Star-Ledger praises Danielpour percussion concerto premiere
The Star-Ledger praises the NJSO's world premiere of Richard Danielpour's Percussion Concerto, “The Wounded Healer,” in a review of this weekend's concerts:
This weekend, the New Jersey Symphony Orchestra kicked off its first concert series of the New Year with a literal bang: the world premiere of Richard Danielpour's Concerto for Percussion and Orchestra, titled "The Wounded Healer." ... The 22-minute concerto is remarkably straightforward and accessible. The NJSO, under the baton of Jacques Lacombe, had no problem giving an authoritative account of this recently written score, playing the piece with clarity and vigor.
"The Wounded Healer" opens with a big clang, as soloist Lisa Pegher began playing arpeggios on a set of chimes upstage behind the orchestra, which churned out string-heavy sounds in minor keys. Then the horn section emitted some Straussian blasts, giving Pegher time to work her way downstage to one of three percussion set-ups. She worked the xylophone first, getting into a call and response with the orchestra, and then moved on to the vibraphone and some Tibetan bells.
The second movement began with Pegher behind a five-octave marimba that was downstage right. Here, she crisply elicited bright melodies that played against the orchestra's chugging chords. It was the most minimalist moment of the score — and the most sonically evocative, especially when Danielpour brought in a muted trumpet solo into the mix.
It should be mentioned that Pegher is an ideal interpreter of the work — Danielpour wrote the piece for her. With a slender build and long dark hair, her taught, precise playing grabs the eye, as did her outfit on Sunday: a lacy black top with red leggings and fluffy black leg warmers.
For the third movement, "The Martyr," Pegher was back at the xylophone banging out an earnest, very tonal melody while the band emitted an emotional string sound that called to mind an effective soundtrack to a weepy television melodrama.
Finally, for the fourth and last movement, "The Shaman," Pegher was seated front and center at a bright red rock-and-roll drum kit. She began playing a swinging backbeat as the orchestra followed with a jazzy, Bernstein-esque sound. The retro mood of this passage tickled the ear, even if it also seemed like a square, "Hey, classical can be hip too!," exercise from the 1960s. The piece ended after a big, rousing drum solo, and Pegher wailing away at her skins like John Bonham. Not surprisingly, she received a vigorous ovation — as did Danielpour when he took a bow.