For the La Jolla Symphony’s 2018/19 season, Music Director Steven Schick chose the title and theme of “Lineage.” Among other things this word suggests a continuum, an unbroken linkage between past, present and future, and this concept is central to both the season and the “Deep Roots” concert.
The past is invoked by Anton Bruckner’s much-revised Symphony No. 3 in D Minor. In his day Bruckner was known for his devotion to Richard Wagner, yet there is no discernible Wagnerian influence in this music. Rather, Brucker drew on other sources for inspiration – classical form, sacred music (Bruckner was a devout Catholic), and the folk tunes of his Austrian youth – and synthesized them into a style further influenced by Bruckner’s experience as a pipe organist and characterized by long melody lines and large-scale thematic shifts. Above all, the Symphony reflects Bruckner’s love of brass instruments. Though despised by contemporary critics, his work was admired by other composers, notably Franz Liszt and Gustav Mahler, and has enjoyed a popular resurgence since the 1950s.
For the present the La Jolla Symphony turns to contemporary American composer Philip Glass. Glass created the scores for each of the experimental documentaries comprising Godfrey Reggio’s Qatsi Trilogy, and the final film score, Naqoyqatsi (Hopi for “life at war”) provided the basis for his Cello Concerto No. 2. Glass dropped sections of the score and re-worked others to accommodate a more prominent (and difficult) role for solo cello. The music has all the hallmarks of Glass’s mature style, including insistent rhythms, rapid changes in meter, crystalline textures, and constantly-shifting tonal colors. Contrasted with the often-turbulent proceedings are reflective passages for the cello, either solo or with minimal accompaniment. Though derived from a film score this piece doesn’t attempt to tell a story; rather, it should be considered a purely musical experience.
Fittingly, the future is given voice here by the work of a young, up-and-coming composer, in this case Community Acoustics by LJ White. As White explains,
The phrase “community acoustics” is a name used by some scientists for the phenomenon of acoustic niche separation, in which sounds within an ecosystem organize themselves into distinct frequency layers and interlocking patterns, allowing for communication within species and overall ecosystem function.
In Community Acoustics White challenges the rigid structures of symphonic music and the customary classical concert format, providing an environment in which the music evolves along more egalitarian lines than is the norm. The players have greater control over their role in creating the sonic environment, and the audience are also encouraged to contribute at the end of the piece. “Community Acoustics” points out one possible path towards an active and immersive listening experience.