Cleveland Orchestra examines in?uence of Stravinsky's ‘Rite of Spring’

The Cleveland Orchestra took part in UNC’s centennial celebration of “The Rite of Spring” Sunday night, examining Igor Stravinsky’s influence on Aaron Copland’s music.

The orchestra performed Copland’s “Suite from Billy the Kid,” as well as “Neruda Songs” by Peter Lieberson and Stravinsky’s “Petrushka.”

Franz Welser-Most, the orchestra’s music director, created an exciting concert by placing “Billy the Kid” and “Petrushka” side-by-side in the same program.

The conceptual similarities between the two works — both of which were ballets and feature folk music — aided audience members in their understanding of the connection between the two composers.

Conducted by Giancarlo Guerrero, the orchestra opened the concert with a brilliant and fun performance of “Billy the Kid.”

The quiet fanfare played by the French horns at the start of the piece quickly grew to a soaring climax, allowing the orchestra to take full advantage of the phenomenal acoustics Memorial Hall provides.

The first folk tune melody was played in the woodwinds and then restlessly traded around the orchestra.

Following the unambiguous celebration of American culture displayed by “Billy the Kid” was “Neruda Songs,” a tentative and melancholy song cycle featuring mezzo-soprano Elizabeth DeShong.

DeShong, who sang without the assistance of a microphone, showed off a beautifully resonant low range. The orchestra complemented her well, allowing her to sing without straining to be heard over the texture they provided her.

But some of the quicker rhythmic riffs in the woodwinds’ playing of “Neruda Songs” lacked the clarity that was present in “Billy the Kid” and “Petrushka.”

Guerrero spryly lept into the oscillating opening of “Petrushka” and continued to hold the audience’s attention until the final notes of the piece were played.

The folk melodies featured in the piece were accentuated by dissonant flourishes in the brass and woodwinds.

The orchestra displayed a masterful sense of balance throughout the performance, with the strings and woodwinds providing the brass with a serene texture over which to play.

The performance successfully linked Copland’s distinctly American music with Stravinsky’s famously unique sound.

Contact the desk editor at arts@dailytarheel.com.