Music of Lukas Foss

09 July 2024

In 2022, the Buffalo Philharmonic Orchestra, under JoAnn Falletta’s directorship, along with flutist Amy Porter, and violinist Nikki Chooi serving as soloists, presented a well deserved centennial program devoted to the music and legacy of their one-time leader, including an October 3rd appearance that took center stage in New York’s Carnegie Hall. Shortly thereafter in Kleinhans Hall, Buffalo, their 74 minutes-worth of orchestral music that had been presented on that program formed the basis for a recording that is, to put it mildly, simply stellar in every way. As part of Naxos’ ongoing American Classics Series, this all-FOSS fest features four of the Master’s titles, which are, in order: Ode, for orchestra (1944, rev. 1958), Renaissance Concerto for Flute and Orchestra (1985), Three American Pieces for Violin and Orchestra (1944-45, orchestrated 1989), concluding with his four movement Symphony No. 1 in G Major (1944).

The next title on this release, Three American Pieces, also features a soloist, this time falling into the hands – and fingers – of violinist Nikki Chooi, the Buffalo Philharmonic Orchestra’s concertmaster. Dating from 1944-45, this may appear to be a bit more familiar to listeners since it has been assailed by various soloists in a variety of versions Foss prepared it for, ranging from its original for violin and piano, then violin and orchestra via its scoring in 1989 that became recorded by Itzhak Perlman….and there are postings of it on YouTube in one version, or another. Nevertheless, it remains cast in three short movements that bear the titles, in order: Early Song: Andante, Dedication: Lento, and Composer’s Holiday: Allegro. This delightful gem is chockfull of tunefulness, wit, craftsmanship, and charm. Foss cast his orchestral accompaniment for a smaller instrumentation than the other compositions on this release require; as transparent as anything by Mozart, or Haydn that demonstrates how delicately the Buffalonians can perform, expertly guided under Ms. Falletta’s baton. It is an additional pleasure that we now have Nikki Chooi’s splendiferously sure-footed rendering as soloist to add to anyone’s collection. Early as the source for his work is, there is a breezy quality to what Lukas composed, yet, while Copland is mentioned as having been an “influence”, there are other flavors and fragrances at play here all their own. The orchestrated version enhances them, supplying a foundation on which Nikki Chooi has captured all of its gracefulness, eloquence, and verve with distinction, and musicianship.