United States Selaocoe, Berlioz: Abel Selaocoe (cello and voice); Seattle Symphony / Lawrence Renes (conductor). Benaroya Hall, Seattle, 15.4.2023. (ZC)
Abel Selaocoe – Four Spirits
Berlioz – Symphonie fantastique
South African cellist Abel Selaocoe headlined the Seattle Symphony’s most recent subscription concert. The program featured his new work, Four Spirits, commissioned by the orchestra. It is a concerto of sorts, for a soloist on cello and voice.
Four Spirits combines elements of traditional and classical music, a fusion of ideas we have come to expect from works by composers such as Stravinsky and Bartók. But those are European voices. African influence is almost entirely absent from the classical canon, and Selaocoe has been changing this with an approach that brings the two worlds together.
The protagonist of Four Spirits is, of course the soloist, who was Selaocoe himself here. But the orchestra, though present with both instrumental and vocal accompaniment, was arguably not his main partner: the role was filled by percussionist John Hadfield, using a drum kit that matched Selaocoe’s spirited performance. Of Selaocoe’s two solo instruments, his deep, pulsating umngqokolo overtone singing was far more evocative than the improvisatory style of his cello playing, yet these elements blended organically. The piece is divided into four connected movements that capture four elements of life – honoring ancestors, children, faith and community.
At its core, Selaocoe’s music is meant to be felt rather than analyzed. It forges a new path, refreshingly unselfconscious and free from any attempts to emulate what has come before, and Selaocoe captured and held the audience’s attention. Before beginning, he instructed the audience to sing along at an appointed time during the final movement, which focuses on community. I was initially skeptical and surprised to see that the Seattle audience eagerly obliged, to stunning and moving effect.
The energy generated by the orchestra carried through the intermission and into the second half of the concert with another impressive performance – Berlioz’s Symphonie Fantastique – which felt fresh and captivating despite its familiarity. I have heard the Seattle Symphony play it at least two times: in 2009, it was under noted conductor Leonard Slatkin, and Ludovic Morlot led the orchestra in 2017 through the piece’s prismatic moods. Slatkin’s performance was well-executed and balanced, while Morlot delighted in the work’s more modern elements.
Conductor Lawrence Renes weaved fervor and effortless phrasing together to generate an exciting, highly musical performance. Renes and the orchestra lavished care on every phrase, every novel orchestration. This was most effective in the third movement where, in its final moments, the mood starts to shift from calm to the eventual calamity of the last two movements.
Selaocoe’s Four Spirits and the Seattle Symphony’s Symphonie Fantastique made for a gripping evening of music. Selaocoe’s unique approach to blending traditional and classical elements showcased the possibilities of combining different musical worlds, and the Seattle Symphony’s execution of the Berlioz was equally impressive. It was a night that truly demonstrated the power of music to evoke emotion and connect people across cultures and generations.
Zach Carstensen