(This article reprinted with permission, featuring Jim Westwater, class of 1962, appeared in the Columbus Dispatch on November 11, 2000)

CSO tribute to American composer well timed

By Barbara Zuck
Dispatch Senior Critic

The Columbus Symphony Orchestra surely programmed this weekend’s tribute to the late Aaron Copland, accompanied by inspiring photography of the American countryside, with the composer’s upcoming 100th birthday on Nov. 14 in mind.

It’s doubtful that the orchestra could have foreseen how timely this hefty dose of Americana would be, however. Who knew that three days after this year’s presidential election, a winner still would not have been declared?

Most of Copland’s best-known music was penned during two of the most tumultuous events in American history, the Great Depression and World War II. Whatever else last night’s Ohio Theatre performance accomplished, it served as a reminder that the nation is vast and mighty and has been through much worse and will get through this, too, although it would be nice if our politicians more frequently emulated the nobility of our landscapes.

Thomas Wilkins, resident conductor of the Florida Orchestra and the Detroit Symphony, made his debut leading the Columbus Symphony last night. He was charged not only with making clear Copland’s endlessly feisty rhythms but, in two works, also coordinating the orchestra’s playing with the photochoreography of Columbus’ James Westwater, who invented this specialized art form. 

Copland and Westwater are a perfect match. One cannot hear Copland’s music without sensing its innate American qualities. It evokes images of the land in all its power and beauty. Westwater just went the next step, actually realizing an appropriate visual dimension.

Westwater’s color slides were projected onto three huge screens suspended over the Ohio Theatre stage. With an artist’s touch, Westwater arranges — or choreographs, as he calls it — the slides to correspond to the rhythms and other qualities of the music.

Two of his photochoreographies were shown last night American Fanfare, to Copland’s Fanfare for the Common Man; and Wilderness Suite, to excerpts from The Tender Land and The Red Pony. Though all were enjoyable, the middle section of the Wilderness Suite, with photos of the Grand Canyon, worked best, perhaps because Westwater used so many incredible, three-screen panoramic vistas of this unique American geological treasure. 

The music may all have been by Copland, but the works ranged widely in instrumentation and texture, from the opening Fanfare for the Common Man for brass and percussion only to the chamberlike, soloistic Music for the Theatre to the ballet suite Billy the Kid and film suite The Red Pony, the last two for full orchestra.

Wilkins demonstrated complete command of each situation.

His clean, concise direction imparted confidence, most notably, in enabling the players to maneuver through the less familiar sections. Moreover, his personality, which emerged in his remarks before an impromptu encore, seemed to completely charm the audience.

Many players offered superb solos last night, including James Underwood (principal trumpet), Robert Royse (English horn), Robert Jones (E-flat clarinet), Steven Secan (principal oboe), Betsy Sturdevant (principal bassoon) and Phil Shipley (principal percussion). 

Copland’s music is so familiar today, that it may be difficult to appreciate how ground-breaking he was in his own time in creating music that is universally identified as “American.” The Columbus Symphony and James Westwater have forged a comprehensive — and thoroughly delightful — lesson in American music history.