Pianist Orgel explores Native American influence
Toolbox
By Jim Lowe Times Argus Staff - Published: April 22, 2009
COLCHESTER – Was there actually a Native American influence on classical music?
Shelburne pianist Paul Orgel explored just that question in a solo recital titled "American Suite," Sunday at Saint Michael's College's McCarthy Arts Center, part of the school's Humanities Program Concert Series. And if Orgel's excellent recital was any indication, it indeed had some influence.
Orgel's programming was quite imaginative. He used Antonin Dvorak's "American Suite" as a base, interjecting works by later composers between the five movements of the suite. This proved ingenious as it may well have been the Czech Dvorak (1841-1904) that first created an "American" sound. Indeed, he was invited to the United States to help American composers develop an indigenous sound. Dvorak implored the Americans to utilize their own native sounds – particularly Native American and African American.
Harvey Worthington Loomis (1865-1930) was one of the composers who studied with Dvorak during his visit here. Orgel performed Loomis's "Lyrics of the Red Man," Book I, not a masterpiece, but an attractive and flavorful work. The five movements represented different moods, some with sounds and rhythms made familiar later in scores to Westerns. (I guess that means the film scores were actually "authentic.") Particularly touching was the introspective "The Silent Conqueror."
Orgel's performance throughout was natural, sensitive and convincing. There was virtuosity when called for, tenderness, and lots of flavor. He also offered program notes throughout that were pithy and interesting.
Other than Dvorak, there was only one non-American represented. Italian virtuoso pianist and composer Ferruccio Busoni (1866-1924) actually lived and taught in Boston 1891-1894, and was influenced by Dvorak as well as his by his American stay. (He thought that Americans were materialistic – even in the 19th century.) Busoni's 1916 "Red Indian Diary (Indianisches Tagebuch)" had a much more European flavor than the American music, as well as the Dvorak. It also reflected Busoni's piano virtuosity, yet there was much of the flavor heard in the Loomis and the Dvorak.
The most intriguing music on the program was by contemporary American composers, both of whom were in attendance at Sunday's concert. The "Pawnee Preludes" by Curt Cacioppo (b. 1951) comprises nine short movements, each based on a Native American folk melody or two, set in a contemporary American style. There is a great variety of moods and the music maintains the Native American sound kept fresh with contemporary harmonies. Perhaps the most intriguing was the last, "Mad Chief Mourns for His Grandson," with its dirge-like drum beat countered by asymmetrical rhythms and pensive melody. It was quite moving.
Variations on An American Folk Song" by Allen Brings (b.1934) had no Native American pretenses. But, it certainly sounded American. Brings took the theme and played with it in a variety of attractive ways. Spicy harmonies and rhythms kept the tonal base interesting.
All in all, though, the most American sounding and most brilliantly written was the Dvorak. Here we find an American sound, explored in depth in a Romantic style. In Orgel's capable hands, it proved quite moving.
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