Few, if any, American composers have done a better job than Aaron Copland in gaining widespread popularity with the listening public at large while maintaining his peers’ unquestioned respect at the same time.
Copland didn’t hesitate to draw on a range of folk idioms from spirituals to Latin jazz, creating appealing and forthright works that were distinctly his own and consistently infused with intellectual rigor and seriousness of purpose.
During a program Sunday afternoon in Boettcher Concert Hall that was a treat from start to finish, the Colorado Symphony showcased some of the best- loved of the composer’s pieces as it kicked off its 2006-07 Spotlight Series.
The series began as a group of concerts previewing the rest of the orchestra’s season, but it has steadily evolved. This season, for the first time, all the concerts are stand-alone programs that complement other offerings but do not directly relate to them.
Even the most jaded listeners find it hard to resist the rhythmic dynamism and emotional honesty of Copland’s music, especially if it is performed, as it was Sunday, with a solid dose of zestiness and zip.
Scott O’Neil, the orchestra’s new associate conductor, made a good first impression Friday evening and an even better second impression Sunday, leading with assuredness and purpose.
The orchestra’s musicians know this music so well that they can cruise along on auto-pilot, but O’Neil made sure that didn’t happen. Instead, the playing was consistently lively, with effective, upbeat tempos and well-handled dynamics.
A good example was a set of three excerpts from “Rodeo,” especially the snappy, appropriately idiomatic take on “Buckaroo Holiday.” Strong solo work flourished throughout, such as a series of passages delivered with apt theatrical flair by principal trombonist John Daley.
On top of his skills with a baton, O’Neil also happens to be a good speaker, relating easily to the audience with his short comments on each piece.
“He does have a sense of humor,” an audience member whispered approvingly to her companion.
Other highlights included “Quiet City,” with first-rate solos by Jason Lichtenwalter on English horn and Christopher Still on trumpet, and an appropriately evocative version of “Appalachian Spring.”
Fine arts critic Kyle MacMillan can be reached at 303-954-1675 or kmacmillan@denverpost.com.
