By james art 
The search for the Talahassi Symphony Orchestra for the next conductor continued with Wesley Schultz, who took the podium on January 18th.
The Sea and Sky engagement program includes two works written in the early 20th A century by Scandinavian composers and recently by an American composer. Schultz personally emits calm, confident air without noise. These qualities came across the podium. It seems to be the most desirable servant of music, which is ultimately what the orchestra conductor should be.
The first piece was Carl Nielsen’s overture “Helios” (1903), called the Greek God of the Sun. The arch tells him that the rising and movement of the sun through the sky above the Aegean Sea until he finally left.
The sunrise, lunch and sunset are illustrated by the horns that mark these times of the day and give the piece their shape. As can be expected, the middle section is its most active with the entire orchestra, which deals with a delighted chat. The last conversation of horns is happening as the energy and music activity of the day are exhausted. If at the beginning Tso sounded a little indicative, it was in fine shape until the end of the day.
This was followed by an exciting, contemporary Bluegras concert by Michael Torke, entitled “Sky” (2020). The violin solo was expertly filled by Tessa Lark, for which the piece was written. The music owes a lot in the middle of 20th Century folk pieces and composers, such as Aaron Copland and his “Hoedown” from the ballet “Rodeo”.
I even heard moments from GERSvin. Although I am not sure if every composer’s style requires updating, Torke’s work is, however, energizes and offers a more modern taking on a dated, albeit well -known musical language and style.
Torke took simple tunes and Irish reels, smashed them and tied the bits and pieces back to each other, making the motifs and phrases of solo violin elastic, while creating an attractive, rhythmic surface and an overall groove.
The comfortable harmonious territory and the references of US, combined with incredible Lark performance, have made the programming of this music obviously, though not necessarily an adventure choice.
The whole second half of the program was dedicated to Jean Sibelius’ Symphony No. 2 in D Major, OP. 43 (1902). Many program ideas have been assigned to this symphony.
For example, the founder and conductor of the Helsinki Philharmonic, said one of the movements “… hits one as the most crushed protest against all the injustice that threatens … to deprive the sun of its light and our flowers of their aroma. “
Sibelius denied that he had this or other extramaid idea behind the composition and that all his symphonies were pure, absolute music, without any specific references. Although I certainly accept the composer of his word, the fame of this and other associations made the symphony suitable for the program and probably, quite timely.
The orchestra was in great shape everywhere.
Sibelius’ symphony and Nielsen’s overture are written by contemporaries from common similar places in the world. They also share a similar harmonious palette, a species that was well established until the beginning of 20th Century. So while the music was conservative even for its time (though Sibelius’ music is always officially unique), this kind of late romantic repertoire is extremely good at TSO.
Until I fully understand the programming that they have as common as these pieces, I certainly found out afterwards. This allowed the orchestra to sound the bestS
Given that Maestro Schultz was listening to a new role, all sounding best, it was Job and it was a job done well.
David Lipten, Doctor of Science, is based on Talahassi, a prize composer whose music is performed in the United States in such places as Carnegie Hall and at the Music Festival in Aspen, as well as in Paris, Athens, and recently in Aspen, as well as in Aspen Paris, Athens, and recently, in LVIV, UkraineS