Probably the most impressive aspect of Chicago Symphony Orchestra’s 2013-14 season has been its consistent commitment to musical diversity. The programming has increasingly given a spotlight to younger (or at least living) composers, but it has also found forgotten gems and paired relatively obscure selections with more popular ones. This particular performance was an especially strong example of this trend, as established composers Barber and Gershwin shared billing with a lesser-known contemporary of theirs (William Schuman) and CSO co-composer-in-residence Mason Bates in a program that was stylistically diverse while still demonstrating logical construction.
While each selection inhabited a distinct sound world, there were several connecting threads that made their proximity to one another more rewarding. The most obvious connection was that these were all written by American composers living during the 20th century. However, thanks in part to Phillips Huscher’s consistently excellent program notes and Leonard Slatkin’s shocking yet welcomed verbal preamble to the Schuman Symphony, more significant abstract similarities became illuminated.
For example, all four works featured sectional forms that favored short-term development of motives and styles over conventional forms that are dependent on long-term development and recurring ideas. This concept of sections was also manifested in the orchestration of the two pieces on the first half, as both Barber and Schuman favored presenting material within a single orchestra family. Furthermore, the latter three selections were all largely dependent on rhythms from popular music, even though they were all handled uniquely. These deep-structural connections allowed for greater flexibility in surface elements such as style and use of tonality, which made for a much richer experience.
Oddly, the featured selection appeared not to be Bates’ Violin Concerto or Gershwin’s An American in Paris but, rather, Schuman’s Symphony no. 6. Schuman, who died in 1992, received the first Pulitzer Prize awarded for composition, but he was also renowned as an educator, serving as president for both the Julliard School and the Lincoln Center for the Performing Arts. Relative to this program, the significance of Schuman’s Sixth was tipped by Slatkin’s five-minute introduction, though it was the music’s transcendence of American concert music tropes that set it apart.
Written in 1948, it was simultaneously retrospective and forward-thinking, recalling Charles Ives' juxtapositions and Gershwin-esque extrapolations on syncopation while demonstrating a grasp of percussion that anticipates the writing of composers such as Michael Colgrass and Joseph Schwantner. Although names like Bates and Gershwin are more effective for marketing purposes, it was Schuman’s monumental work that united the American and generation-spanning program most effectively.