It was all about Mann at last night's season opener for the ASO

There was an excitement in the air as patrons approached Robinson Center Music Hall in Little Rock to attend the first concert of the season for the Arkansas Symphony Orchestra.
ASO board members greeted everyone as they entered the hall. They shook hands and thanked each person for attending the concert. The board members made audience members feel good before hearing the first strains of music.
Once inside the hall, the buzz was all about the new musical director and conductor for the ASO, Philip Mann. The concert opened with a viewing of the video welcoming Mann, the Mann, to Arkansas. Governor Mike Beebe, Amy and Judge Reinhold, Jerry Van Dyke, Kris Allen, Joe Klein, Coach Frank Broyles, Mayor Mark Stodola, Mayor Patrick Hayes, Lawrence Hamilton, Cliff Baker, Robert Hupp, Craig O'Neill, musicians of ASO, members of the Arkansas Symphony Youth Orchestra and members of the Little Rock Fire Department were among those featured in the short clip welcoming the Mann. If you haven't seen the clip it is available on ASO's website, http://www.arkansassymphony.org/ and also on YouTube.
Mann took the stage following the clip and history was made in Robinson Hall. Mann was given a standing ovation that segued into a rousing rendition of The Star Spangled Banner. Emotions were high and every voice was joined in the shared experience. Prior to the first downbeat Mann talked about the theme of the night's concert, New World.
Mann adeptly led the members of the ASO through their paces in the opening piece, Leonard Bernstein's Overture to Candide. The piece is fast-paced and exciting, we were off to the races. Mann reminded me of Maxim Shostakovitch on the podium, they both dance when they conduct. Their style is whole body conducting and a joy to watch. At one point Mann made a little jump to emphasize his instruction. The ASO demonstrated excellent use of dynamics, the legato sections were extremely smooth and the piece rocked with humor and percussion.
I thought it couldn't get any better but it did. The night's guest artist, Kevin Cole, was masterful at the piano in George Gershwin's Piano Concerto in F Major. This was Cole's first time appearing with the ASO. Cole's fingers bounced along, caressed and in turn delicately stroked the keyboard during the course of the piece.
In Gershwin's own words as he described his piece, "the first movement employs the Charleston rhythm. It is quick and pulsating, representing the young, enthusiastic spirit of American life. It begins with a rhythmic motive given out by the kettledrums, supported by the other percussion instruments, and with a Charleston motive introduced by bassoons, Later, a second theme is introduced by the piano. The second movement has a poetic, nocturnal atmosphere which has come to be referred to as the American blues, but in purer form than that in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping the same pace throughout."
The concerto is in three movements and although it is traditional for audiences to sit quietly between movements it didn't happen. The ending of each movement is so big and loud and stirring that the audience couldn't help but applaud.
With the last chord of the concerto the audience was on its feet in appreciation. After several curtain calls Cole gave the audience an unexpected encore, Facinatin' Rhythm. The audience was back on its feet in thanks when he finished his delightful bonus.
Audience members hurried back to their seats following the intermission. The final selection of the evening was Antonin Dvorak's Symphony No. 9 in E Minor, Opus 95 "From the New World". It appeared that most patrons were back in their seats and ready for more when Mann took the stage.
The symphony although composed by a major European artist, is all about America. Dvorak spent three years in America. This piece debuted in his second year in New York. The music itself is beautiful. The spiritual Goin' Home was lifted right out of this symphony. Its haunting refrain is heard throughout the piece. His fascination with the Negro spiritual very pronounced.
I favored the recurring Irish jig as it was woven throughout the piece as was the Goin' Home.
Making my listening pleasure even more enjoyable was the visible appreciation of one of my seat mates to the symphony. He responded to every note of the piece. His head bobbed with the music from the initial note on. He would visibly quiver with the flow of the music in the violin section. He would occasionally assist Mann with his finger conducting. He was obviously familiar with the piece and his appreciation was contagious.
The concert was a success. Mann is the Mann. There is another performance of the program this afternoon at 3 p.m. I am looking forward to the next MasterWorks presentation, Mann conducting a host of pieces for the Halloween Spookfest, October 16 and 17.