TROY — Another ambitious slate of events encompassing numerous styles, genres and disciplines characterized the Albany Symphony Orchestra’s latest American Music Festival and it all came to a fitting close Saturday night at EMPAC with an extraordinary new orchestral work, Adolphus Hailstork’s Symphony No. 4 “Survival.”
The piece is monumental in scale with five interconnected movements that share a poignant and dramatic flow rich in color, detail and sentiment. The performance, led by David Alan Miller, made a strong case for the composer, his wisdom and consummate craftsmanship. The prolific Hailstork, an Albany native, deserves recognition as among America’s finest symphonists.
Under the title “Convergence,” this year’s festival was the culmination of the orchestra’s three-year exploration and celebration of Black American culture, an endeavor that will surely be ongoing. In his symphony Hailstork referenced racial struggles in movement titles like “Still crossing that bridge” and the central section was a remembrance of the nine lives lost at Mother Emanuel AME Church in Charleston in 2015.
A more detailed and personal perspective came in the world premiere of “Forgiveness,” a spoken word concerto with text written and read by Marc Bamuthi Joseph and music by Daniel Bernard Roumain. Joseph had a lot to say and drew on Christian faith, family memories and current politics, consistently in a good humored and engaging manner. During the 40-minute piece Roumain’s score grew in substance and presence, creating a genuine dialogue and shared inquiry that asks the tough question: “Is forgiveness a human right?” The piece received a sustained ovation.
Jazz violinist Regina Carter was back on hand, following up a terrific concert with her ensemble, joined by some ASO members, at the Egg on Wednesday evening. Here she was soloist in two selections from David Schiff’s “Four Sisters,” a concerto with improvisation honoring great divas of jazz. In “Scatt” (Ella Fitzgerald), Carter’s melodies seemed to float into new and unexpected realms. For the more mercurial “Satin” (Billie Holiday), she was joined by ASO associate principal bassist Philip Helm. A showman of the highest order, Carter tends to start off easy but then lures you in for a thrilling ride into the stratosphere. Her charming encore, also with Helm, was Duke Ellington’s “Come Sunday.”
Joseph Dalton is a freelance writer based in Troy.