San Francisco, Davies Symphony Hall, Feb. 23 — An exciting program of new music, it opened with Strange Beasts, by Xavier Muzik. His work was a SF Symphony Commission and World Premiere. Muzik was the 2023 winner of the Michael Morgan Prize from the Emerging Black Composers Project of the SF Symphony and SF Conservatory of Music. The music was interesting; in the words of the composer, “intentionally organized, narrative in structure, and harmonically rich.”

While the orchestral music kept playing, photographs also by Muzik were projected on a screen above the stage. The composer described the Strange Beasts as the giant buildings in Los Angeles, maybe a park or two. The pictures were shown upside down and right side up, or shown repeatedly in fast percussive blips. For Muzik, the giant buildings reminded him of Godzilla. Watching the photos, I had trouble focusing on the music. I respect the composer’s decision to have both arts make “a dance,” as he wrote. I would like to hear the music again so I could better experience the sounds. He said that the pandemic lock down increased his anxiety and led him to recognize his anxiety while walking below the Strange Beasts. His original music helped the audience sense his and our anxiety.

Sergei Prokofie, composer (1891 – 1953)

Prokofiev’s Piano Concerto No. 2, in G minor, Opus 16 is stunning in its newness. It could have been composed yesterday, though it was composed 1912-1913. Prokofiev was only 22 years old when he created it. Sadly, the complete score was destroyed in a fire during the 1917 Russian Revolution. The composer reconstructed the Concerto using piano pages. Prokofiev wrote, “It was so completely rewritten…it might almost be considered No. 4.” He had written No. 3 in 1921. Prokofiev used the opportunity to make the rewritten version even more complex “in its contrapuntal fabric,” as he described it. This piano concerto has the distinction of being the most difficult piano Concerto. It is said that Martha Argerich refused to play it, Kissin put off learning it, and even Prokofiev, always an above first rate pianist, had difficulties in the 1930s performing with the BBC Symphony Orchestra. It had “gone out of his fingers.” The first movement is surprising with the melody and its extensions, a variety of colors, and a cadenza which is probably bigger than in any other concerto. The second movement, Scherzo dares the soloist to present the 16th notes fast enough. At this point, I whispered, “This is anxiety.” The Concerto’s nerves and anxiety are contagious. Prokofiev wrote this magnificent Concerto in a world of trauma. There was the 1905 Russian Revolution which interrupted his study at the St. Petersburg Conservatory; World War I, 1914-1919; two revolutions in Russia, 1917-1922; World War II. In addition, he was being denounced under Stalin. There is something in this Concerto that whirls and jumps even in the quieter movements in the center of the work. The music is wild, nearly primitive, unsettling to the audience. I sat on the edge of my seat the whole time, thrilled.

Daniil Trifonov, pianist

Daniil Trifonov was incredible. The Prokofiev Piano Concerto No. 2 suited him just right. He was on top of the challenging speed of the Scherzo and the touching, lyrical moments of the Andantino. The Finale was musical and brave. What a triumph for Trifonov, Esa-Pekka Salonen, and the entire SF Symphony. The audience called him back for more and more bows. Trifonov gave a beautiful encore: Prokofiev’s Gavotte from Cinderella, Op. 95, No.2

Igor Stravinsky, composer (1882 – 1971) with Vaslav Nijinsky, Danseur Noble, Choreographer (1889 or 1890 – 1950), Nijinsky is in his costume for Petrouchka (1911).

The Rite of Spring caused a riot at the Theatre des Champs Elysees. The 1913 premiere of this strange music and the mysterious ballet brings to life its ancient, maybe pre-historic story. Vaslav Nijinsky choreographed the dance. Some would stay and be enveloped by the actions and story. Others would not walk out; instead the audience would shout and curse and turn over chairs. Nijinsky’s genius for expressive movement brought new movements that represented the ancient folk stories. Much of the music originated in authentic folk music. The opening bassoon music has roots in a Lithuanian folk tune.

Igor Stravinsky conducting.

For readers who are not familiar with the tale of The Rite of Spring, here is a brief summary. First Part: Adoration of the Earth  It is a celebration of spring time. There are pipers playing, fortune tellers, and an old woman who knows the future. Young girls have been in a river. Their faces are painted. They begin spring time dances. Wise old men come in a procession. Games and dances stop.  All join in to a dance that blesses the Earth; and all become one with Earth. Second Part: The Great Sacrifice    Virgins walk in circles, play secretive games. One is singled out to be the victim. She is pointed out twice while the circle walking continues. She is honored by the other young women. She sacrifices herself in front of the old men. There is The Great Sacrifice. 

It is strange that this ancient folk story is the medium for new music and new dancing. I learned about The Rite of Spring when I was about ten years old. My mother told me about Nijinsky and the Ballet Russes. She was a wonderful dancer. I do not remember when I saw the ballet and heard the music. However, it bothered me deeply that a young girl would be sacrificed. I do not think I would have joined the riot in 1913; I would be fascinated by the movement and the strange bassoon song. I can hear it now as I type. The natural and modern movement captured me. Maybe I would adopt the movements on top of the ballet classes. I would also learn an ancient chant:  Votes for Women.