Béla Fleck’s Gershwin Rhapsody at Blossom is extra than simply ‘delusions of banjer’ – Seen and Heard Worldwide

United States Blossom ComPetition 2024 [1]: Béla Fleck (banjo), Cleveland Orchestra / Brett Mitchell (conductor). Blossom Music Heart, Cuyahoga Falls, Ohio, 6.7.2024. (MSJ)

Bernstein – Three Dance Episodes from On the City
Gershwin – Rhapsody in Blue (trans. Béla Fleck)
Barber – Overture to The Faculty for Scandal, Op.5
Nonetheless – Symphony No.1, ‘Afro-American’

In 1992, the Austin, Texas, folk-punk-bluegrass band Dangerous Livers launched an album delightfully titled Delusions of Banjer, enjoying off the outdated phrase ‘delusions of grandeur’. Information that banjo virtuoso Béla Fleck had spent his time in the course of the Covid pandemic arranging George Gershwin’s Rhapsody in Blue for banjo and orchestra begged the query: labor of affection or delusions of banjer? Listening to it reside within the opening classical live performance of the 2024 Blossom Music Competition with the Cleveland Orchestra leads me to assume that it’s somewhat of each however enjoyable both approach.

There is no such thing as a doubt that Fleck is the world’s pre-eminent banjo participant, one who often pulls off stunts of jaw-dropping virtuosity. He has commented that the Gershwin piece, initially for piano and orchestra (or piano and jazz band, within the authentic model), has been a lodestone for him his complete life, and bringing it into the world of his five-stringed instrument was a bucket listing challenge. Fleck proved that it could possibly be achieved. Whether or not it ought to be achieved is rather less sure, however there’s all the time one thing to be stated for reinventing the classics.

Rhapsody in Blue has numerous intricate figurations that lie gratefully below the arms on the piano which was, in spite of everything, Gershwin’s instrument. Transferring these figurations to the banjo was heroic work on Fleck’s half, however the higher limits of human digital dexterity on this instrument put a dour governor on how briskly it may be performed, which did end in a efficiency that was held again in locations.

One of many issues was the character of the required amplification to pit banjo in opposition to full orchestra. The amplified tone had a boosted mid-range and diminished excessive vary, distorting the naturally tart sound of the instrument. Although conductor Brett Mitchell was cautious to not drown out the soloist, Fleck’s insistence on capturing all of the notes and avoiding the type of jazz banjo strum that could be anticipated in such an association restricted his potential dynamic vary. A banjo could make a good quantity of noise, however it could possibly’t rival the sheer firepower of a piano, so the held-back quantity ranges felt inhibited.

There was a lot leaping of octaves to suit all of the piano notes to the banjo, plus some small cuts and tweaks of fabric. All-in-all, it was a enjoyable and attention-grabbing tackle a basic that’s celebrating its centenary this yr. Fleck’s followers – closely in attendance – have been decided to obtain the association rapturously and did so. For a lot of, it was maybe an entertaining experiment that may function a complement to the piece with out ever changing it, which is all that Fleck sought within the first place. I might name {that a} success. He gave a pleasant solo encore which began with summary ripples however ended up quoting the theme from TV’s The Beverly Hillbillies, to the good amusement of the viewers.

The remainder of this all-American program included an alternately joyful and sensual romp by way of Leonard Bernstein’s Three Dance Episodes from the musical On the City, with excellent solos from Michael Sachs on trumpet and Daniel McKelway on clarinet. Brett Mitchell led with nice assurance however left room for particular person gamers and whole sections to face out. The Overture to The Faculty for Scandal by Samuel Barber was given with related fizzing vitality, with Mitchell shrewdly realizing when to steer issues and when to let the orchestra run with it. Principal oboist Frank Rosenwein introduced the solos to lush, lyrical life. To be sincere, in some performances, I look forward to these oboe solos to go so I can get again to the enjoyable quick music, however Rosenwein has a approach of grabbing your consideration – he doesn’t merely play notes, he communicates. If you hear it performed like that, you see why Barber put it there.

The live performance closed with a stunning alternative to savor William Grant Nonetheless’s First Symphony, subtitled ‘Afro-American’ by the composer, although as Mitchell identified in his opening remarks, it may simply as simply have been known as the ‘Blues Symphony’. The work matches the twelve-bar construction of blues with the extra conventional eight-bar phrasing of classical music, lastly intermixing them to the purpose that it turns into one thing new. Nonetheless’s sense of orchestral colour serves the fabric nicely within the first three actions. Solely the final motion comes off as overlong and subdued. Maybe the work may really feel higher closing the primary half of a live performance as an alternative of the tip, however it’s worthy music, nicely well worth the occasional outing. The orchestra was excellent in Nonetheless’s quite a few wind solos and featured sections, mixed with the strings digging in deeply.

Brett Mitchell has opened the previous few Blossom ComPetition seasons and confirmed to be a well-liked chief. He can take a laid-back strategy at instances, by no means pushing the Gamers of the Cleveland Orchestra too urgently, however he definitely permits them loads of room to display their expertise, which they did right here with gusto. Mitchell has lengthy historical past with the Cleveland Orchestra, first as an assistant after which an affiliate conductor, adopted by common visitor appearances ever since, and he’s a welcome returning visitor. He begins his music directorship of the Pasadena Symphony this fall.

Mark Sebastian Jordan