In 1962, when the New York Philharmonic moved from Carnegie Hall to the brand-new Lincoln Center, famed Conductor Leopold Stokowski founded the American Symphony Orchestra (ASO) to play at Carnegie. The ASO had, and has, multiple goals: affordable prices; concerts of less-known pieces, particularly from the Americas; and the presentation of new music. The orchestra also has an educational component, including in-person conductor's Q&As preceding performances; concerts at the Metropolitan Museum keyed into current exhibitions; detailed and often fascinating notes in the Playbills: and free videos and recordings on the website (americansymphony.org/). Music Director Leon Botstein, part of the ASO since 1992, honors the music with excellent presentations and is a clear and charming speaker.
In other words, the ASO and Mr Botstein are treasures.
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| Photo: Matt Dine |
At the recent Carnegie Hall concert, the ASO and the Bard Festival Chorale performed an evening titled "Forging an American Musical Identity," starting with Dudley Buck's Festival Overture on the American Air (1879), theme and variations on "The Star-Spangled Banner." I am not a fan of "The Star-Spangled Banner," finding it too martial and not all that pleasant to listen to. But Buck made it as beautiful as I think it ever could be.
Next came three spirituals arranged by Harry T. Burleigh (1866-1949), arguably the first Black composer to achieve national fame. They were gloriously sung by mezzo-soprano J'Nai Bridges.
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| J'Nai Bridges Photo: Matt Dine |
The first act closed with an American centennial march (1876) by Richard Wagner, which was surprisingly dull.
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| Photo: Matt Dine |
The second act brought Symphony No. 5, Op. 62, "Niagara," composed by George Frederick Bristow (1825-1898), with text by Charles Walker Lord, featuring orchestra, chorale, and four soloists. The work hadn't been performed in full in over a hundred years. As rescued by the ASO, the piece was received rapturously, in a way that made me hope that, if there is an afterlife, Bristow was watching.
Wendy Caster
