Comments on: August 4, 1964: Five Things

By: John Clare

John Clare — Wed, 24 Sep 2008 12:00:35 +0000

Jay – that society was a joke from Derek Bermel, not from Steve. We all joined to give him a hard time – at least I did.
But 8/4/64 is the real deal, as is Steve’s music. It’s wonderful that the DSO and NY Phil were performing his music at the same time – I wish I could have heard Rhapsodies as well.
I ended up going to go hear 8/4/64 again on Saturday, and liked it even more after the performers had a chance to get more comfortable with it – and talked with Steve and Gene about the work – I’ve posted the video over on ClassicallyHip (not to be too self promoting!) if you’d like to hear more about the piece.
Basically, I think Stucky is getting his due – a Pulitzer Prize winner, dedicated teacher and gifted composer, that his music getting some recognition.

By: Jay

Jay — Tue, 23 Sep 2008 22:54:42 +0000

Haven’t heard the piece yet but isn’t Stucky a self promoting kind of guy? Check out his Facebook page where he has created the Steven Stucky admiration society.

John I appreciate your comments but wonder how objective they are.

By: Steve Layton

Steve Layton — Mon, 22 Sep 2008 20:34:03 +0000

I haven’t really heard it either, Andrew, but while Stucky might be on the “conservative” side (NOT in the Republican sense of the word, Zeus forbid!…) he tends to not head for “corny”. besides, a description of Either John Adam’s “Nixon” or Klinghoffer” would also (& actually, before their performances, did) strike me as corny beyond belief; yet they’re two quite musically powerful pieces.

There’s a YouTube video previewing the Stucky piece, here:

http://www.youtube.com/watch?v=WtSQ4PJTnrI

It doesn’t really give you any musical sense, but does outline the dramatic & philosophical background pretty well.

By: Andrew

Andrew — Mon, 22 Sep 2008 19:02:27 +0000

I have not heard the work, of course, and it may be the greatest masterpiece ever written.

From the description here, however, the whole thing sounds corny beyond belief.

By: James

James — Mon, 22 Sep 2008 07:12:10 +0000

I am a 30 year season ticket subscriber to the Dallas Symphony Orchestra, And I must say that Saturday’s performance of this Stucky piece is just about the best modern music I ever heard. I thoroughly enjoyed it, was moved and excited….. Our new maestro, Mr van Zweden is turning out to live up to his expectations! Our Chorus has always been outstanding, and having so many visitors in town to hear the premiere will no doubt enhance their reputation.
Bill in Dallas

By: michael

michael — Mon, 22 Sep 2008 05:19:37 +0000

John,

Thank you so much for your gracious review. I was fortunate to be a member of the chorus for these performances in Dallas. Rarely have I had such a satisfying choral experience. I’m so gratified that the response by reviewers and audience alike has been so positive. And I hope we get to record it too!

By: Greta

Greta — Fri, 19 Sep 2008 18:49:14 +0000

Excellent review John! I was also there last night and echo everything you mentioned…I too was blown away. It was a hugely impressive work, and it’s hard not to lapse into hyperbole in describing it.

Stucky successfully integrated each element of his large forces into a cohesive and powerful statement, and Scheer’s libretto was emotionally poignant in presenting the events from the first-person and letting the characters speak for themselves…allowing the audience to draw their own conclusions. The occasional role of the choir as Greek chorus drives home the still-relevance of these events, relating eerily to the seventh anniversary that occurred just a week ago.

Stucky’s score is incredibly beautiful, almost sensual in its sorrow, portraying the oppressive hopelessness and heat of the 1960s South and the contrasting pressure-cooker of the Oval Office equally vividly. The color palette is wide-ranging too, from massive full choral and orchestral writing, to stunning duets for the soloists, to chamber moments with only a few players.

It struck me last night that I was listening to a major, quintessentially American work by a major American composer, which in itself is a treasure. With echoes of Adams, at times Rouse and Copland, and references to Negro spirituals, Stucky taps into a language that is both deep-rooted and fresh.

Factoring in the technically and emotionally assured performance by all on stage, you could hardly ask for a more rewarding evening…except for to be able to hear it again back-to-back. I am lucky we had to suddenly evacuate from Hurricane Ike to have had the chance to see this, and to have heard the DSO as well in Mahler 5 last week…van Zweden really has them firing on all cylinders.

I can’t wait for this piece to make it to CD, and hope these forces get to record it.

By: Henry Holland

Henry Holland — Fri, 19 Sep 2008 18:17:37 +0000

Bravo to the DSO for commissioning a political evening length work during an election year If only the Dallas Opera hadn't been so craven and cowardly to cancel the American premiere of Mark Anthony Turnage's wonderful The Silver Tassie in 2003 because its anti-war theme would have made their patrons unhappy in the wake of 9/11.

By: zeno

zeno — Fri, 19 Sep 2008 15:42:26 +0000

I understand; and I agree with you.

Thank you.

By: John Clare

John Clare — Fri, 19 Sep 2008 15:19:24 +0000

I edited myself a bit quickly, and struggled trying to figure out how to say, if there were MORE oratorios like this, it would be as POPULAR as it was when Handel was all the rage in England.
Scheer and Stucky have made something special, and it makes me wonder why there aren’t more full orchestra, chorus, + soloists works being commissioned…because people should be eating this up.