by Jorge Montoya and Gabriella Ibarra
-Concerto for Horn and Orchestra, Op. 37, by Eduardo Alonso Crespo-
In memory of the legendary Myron Bloom, Argentine composer Eduardo Crespo has written his concerto Op. 37 for Scott Bohannon, principal hornist of the Entre Ríos Symphony Orchestra and former student and friend of Maestro Bloom. As a tribute, the composer has captured in this beautiful concerto some of Bohannon's memories of his teacher.
The work emerged in 2019 as a commission by the ERSO. During the composition process, Professor Bloom died, so the second movement is an elegy to his memory—just as Anton Bruckner did with his seventh symphony, dedicating its second movement to the memory of Richard Wagner.
The form of the work is the traditional three movements of a concerto, in which the composer worked closely with Bohannon in defining the character of each of them. The first movement recalls the heroic character that we associate with much of the symphonic repertoire for horn. It explores the epic traits usually associated with this instrument, and so, after a brief introduction to the thematic material, the movement launches into the development of a fearless heroic march as the soloist advances through the multiple variations along the way, interacting fluidly with the orchestra.
For the second movement in particular, Scott wanted to pay tribute to his teacher, therefore the second movement is an elegy, a wordless poem in memory of Myron Bloom, the legendary American horn player who died in 2019 and who was probably the most famous proponent of the recent history of the instrument as soloist with the Cleveland Orchestra under George Szell and the Paris Orchestra under Daniel Baremboim. This elegy follows the dramatic succession usually associated with the requiem, that is, the sequence of sadness, reproach against fate, and eventual consolation which make up the different stages of mourning.
Finally, the third movement, in the form of a rondo, a typical feature of many horn concertos from Mozart to Strauss, restores the livelier atmosphere, this time with a dance in simple triple meter. In some way, it is a remaking of the historical association of the horn with hunting on horseback. The ternary rhythm associated with the equine gallop is, in this case, a Creole cavalcade. The soloist “gallops” through intricate themes with strong American associations which demand virtuosity to conclude the concert with a bright assertiveness.
Having experienced such a creative process filled with emotion, the composer was asked:
“Do you plan to write a second concerto for horn in the future?”
To this, Crespo replied:
“The horn is an instrument which fascinates me, both as a member of the orchestra in symphonic works and as a soloist in concert. It is an irreplaceable instrument that mixes varied and contrasting emotional aspects, from the epic call to the deepest intimacy. I think that any self-respecting composer would feel very attracted to the instrument, so it is likely that a second concerto is brewing on my horizon. In addition, my experience with Scott Bohannon was extremely enriching for me, since he is an exceptional hornist of the highest level who inspires me to continue composing for the instrument.”
The world premiere was held on March 19 of the current year at the “Tres de Febrero” Theater-Paraná, Argentina.
For more information about Maestro Crespo and his work, we invite you to visit his website: https://www.eduardoalonsocrespo.net
Thanks to Jorge Montoya for the collaboration for this new edition of the News from Latin America.
