The attraction in the concert given by the Portland Symphony Orchestra on the 22nd was to honor the 100th anniversary of the birth of American composer Leonard Bernstein (1918-1990). Before the concert began, Mr. Moody recognized former PSO conductor Paul Vermel who first conducted the orchestra 50 years ago. 

As for Bernstein, he could and did do it all. He was a composer of serious as well as popular music, conductor (NY and Vienna Philharmonics), pianist, author and teacher.

To mark the occasion, music director Robert Moody chose the Jeremiah Symphony which Bernstein completed in 1942. To be candid, I thought that the last movement sounded like it could have been composed by Bernstein but the first two could just as easily been written by Copland or Virgil Thompson. In the last movement, mezzo-soprano Stephanie Foley Bates displayed a resonant voice and dramatically sang the Hebrew text of the prophet Jeremiah. (The text for this and the other works was shown on a screen above the orchestra.)

The symphony received a dynamic performance and I have never heard the PSO string section playing as sonorously as they did for this performance. The symphony was followed by a performance of “The Book of Matthew” by Mason Bates (b. 1977) by the ChoralArt Masterworks Chorale (Robert Russell, director.) accompanied by an unidentified organist.

The Chorale is an excellent choral group and strong in each section and distinguished themselves. They followed the inspired direction by Moody throughout. Their intonation and cohesion were evident not only in this work but in the Jenkins work which followed after intermission. (However in one section of the Jenkins, the soprano section could have used some reinforcements in tackling notes above the staff.)

The Bates is a well written piece and received a moving performance qfter intermission the sole work to be performed was “The Armed Man” by the British composer, Karl Jenkins, b. 1944. It might be a stretch to call this work a masterpiece, but if it isn’t it comes awfully close to being one. I confess that I had not even heard of Jenkins but now I would welcome hearing other works by this first-rate composer. The title of this profound anti-war opus is taken from a melody that was known during the Middle Ages and even Palestrina used the tune in a mass he wrote (L’homme Arme.)

There are a variety of styles Jenkins used in each of the 13 sections of the work corresponding to various sections of the Catholic mass. There is the tune first stated in the opening, including the tramp-tramping of marching troops in the opening; the unaccompanied Moslem call to worship; and the screaming of burning animals later on. Each section of the orchestra has challenges which they met head-on, although I thought that the percussion section played a bit too enthusiastically in sections. I would single out the gift by Jenkins has for moving melody. One need not look for better evidence of this gift than in the Kyrie and Agnus Dei, however at the top of the list is the Benedictus which featured a solo cello ravishingly played by James Kennedy.

This moving melody is then taken up into the chorus supported by the orchestra. However dramatic and emotional this work is, the challenge for the composer is how to bring the work to an end. He did this with a stunning unaccompanied chorale.

I have written many immodest words of praise for the clear, moving and expert conducting of Robert Moody. I did not believe he could outdo himself. I was wrong. It is a given that he knew the music he was conducting very well. He seems to be more at home without a baton than with one. (So did Stokowski and often Bernstein.)

There was no evidence of a showman. He conducted with authority, with sympathy and empathy throughout. He received a prolonged and well deserved ovation and shared his triumph with Dr. Russell, Ms. Davis, and the various orchestral soloists. He will be heading to serve as music director of the Memphis Symphony next year. Even though he has several concerts to give here, I miss him already. He was good when he got here to be sure. Now, he is a major talent.

This program will be aired on Maine Classical radio on Nov. 8.

— Dr. Morton Gold is a composer/conductor, retired educator and an arts reviewer for the Journal Tribune.