more with
myself and with the audiences I was dealing with."
The Catalina Chamber Orchestra, conducted by Dr. Enrique Lasansky,
will premiere one of DeMars' latest works, Concerto
for Flute and Chamber Orchestra, on February 26 and 28. Featured
soloist will be Arizona Opera Company principal flutist Linda
Lasansky. In attempting to build its audience, the concert will
offer free admission for students accompanied by adults. In turn,
an adult with a student will receive half-price admission.
Dr. James DeMars has been associate professor of theory and composition
at Arizona State University since 1981. His most successful classical
work thus far is An American Requiem. He conducted the
premiere of that work in 1995 at the Kennedy Center in Washington,
D.C., with the Mormon Tabernacle Choir. However, he's more
familiar to listeners outside of traditional classical music,
through Native American flute player R. Carlos Nakai. Nakai has
recorded a number of works by DeMars, including Two World Concerto
and Native Drumming.
"My writing is my grand escape," DeMars explains.
"I'm a very early riser. I'll get up at 3:30
in the morning and then I write until I go to the university.
No matter what, I'll always be writing."
He's performed works by avant-garde composers like Karlheinz
Stockhousen and George Crumb, and admires the minimalists. However,
it's the impressionists, Claude Debussy and Maurice Ravel,
for their orchestral textures and sonorities, who are the touchstones
of DeMars' style.
"Those sounds are attractive to me," he says. "I
was also trained as a Romantic pianist. My favorite teacher was
a Beethoven specialist."
His new concerto is subtitled "Big Two-Hearted River,"
after the Ernest Hemingway short story. The work is based on a
piece that DeMars composed for alto flute.
"It was originally written for alto flute for the National
Flute Convention," he says. "Enrique convinced me
that there was a future for that piece in another format, for
conventional flute. And I was glad for that opportunity because
I thought the work needed revision. So I tore it apart last fall
and rewrote it for Enrique's orchestra and for his wife,
Linda."
In describing the piece, De Mars notes, "I started with
the flute sound. I was trying to stay away from what we used to
call in college 'the list pieces,' where you'd
make a list of everything that was unusual that an instrument
could do and make sure to use it all by the end of the piece."
Although technically a concerto, the work combines elements of
several forms. The programmatic references and allusions to physical
description of rivers and natural landscape recall the symphonic
tone poem. The smaller forces and restrained interplay between
soloist and ensemble hearken back to the classical concerto
grosso.
"It isn't the usual concerto in terms of trying
to be very virtuosic with cadenzas and trying to outdo someone
else's athleticism," DeMars avers. "This has
more concern for creating an integration between the flute and
the orchestra."
The work's structure also breaks with the traditional
concerto's three movements. "It's in two
parts, and each part has a change of heart," he explains.
"The title is the form of the work, too. As in the story
itself, there's a working out of one's past. A more
practical way to say it might be that it presents a duality, a
shift from one frame of mind to another. There were a lot of compositional
problems created by the dualism."
By writing the concerto without percussion parts, DeMars was
able to keep a sense of scale and volume. "There's
not a lot of sturm und drang; it's not a passion-pounding
sort of piece," he says. "It's more subdued.
For my ear at this point, I have enough other pieces with big
climaxes and I thought, 'Not this time.' There's
also a sense of the impressionists in the formal element of not
trying to be overly dramatic, but to find something that flows
and works its way out. And of course the idea of the river and
fluidity of motion is present through much of it. In some ways,
it's like taking a hike in Arizona; like saying, 'I've
had it with the city, I need to get away. I need to think about
things that are personal.' "
The concerto is part of a program of very audience-friendly works,
including one of the 20th century's most popular pieces,
Samuel Barber's Adagio for Strings, Op. 11, and
also Mozart's amiable Symphony No. 40 in G minor, K.
550. With the premiere of the concerto, the Catalina Chamber
Orchestra continues its quest towards full-professional status.
The approximately 35-member group includes performers from the
Tucson Symphony Orchestra and Arizona Opera, as well as music
teachers and other professional musicians. The orchestra was founded
by Enrique Lasansky in 1991, and will record its second CD later
this year. His wife Linda, in addition to working for Arizona
Opera and being the Catalina's principal flutist, also
teaches and is a member of the flute/harp duo Reverie.
"I think Enrique deserves a lot of credit for the fact
that this work exists," DeMars admits. "I would not
have taken the time to create the work had he not been up there
saying, 'We want this and we're ready to try it.'
I'm impressed with him. He's very good to work with."
The Catalina Chamber Orchestra performs at 8 p.m. Friday,
February 26, and at 3 p.m. Sunday, February 28, at the Berger
Performing Arts Center, 1200 W. Speedway Blvd. Tickets are
$10 general admission, $5 for students. Students accompanied by
an adult will be admitted free of charge, and their adults will
receive a half-price discount. Tickets are available at Hears
Music and Borders Books. For information and reservations, call
624-0170.
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