Remember: An American Mosaic

On October 1, the new Cypress Chamber Orchestra made its debut appearance at the Centrum in Northwest Houston. Under the baton of Kirk Wilke, founder and conductor, the 21-member ensemble gave a brilliant performance, worthy of a seasoned orchestra. Composed of young musicians from the Houston area, this new chamber is poised to deliver high-quality music in a refreshingly innovative format.

The program featured three well-loved selections: Siegfried Idyll (1869) by Richard Wagner, Poem for Flute and Orchestra (1951) by Charles Tomlinson Griffes, and Appalachian Spring (1944) by Aaron Copland. Following the “Brooklyn Model,” the orchestra draws upon classic works that have been re-scored for chamber ensembles. This enables them to offer an audience experience that is both intimate and emotional.

Wagner’s Siegfried Idyll is a test of restraint and spontaneity. The initial notes emerge from a state of submerged consciousness, gradually gaining confidence and direction.  Wilke used artistic finesse in guiding the players through the ebb and flow of the romantic narrative. The bird song and bucolic texture of the theme was rendered delicately by the oboe, bassoon, and trumpet solo.

Wilke urged a subtle interplay between the strings and the woodwinds, which put the audience in a timeless, dream-like trance. The birdsong theme was echoed in different registers, while the music moved from a mellow lilt to a broad heaving swell of passionate longing. One hears the echo of a tiny lullaby, ‘Schlaf, Kindlein, schlaf,’ as the night passes into a beautiful dawn, and we are finally home.

This 20-minute symphonic poem was a surprise birthday gift from Wagner to his second wife, Cosima. Embellished with motifs of passionate commitment, this musical love letter also marked a new beginning symbolized by the blessing of an orange sunrise. Under Wilke’s steady hand, the players achieved remarkably sensitive intonation, fluidity, and consistency of texture.

Charles Griffes’ Poem for Flute and Orchestra (1918) is a rare treat in any concert program and the audience soon learned why.  A century after its debut performance by the New York Symphony Orchestra, this exquisite composition continues to thrill and captivate listeners. It is known for its lyrical quality rather than technical virtuosity.

Luellyn Dollard performed the piece masterfully, giving it the lyrical touches it calls for. Her crystal-clear intonation ushered in the evocative sounds of the opening, which can be heard as a refrain later in the piece. The orchestra kept pace with the rhythmic alterations and the soaring melodic line. At times, the collaboration suggested the unfolding of a story, at other times it seemed like a dance of dervishes until the slow meditative ritardando at the end, which immerses us in twilight.

Appalachian Spring (1944) was, without question, the highlight of the evening. First composed as a ballet score for Martha Graham, this sprightly work is regarded as a jewel in the tradition of classical American music. Its eight sections celebrate the nuptials of a young Pennsylvania couple amid the endearing ceremonies of rural life. Influenced by the modernist style, Aaron Copland wrote music in a distinctively American idiom – bold, quirky, and spontaneous, with traces of jazz rhythms.

Wilke steered the players masterfully through the intricate shifts of tempo and register, producing a seamless listening experience. Copland’s work demands careful control of tempo and dynamics to bring out the tenderness and gusto that are essential to the characters’ marriage celebration. The strings and brass sections demonstrated an eager vitality in the way they echoed each other.

The overall feeling of a joyful dance was ever present in the performance. You could hear the audience sighing with delight at the sound of “Simple Gifts,” which symbolizes all that is good about America. Wilke guided the ensemble to the quieter pace of the finale, allowing the melodious notes to linger affectionately.

With its inaugural concert, the Cypress Chamber Orchestra has made its mark as a worthy contributor to the Greater Houston circle of artistic organizations. This 21-member chamber created a well-blended stream of music, attesting to its motto, “Small Ensemble, Big Sound.”

In shaping an ensemble of musicians into a Chamber Orchestra, Kirk Wilke not only earned a place on the field. He hit a home run.

Stephen J. Mendonça

Houston, Texas