High energy and a terrific little “symphony” by Roberto Sierra

This is my 4th disc of music by Roberto Sierra. Therefore I shouldn’t be surprised by what it offers – high energy, insistent rhythms and colorful orchestration.
 
I had especially high hopes for this music with Onyx’s new star conductor, Domingo Hindoyan, at the helm. After all, Onyx gives him star billing, far and above the composer. It’s Hindoyan’s picture on the front and back, and his name appears in an enormous font, adorned in color; while Sierra is given a decidedly unassuming presence - his name relegated to small, unimposing, white letters.

While I am disconcerted to see Classical specialty labels stoop to "Star Power!" marketing such as this, Hindoyan certainly merits praise. I loved his debut album for Onyx last year of French ballet music. (See my review elsewhere here on my blog.) And in the music of Sierra, to conjure up this much energy to conduct it all, and even more significantly, to coax his orchestra to play with such enthusiasm and commitment for this long (the CD lasts 65 minutes) is absolutely astonishing. All of it is brilliantly played and well recorded. And, as I noted in the ballet collection before it, I marvel at how rejuvenated this orchestra sounds under its new, inspired conductor - in striking contrast to earlier recordings with their previous music director (Vasily Petrenko).

But make no mistake, much of this program is comprised of high-octane, rhythmic energy which can get a little relentless after a while. So have some coffee and be ready for the ride! The variety of moods and especially the fascinatingly imaginative and colorful orchestration are irresistible and definitely worth the effort, keeping the listener engaged and drawn into the music. Though it’s interesting to glance at the track listing throughout this program and see so many sections with titles like Alegria ("happiness"), Animado, Ritmico, Vivo, Rapido, Fandangos etc. And this gives a fair indication of what you’re going to hear. But there are contrasts too. For example, the first of the Two Pieces is a lamento and there is an Expressivo section in the music for string orchestra. 
 
The program starts right off with music infused with prominent rhythms typical of folk and popular music of the Caribbean, in a delightful little piece, Alegria. But it isn't hard-driven; it's pleasantly playful and enormously entertaining. Following it, the Two Pieces for Orchestra are very serious indeed, quite uncharacteristic of this composer. The First is heavy and somber, while the Second is lightened somewhat with a rhythmic underpinning, but turns rather pretentious (and dissonant) at times, sounding a bit like a dramatic orchestral movie soundtrack. But Sierra's orchestral prowess certainly reveals itself here.

The Sinfonietta for Strings and the concluding Sinfonia #6 were both written for Domingo Hindoyan - the former in 2020 for a concert with the Detroit Symphony (during the Covid pandemic), and the latter a year later for his inaugural concert as music director in Liverpool. The work for strings is the polar opposite of Two Pieces, with much more light and shade variety. We hear aching violin tunes, gorgeous viola solos, pizzicato interjections - all colorfully interspersed among the persistent rhythms. Its four movements are endlessly fascinating and Hindoyan is spectacular in bringing them to life with vivid characterization.

Fandangos is probably Sierra's most well-known work, and though it is entertaining, its insistent rhythms can become a bit much. I find it relentless and rather noisy in both recordings of it I have heard. (The other being on Naxos, with the Nashville Symphony). It's a party piece for sure, which orchestras probably enjoy playing and delighting audiences with. But for me, its endless, nagging rhythms eventually sound trite before it's finally done. (It goes on like this for over 10 minutes.)

Matters improve significantly with the Sinfonia ("Symphony #6") which comes last. It is cast in 4 rather short movements and is infinitely more interesting, varied and musically rewarding. Here we have truly creative craftsmanship, superbly atmospheric and colorful orchestration, and nuanced dynamic contrasts. 
 
This sinfonia (which is really more of a suite or symphonic poem than a symphony) is programmatic, reflecting memories of the composer’s childhood in Puerto Rico. And what an inspired piece it is. The opening movement, Urban Life, has the vitality of city living but isn’t noisy or bombastic. It’s colorful and vividly characterized, instantly drawing the listener in. It is followed by the most delectable music of the entire program - a slow movement (and what a relief it is), At Night, which is gloriously picturesque. We hear a multitude of percussion sounds back in the distance, along with piccolo bird songs and pensive solos for various woodwinds (clarinet, oboe, flute), creating a most fragrant atmosphere depicting the sounds of nighttime in the tropics - which is positively alluring. The colorful orchestration continues with some luscious muted violins and contrabassoon rumblings, and a distant melancholy trumpet on Harmon mute. Some hints of Falla’s Nights in the Gardens of Spain make an appearance before the onslaught of a ferocious Hurricane in the 3rd movement. This is organized cacophony, replete with furiously scurrying strings increasing the tension. And later, trombone raspberries alternate with a menacing contrabassoon, again reminding me of an action sequence in a movie score. However, what sets this apart from some of the music heard earlier, it has a real sense of purpose and scope, and is certainly successful in its musical depiction of a dizzying whirlwind. Best of all, there is a brief, imaginative central respite with string overtone harmonics creating an awesome calm within the eye of the storm. All the while, the contrabassoon continues to growl way down low, a constant reminder we're not out of danger just yet. 

Suddenly the storm stops. And after an abrupt silence, the Finale begins with more insistent rhythms, but in a slightly lighter mood. It's described in the booklet as “a celebration of the rhythms of the Caribbean”. The highly descriptive orchestration includes some more intriguing trombone glissandos and a variety of percussion keeping the rhythmic momentum going. Soon though, the scene transitions to a wonderful interlude with alternating solos for piccolo, trombone, contrabassoon, clarinet etc., perhaps depicting various individuals with stories to tell. The celebrations start to get a little rowdy but the violins keep them in check, taking charge with some intense, soaring melodic passages, hampering the good times. Until even they can't help but join the festivities with some bustling, articulate flourishes followed by chattering woodwinds and cackling flutes and piccolos. And with some pounding rhythms announcing the evening is done, this terrific piece comes to a conclusion.   
 
I’m happy to have this new CD of Sierra’s music in my collection, along with two on Naxos (Symphony #4 + Carnaval, etc., and his Concierto for Guitar, which, peculiarly, is completely nonsensical), plus an interesting 1994 collection of his earlier orchestral works on the defunct KOSS label (Zdenec Macal/Milwaukee Symphony). This new Onyx fares better than most of them – notably for the fabulous orchestral playing and spectacular recording. But also for this selection of music, much of which shows the composer at his most creative and inspired. And most of all for Hindoyan, who is positively dazzling. This is definitely a conductor to watch.