Philadelphia
Stories, that the composer describes
as his third symphony, was commissioned
by the Philadelphia Orchestra, and first
performed by them under the direction
of David Zinman. In three movements,
this "travelogue of the sounds
and rhythms of Philadelphia" begins
at sundown (Sundown on South Street)
with a colourful evocation of one of
the most popular streets of Philadelphia
and one well-known to the composer who
was used to play jazz there in the 1980s.
The music is appropriately brilliant
and full of energy, in a fairly eclectic,
often jazzy way (shades of urban Leonard
Bernstein here). The second movement
(Tell-Tale Harp) is some sort
of nocturne (the composer prefers to
call it an arabesque for two harps and
orchestra) that obliquely refers to
Poe’s The Tell-Tale Heart. This
homage to Philadelphia and the Philadelphia
Orchestra ends with a tribute to Stokowski
(Bells for Stokowski) that alludes
to Stokowski’s pioneering concert making
as well as to his often larger-than-life
Bach arrangements. For the most part,
this movement is a big set of variations
on a Bach-like tune by Daugherty followed
by the composer’s own transcription
of Bach’s own C major prelude.
It all ends in full "Stokowski
sound".
Daugherty’s percussion
concerto UFO was written
for Evelyn Glennie (who else indeed?).
As may be expected, the music sets out
to explore a formidable range of sounds
as well as to put Glennie’s virtuosity
to the test. It is in five movements
bringing a good deal of often intriguing
percussion instruments, identified and
unidentified as well. The first movement
functions as a short prelude opening
mysteriously with some rustling sounds
and bringing-in a siren for good measure.
The xylophone as well as some pieces
of scrap metal feature prominently in
the second, fast movement, a virtuoso
scherzo in all but the name. Flying,
that follows, is the longest movement
of the whole work suggesting flying
saucers (primarily vibraphone within
a fluid orchestral fabric). The fourth
movement (titled ???) leaves
much to one’s imagination (note the
use of that rare instrument, the contrabassoon).
The final movement is – appropriately
enough – what I would describe as a
brilliant HST (High Speed Toccata) ending
the work in high jinks. Though it must
be fun to play (i.e. in the hands of
a first-class virtuoso) and to watch
in a live performance, the piece as
a whole may be somewhat less successful
than one might have expected. To a certain
extent, Jerry Goldsmith’s main title
for The Planet of the Apes is
much more telling and more successful
in suggesting outer space mysteries.
I have read some adverse
comments on Daugherty’s music often
described as brash, vulgar, vernacular,
gaudy and populist. I really do not
know since this is my first encounter
(or my encounter of the first type!)
with his music; and I found Philadelphia
Stories an attractive, albeit
joyfully eclectic but utterly serious
piece of music, whereas UFO
is – as far as I am concerned – somewhat
less satisfying, although a formidable
showcase for top-rank percussionists.
Needless to say that Evelyn Glennie
navigates almost effortlessly throughout
the whole piece. No earth-shaking masterpieces
here, but Daugherty obviously knows
how to handle large orchestral forces.
Marin Alsop and her Colorado orchestra
respond with vivid and committed playing.
Hubert Culot
see also review
by Colin Clarke
Evelyn Glennie (percussion)a 
