Passacaglia for Orchestra ...
Ever since its 1976 premiere with the National Symphony Orchestra this work has begun to be performed regularly by orchestras around the country. James DePreist led the Grant Park Symphony in a series of performances July 26, 28, 1989, at Orchestra Hall, Chicago. Robert C. Marsh, of the Chicago Sun-Times, wrote, "He contrasted a wonderful American score, Benjamin Lees' Passacaglia of 1975, with one of the great classics, Beethoven's Seventh Symphony. The Lees is a grand work and it was heard in the grand manner."
John von Rhein, of the Chicago Tribune observed, "Although
Lees' 1976 Passacaglia at times merged the rhythmic zest
of Copland with the contrapuntal ingenuity of Hindemith, it nevertheless
spoke in an individual and thoroughly compelling voice. Lees uses
the orchestra in a boldly colorful, distinctly American-mainstream
manner and those are the qualities that DePreist conveyed so sturdily."
Paul Hume, writing in the Washington Post, said, "One
of the finest and most impressive scores Lees has created. The
theme is highly chromatic, slightly Tristanesque in tone, and
one that inspires the composer to a rich variety of ideas....The
music has power and lyric beauty."
In its performances December 2, 3, 1988, the Toledo Symphony
Orchestra enjoyed an equal success with this piece. Boris Nelson
of the Toledo Blade wrote, "The program began with
Benjamin Lees' Passacaglia, a set of 19 distinct variations
played without pauses and with the theme always present. It stimulates
the ear, for the moods change as quickly as colors, instrumental
combinations and rhythms. I would like to hear it again to learn
more of its devices."
The Minnesota Orchestra under Edo DeWaart opened its 1992/93
season with performances of this work September 16, 18 and 19.
Writing in the Minneapolis Star Tribune, music critic
Michael Anthony had the following comments: "Lees' Passacaglia
made a strong curtain-raiser. Commissioned for the American Bicentennial
and premiered by the National Symphony in 1976, the piece is structured
as its name indicates: In its performances December 2, 3, 1988, the Toledo Symphony
Orchestra enjoyed an equal success with this piece. Boris Nelson
of the Toledo Blade wrote, "The program began with
Benjamin Lees' Passacaglia, a set of 19 distinct variations
played without pauses and with the theme always present. It stimulates
the ear, for the moods change as quickly as colors, instrumental
combinations and rhythms. I would like to hear it again to learn
more of its devices."19 continuous variations on a short, recurring
theme. Brass fanfares alternate with delicate woodwind figures
and a dozen other effects, as though Lees were slowly turning
a 19-sided piece of crystal while the audience peered inside,
listening."
The piece was also played by the Eugene Symphony, Oregon, on
February 25, 1993, under Marin Alsop's direction. Critic Arnulf
Zweig, in the Eugene Register-Guard, noted: "Lees'
1976 Passacaglia is a serious, well-crafted work, conservatively
modern. The orchestra played well, cellos surging the Bach-like
main theme, lush violas with woodwind punctuation following. A
warm yet dissonant trombone-tuba chorale was striking."
Music director Marin Alsop featured this work at the Cabrillo
Music Festival, California, on August 17, 1993.
PLEASE NOTE:
No reproductions of photos, articles, music or reviews are permitted without permission
of the Estate of Benjamin Lees.
No reproductions of photos, articles, music or reviews are permitted without permission
of the Estate of Benjamin Lees.