After, Deak Hurries Off to Play Maazel’s Final Performance
NEW YORK, NY — Associate Principal Bassist of the New York Philharmonic Jon Deak came forward, applauding, to shake the hands of musicians led by conductor Thomas Carlo Bo after they completed a performance his composition Lad, a Dog (Part II: The Visitor). The work is a one movement piece, performed by two narrators, violin, clarinet, and piano. Originally, the work featured only the three instrumentalists. They were to narrate the text themselves as per directions in the score. Furthermore, it was chamber music—no conductor required. This performance, however, definitely benefited from both the narrators and the conductor. While I never witnessed the chamber music version, I do think the additions improved the effectiveness of the piece.
Both the music and the text narrate each other equally throughout the work. The text is from a children’s story written in the early 20th century. Lad, a dog, is caught off guard by a surprise visitor during the night. The text describes the event from the perspectives of Lad himself, the visitor, and the narrators. Of course, the trio of instruments do a wonderful job bringing the narration to life. They illustrate and liven the story with striking melodies constantly interrupted by the playful puppy Lad, and occasionally by the surreptitiously lurking visitor. Deak’s command of the orchestration kept the texture perfect throughout the piece, and the melodic material was not interrupted either too frequently or too little. It was an enjoyable, emotive programmatic piece that would capture adult audiences through the precision of the score, and younger audiences with the story of Lad, a dog.
The second work on the program was a single-act opera by Carmela Sinco. Also led by Bo, the work featured tenor, soprano, and bass, who together depicted a story “inspired by a folk legend from the Philippines.” It was the premier run of the opera, and though contemporary, Sinco’s tonalities suggested a melodic approach influenced perhaps by the same folk traditions that inspired the opera itself. The setting is described as “a time and place when spirits and humans can cross paths,” which outlines the premise for the entire work. Sag-In, a spirit, falls hopelessly in love with Raya, a human. And so their struggle to love each other unwinds throughout the opera. The arias cycle between the three characters Sag-In, Raya, and Bathala—the leader of the spirit world—culminating in a duet and trio in the final scene. Chromaticism and long lines evoke the struggle of two forbidden partners, and ultimately gift the piece with originality and a separation from what could have been another bland love story.