With the ICO, Aaron Diehl brings his specialty back to Indianapolis

 

Aaron Diehl interprets Mary Lou Williams

When he was on his way to winning the 2011 Cole Porter Fellowship from the American Pianists Association, Aaron Diehl displayed his fresh absorption of the jazz-piano tradition. On Saturday night, he shared with the Indianapolis Chamber Orchestra one of the most consequential fruits of his labors, Mary Lou Williams' "Zodiac Suite."

In addition to focusing on the styles of past African-American pianists, Diehl has been a particular advocate for the Georgia native's masterpiece, including the need to edit it to correct and clarify the orchestra parts.

The 12-part composition follows the astrological year, with each section linked to at least one important musician in the composer's experience. The suite's second edition seemed to be in apple-pie order, judging from the compatibility of Diehl and his trio with the ICO, conducted by its music director, Matthew Kraemer.

"Zodiac Suite" went over well with the near-capacity audience at the Schrott Center for the Arts, the orchestra's home hall at Butler University. Some sections spotlighted the pianist with the conventional accompaniment of bass (David Wong) and drums (Aaron Kimmel), but the orchestral tapestry was intricate and attractive. Generally, the forces available were charmingly combined. Williams' idiomatic breadth was legendary, reflected in her resume from about 1930, though recognition as a prodigy had come earlier.

Her precocious accomplishments suggest a longer life than her 71 years, but she peaked early as a prominent pianist and, after a gap in the 1950s, remained a force for social justice and artistic advancement until the end. "Zodiac Suite" has the feel of a personalized anthology covering several decades of music. Dedication of each segment to different musicians carries out that atmosphere of tribute.

Diehl's trio was integrated well into the ensemble fabric. The composition's style had prophetic aspects of Third Stream ventures (exploiting the easily ignored brotherhood of jazz and classical music) that were associated with John Lewis, Gunther Schuller, and J.J. Johnson in the mid-20th century. Reflecting all sides of that prophecy, the pianist commanded a delicate touch that still packed an expressive impact; his sidemen were on board with this variety, both in blending with the ICO and in a trio-only encore.

David Wong and Aaron Diehl

Before intermission, Kraemer conducted the ICO in Beethoven's Symphony No. 6 in A major ("Pastoral"). The staple of the repertoire privileges an  ensemble's patient exploration of color and rhythmic continuity as the composer felt it in his beloved countryside around Vienna, crucially not ignoring its human inhabitants. Nothing is rushed or overblown, even though Beethoven's well-developed personal style is unmistakable. 

Especially picturesque and suitably balanced Saturday night was the soft string patterning behind a series of cheerful wind solos in the third movement, contrasted with the foot-stomping trio. The ensuing "Thunderstorm" stirred up the dust impressively and led with authentic relief to the drenched country folks' pious song of thanksgiving in the finale.

[ICO photo of Wong and Diehl; Mark Sheldon photo of Diehl solo]