Well…nearly half an hour later, after being completely mesmerized by what I was hearing, I came to the realization I had just listened to something wonderful. Who is this composer? Who is this marvelous violinist? And the orchestral accompaniment is played by a youth orchestra? That’s simply astonishing.
This violin concerto was commissioned in 2019 by the Los Angeles-based American Youth Symphony as part of their Korngold Project, and was premiered by them the following year with Charles Yang soloist. Unfortunately, extended effects and reduced funding sources in the wake of the Covid-19 pandemic necessitated the orchestra to cease operations in 2024. This CD is their closing legacy.
Violinist Charles Yang, who attended Juilliard with Bowers, is a current member of Time For Three – self-described as a “classically trained string trio” (though not the usual kind – 2 violins and a double bass, all of whom sing while they play), which “explores a variety of musical genres including bluegrass, rock, jazz and hip hop”. A quick sampling of their YouTube videos confirms they are a crossover group for sure – with an eclectic blend of vocals and strings, playing up to the audience with exaggerated involvement on stage, sometimes enhanced by ethereal lighting. While they are obviously accomplished musicians, I wouldn’t have expected to hear such consummate playing from one of their members in a traditional Classical concerto on this CD.
Ultimately, none of this really matters – except that it’s interesting to know. What does matter is that Yang is an excellent violinist. The first thing that struck me (other than the superb recorded sound) is his tone – silken and wooden (rather like Ray Chen), infused with vibrant radiancy. And the heartfelt expressiveness in his playing – notable for legato singing lines soaring aloft with sweetness and fervor. Despite whatever music he was playing, it was a joy listening to him.
As to the concerto itself, amazingly this is Kris Bowers’ first concert work for orchestra, and it is certainly worthy of the commission and Yang’s lavish talents. (He surely should have been named first on the album cover, before the soloist.) It is superbly crafted – creative, captivating, beautifully orchestrated and extremely gratifying musically. In fact, it is so good, it makes the violin concerto by that other “film composer”, Danny Elfman (his so-called “Eleven Eleven” Concerto, reviewed elsewhere here on my blog), sound rather hackneyed and commonplace in comparison (which it is). This concerto by Bowers is in a much more exalted level altogether – even compared to the two by John Williams (since we’re talking about film composers).
Considering Bowers was commissioned to write this piece as part of the orchestra’s Korngold Project, it’s not surprising that it sounds so similar to Korngold’s own violin concerto, with its rhapsodic melodies and rich harmonies in the orchestra. But Bowers reveals his film-score roots much more frequently (and dramatically) than does Korngold – especially in the opening Moderato, where energetic, rhythmic outbursts often interrupt the impassioned melodic passages. There is almost an improvisational feel to it, as it establishes a freer and more adventurous exploration of harmony. Its abundance of melodies never becomes overly sentimental; there are moments of real struggle in this music, with embattled interplay between orchestra and soloist.
The Second movement is even more reminiscent of Korngold – a pensive, nostalgic Larghetto, played here rather more like a free-flowing Andante, with an attractive forward momentum and sweeping lines. What makes it so special is the appearance of a scintillating Scherzo in the central section, leading to an intriguing cadenza, which makes some challenging demands of the soloist. It is followed by a mesmerizing final section – with a very moving, wistful melody in the violin above a spellbinding atmosphere in the orchestra.
The final Presto veers far away from Korngold’s Allegro assai vivace. This is a relatively short, propulsive moto perpetuo, displaying thrilling virtuosity from the soloist. I was impressed with Yang’s ability to play all the busy passagework without ever sounding “scratchy”. His tone remains at all times full-bodied and assured – fleet and effortless, yet articulate and muscular. And the orchestral contribution throughout is dynamic, impactful and sophisticated. The piece comes to a dramatic conclusion, almost too abruptly; it was over too soon and I wanted more.
This is a fantastic piece which deserves to be performed everywhere. The playing of the soloist and orchestra on this recording affords it the strongest possible advocacy – aided by inspired conducting from (cellist) Carlos Izcaray and sumptuous recorded sound.
After the glorious, melodious, enraptured beauty of Bowers’ concerto, the coupling is an unfortunate (and perhaps ill-advised) choice. It doesn’t really show this young orchestra at its finest (despite excellent playing all ‘round) and instantly sounds rather formulaic and derivative. I’m not a big fan of Schoenberg in the first place, and certainly not of his Chamber Symphony #1 – especially in this unnecessary arrangement for full orchestra, which just tries so hard to sound like Richard Strauss. But even in this grandiose orchestration, there is much to admire in this reading, played with elan by this fine orchestra.
The recording, especially in the concerto, is quite simply, lovely. I had just listened to a new CD-only release from Chandos, which I thought sounded very good despite having been denied the usual SACD treatment. But listening to this new Orchid CD immediately after it, I was instantly immersed in a higher level of realism and involvement – transported to an absolutely gorgeous acoustic which affords the orchestra a glowing, lustrous blend, cushioned on air, full of color and sparkle. And there are some potent bass drum strokes too – deep and pillowy, but never overpowering. The Schoenberg, recorded 2 years later in a different location, is not quite as lovely. The orchestra sounds a bit less spacious and plush, revealing a slightly more rugged character in the playing – which I suppose is appropriate for Schoenberg.
Finally, I must address the production itself. The total playing time of this CD is just 48 minutes. So even on the face of it I feel shortchanged. And when you factor in the less than desirable Schoenberg takes up 22 minutes of it, that leaves just 26 minutes of rewarding new music. However, taking into consideration the circumstances surrounding this recording, there likely wasn’t an opportunity to record more music once it became imminent the orchestra would be disbanded. So all must be forgiven – because Kris Bowers’ violin concerto is marvelous, as is the violin playing of Charles Yang, and it simply must be heard at all costs.
