A composer plays herself in Glass-inspired concerto for human at ACO program
By George Grella
There were a lot of things going on at the American Composers Orchestra’s Friday night concert in Zankel Hall—different stories and different musical ideas coming together to celebrate—well, many things.
And on top of that, there was a world premiere and a New York premiere, which almost made the opportunity to hear the third piece, Glass’s Violin Concerto No. 2, “The American Four Seasons,” seem the most humdrum part of the evening. Nothing could have been further from the truth. After intermission Tim Fain returned to play Glass’ second concerto. The composer’s Violin Concerto No. 1 was a landmark work, the second is its equal, while very different in style—it doesn’t sound like the Four Seasons, but it does vary solo cadenzas with ensemble/soloist movements in a way that is something of a cousin to the baroque concerto. Glass’s writing for the solo part has a freedom found infrequently in his catalogue. The solo part also has an explicit romantic expression, so different than the emotions that most of Glass’ music keeps just under the surface.
With a big, beautiful sound—both sweet and somber—that was set in relief by the smaller sized orchestra, Fain played it like it was indeed one of the great romantic era concertos. He is a frequent Glass collaborator and has the technique to handle the music’s considerable challenges. What imprinted itself on the memory, though, was his great lyricism, the exciting weight of expression, and the human ebb and flow of emotions.