Winged Creatures & Other Works for Flute, Clarinet & Orchestra
Demarre McGill, flute. Anthony McGill, clarinet.
Chicago Youth Orchestra/Allen Tinkham
Cedille Records 90000 187
Total Time: 59:03
Recording: (*)***/****
Performance: ****/****
There is a great deal to celebrate here in this new release from Cedille. First off is the immense talent of this collection of young musicians from Chicago. Since its formation in 1946, the Chicago Youth Orchestra has achieved international recognition for its performances. Under its current music director, Allen Tinkham, the ensemble has begun expanding their skills by being introduced to new works by contemporary composers. The release also brings together some significant talent in the two primary soloists, the brothers Anthony and Michael McGill. They are among the few African Americans performing in American symphonic orchestras. Anthony was the first African-American principal player in the New York Philharmonic. Demarre has been principal flute breaking down similar barriers in a number of orchestras from San Diego, to Dallas, to the Metropolitan Opera. He currently is principal flute with the Seattle Symphony. Both brothers enjoy impressive solo careers performing throughout the country both with major orchestras as well as in chamber music. International engagements have brought them to an even greater audience. The current program includes two new works specifically composed for the McGills that bookend two 19th Century works.
Of the two world premieres featured here, the opening piece by African-American composer Michael Abels was actually commissioned by Cedille. Abels is mostly known for his orchestral pieces but has been gaining more attention for his music as a result of his excellent scores for two horror films, Get Out (2017) and Us (2019). Winged Creatures is a light piece with an unbound energy that flows through the orchestra and the soloists mimicking to some extent the flying about perhaps of butterflies as suggested by the composer. The music on another level is equally reminiscent of John Williams’ concert music (a la Escapades), though the way Abels shapes his thematic material is decidedly unique. This is a beautifully captivating piece that allows both soloists to explore some rapid passage work and lyrical playing that explores the great range of both instruments. It is a truly impressive work excellently played. The piece feels a bit like an arabesque and a light, charming piece.
Wind players are perhaps more familiar with the music of Franz Danzi (1763-1826). Danzi was a member of the Mannheim orchestra where he played cello. Later he would serve in the courts of Munich and Stuttgart. More focus on composition would make him one of that second generation of Mannheim composers spreading the unique innovations. His Sinfonia Concertante, Op. 41 (ca. 1807-1813) illustrates that he was quite capable of exploring the possibilities of the developing clarinet and more familiar flute. There is also some likely experimentation that was encouraged by Danzi’s friendship with Carl Maria von Webber, whose own clarinet concerti precede this work. The opening Allegro moderato, whose length is the equivalent of the second and third movements, features great interplay between the two soloists and a very Mozartean theme. The central movement is a lyrical largo while the third introduces the rhythm of a polonaise, making it somewhat unique but also helping to place it as we usher in the changes in the air of the 19th Century. The orchestra must change gears here to help get that sense of 18th-Century style. The balance between the strings and winds is handled very well with the wind solos popping beautifully. It is that sense of energy and enthusiasm for the music that actually comes to the foreground in this performance. The McGills are stunning in this performance. The lyrical playing, even within the fast tempi, make this an engaging performance.
In some ways, Camille Saint-Saens early Tarantelle, Op. 6 (1857) is like the Abels in its light-hearted dance-like folk rhythms inspired, mistakenly, by a different insect, the tarantula. Regardless, it is one of the composer’s equally charming simple works that is just a delight to hear. The music is also personal for the McGills as it was the piece they performed when they appeared as teenagers to perform it on Mister Roger’s Neighborhood.
The final work on the album, Concerto Duo was composed by Joel Puckett (b. 1977) or a 2012 concert featuring the McGills. The piece is a series of scenes. It opens with a nod to the American roller coaster, “The Great American Scream Machine.” The music has exciting accents and a somewhat jazzy-inflection that is reminiscent of Daugherty’s orchestral music with a tough of Giacchino. The central movement, “Mama Dee’s Song for Joel”, quotes a tune that the composer’s grandmother used to sing to him. Here the orchestra presents the melody and then spends the movement trying to get the baby to go to sleep, so to speak. It allows for Puckett to explore a variety of orchestral color against the two solo lines. It is the gentle, beautiful heart of the work that merges into the final movement. “For Audrey” takes us to Southern California to honor the birthplace of the CYSO’s former Executive Director and General manager’s daughter. Here are gentle undulating waves of sound to open the movement and featuring the two soloists in an almost cadenza-like feel as the orchestra then gradually then enters. It becomes a light piece with fascinating mallet percussion floating through the background of the equally interwoven solo lines. Gorgeous thematic writing makes this a quite emotionally-touching finale. The piece was created when Pucket was the orchestra’s composer-in-residence.
The CYSO proves that it can compete with many of the other professional orchestras in the world with this recording. The Danzi is well played and communicates the style very well. You can always feel like the players are having fun, perhaps inspired further by the McGills professionalism. Thus it becomes an excellent souvenir and memory of this particular point in the orchestra’s life. The repertoire makes this an easy to recommend release. That said, it is worth noting that for whatever reason, the sound feels somewhat dry. The soloists can feel almost as if they overwhelm the sound picture sometimes. It works to the advantage of the Saint-Saens where the crispness adds to the excitement. But elsewhere one wishes for just a little warmer ambience.
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