The crowd was obviously pleased with these two medleys, as they clapped and even sang along.įor the most part, the concert was truly celebratory: all upbeat, joyous, and well-known selections provoked cheers from an audience who, if like me, had not been to a large communal gathering such as this in over a year. Dior continued on drum set for a medley of Duke Ellington and one from A Chorus Line, which Lees said represented two of America's greatest contributions to the musical world – jazz and Broadway (jazz, Lees said, being the greatest). This arrangement added a drum set part for Dior, including a solo which he played with great spirit and precision. However, with the aid of percussionist Rick Dior, the orchestra was able to get back on track in Leroy Anderson's "Fiddle Faddle," the quick and jubilant piece for strings.
The same could be said for rhythmic clarity, which in some instances could become muddled, again, most likely because the mix of stadium environment and amplifiers can be disorienting. Because of this, there were some moments of imbalance, particularly between high and low voices. The CSO is proud to be North Carolina's representative.ĭuring the first several pieces, which included Aaron Copland's "Rodeo" and Morton Gould's "American Salute," it was clear that musicians, conductor, and sound technicians were still adjusting their musical balance. Following the national anthem was a new "Fanfare for Democracy," by James Stephenson, which was commissioned for President Biden's inauguration and has since been commissioned by an orchestra from each state. The orchestra, led by a black and gold Knights jersey-wearing Christopher James Lees, was set up in the middle of the field and amplified by speakers. The Charlotte Knight's Truist Field was packed. However, I was happily surprised: In joy as well as sorrow, the CSO provoked questions about the American identity and the past two years while maintaining a celebration of life and community through music. Thus, I must admit that while standing amongst a crowd with my hand over my heart as the Charlotte Symphony opened its Celebrate America concert with the "Star-Spangled Banner," I was skeptical. Any Fourth of July party risks irony, particularly after a year marked by social injustice, an attempted coup d'état, and a pandemic.
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