Fort Worth Symphony scores with new Yma Sumac-inspired work

FORT WORTH -- It's not often that a new work by a living composer (and a relatively young one at that) is the biggest crowd-pleaser at a symphonic concert, but that was the case in Bass Hall on Friday night when the Fort Worth Symphony Orchestra presented John B. Hedges' Fantasia sobre Yma Sumac.

Part of the prolonged applause and loud cheers was undoubtedly a response to the brilliant performance of the orchestra's principal clarinetist, Victoria Luperi, who was the soloist in this quasi-concerto for clarinet and orchestra. But it's equally certain that much of it was for the composer, who was present and joined Luperi onstage to acknowledge the ovation.

The fantasia was inspired by the astonishing voice of Peruvian singer Yma Sumac (there's no truth to the occasional assertion that her real name was Amy Camus -- Yma Sumac spelled backward). Conductor Miguel Harth-Bedoya made introductory remarks and had the Bass Hall sound people play part of a Sumac recording demonstrating her amazing range and catalogue of styles. In Hedges' fantasia, the clarinet stands in for Sumac, and he gives the soloist passages of the sort of virtuosity you would expect, including a substantial cadenza. Luperi breezed through them all, even managing some lyrical statements.

Hedges keeps the orchestra busy as well. There are significant passages for piano, harp, marimba and other percussion instruments imparting a range of styles from what I assume to be South American sounds to even lounge music (Sumac was in part a lounge singer). The atmosphere is often exotic; it surges with energy and consistently appeals to the ear.

In retrospect, the work preceding the fantasia on the program seemed a little tame. It was two fast movements from Borodin's Symphony No. 2 (the other two movements were chopped in keeping with the FWSO's customary Friday night shortening of the program). Not that there's anything wrong with Borodin -- he had a great gift for melody -- but even with the movements' good cheer, quick tempos and flowing melody, they didn't quite reach the energy level of the Hedges piece.

A winning performance of music from Prokofiev's ballet Cinderella lifted the spirits and roused the enthusiasm of the audience, which was larger than the typical Friday night crowd.

In tonight's and Sunday afternoon's performances, the program will be lengthened by the retrieval of the two missing Borodin movements and the addition of an intermission.