Pittsburgh Symphony Orchestra starts off Independence Day right with their Americana Concert

On the eve of Independence Day, an enthusiastic audience gathered to celebrate America’s musical legacy.

The Pittsburgh Symphony Orchestra held its annual Americana Concert on Thursday at Soldiers and Sailors Memorial Hall and Museum in Oakland.

They shone a bright spotlight on mostly American composers, with a focus on militarily important compositions.

There’s only one way that such a patriotic endeavor can start, and that’s with “The Star-Spangled Banner.” Vocalist Katy Williams joined the orchestra to sing the national anthem, providing a perfect complement to the soaring music. A color guard of six veterans from Vietnam Veterans Inc. presented the colors during the performance, receiving a warm reception from the crowd.

John McCabe, president/CEO and general counsel at Soldiers and Sailors, welcomed the audience to the performance. He was joined by Melia Peters Tourangeau, president and CEO of Pittsburgh Symphony Orchestra.

“Me, personally, I’m an Air Force brat, and my father served in Vietnam and is in the audience tonight, so this is very special,” she said.

Starting off the main program, conductor Jacob Joyce led the brass and percussion through Aaron Copland’s “Fanfare for the Common Man,” a sweeping piece that suggested the vast scope of America, both in size and in possibility.

Introducing Vieuxtemps’ “Yankee Doodle, Opus 17; Caprice burlesque,” Joyce said that the composer was not American, but was inspired by his time touring in the States. “It’s a brilliant piece of music and I am quite sure you will know this melody very well.”

He introduced violinist Dennis O’Boyle, whose flair and control made the witty take on “Yankee Doodle” a real treat. O’Boyle received a deserved standing ovation.

Next, Joyce introduced a series of selections by John Williams, a modern composer best known for his film scores. The first two movements were from a suite Williams wrote for the 2012 Steven Spielberg film “Lincoln.” Joyce acknowledged how appropriate it was that the text of the Gettysburg Address was displayed behind the orchestra, and invited the audience to contemplate Abraham Lincoln’s words while the musicians played.

The “Lincoln” score was surprisingly emotional in the able hands of the PSO, with the strings especially pulling at heartstrings. It evoked both solemnity and hope.

Williams continued to shine in the next selection, his “The Cowboys: Overture” from the 1972 film “The Cowboys,” starring John Wayne. It is the quintessential Western score, calling to mind rolling plains and dusty trails, featuring bombastic horns and strings. As a composition it’s a little romantic, a little whimsical and a little rugged. Every section got a chance to shine.

Returning to a more somber note, Joyce explained the inclusion of George Walker’s “Lyric for Strings.” “He was the first African American to win the Pulitzer Prize for music,” Joyce said of Walker. “He was a prodigious talent who wrote many amazing pieces.”

Of “Lyric for Strings,” Joyce said, “He wrote it as a sort of elegy for his grandmother, who was an enslaved person, and she unfortunately passed away right before this piece was premiered.”

The piece is both fluid and halting, with a heavy emotional weight that was palpable throughout Soldiers and Sailors.

The program returned to John Williams for a selection from the 2019 film “Midway,” which takes place in the Pacific Theater of World War II. The bouncy march showcased all of the orchestra’s sections, with big moments for the horns and a spirited middle section that gave the woodwinds room to breathe. With big drumrolls at its close, it was a highlight of the performance.

“Now we come to the singing portion of the evening,” Joyce said, reintroducing vocalist Katy Williams to the stage. “Would it be the Fourth of July without a little ‘America the Beautiful?’ ”

Williams’ slightly operatic voice perfectly captured the grandeur of the song, and she invited the audience to join her in singing a repeat of the well-known first verse.

Appropriately, the next series of selections were all about the veterans, with the songs for the five branches of the military, which the PSO and Williams nimbly moved between.

“It is our honor to recognize those of you who have served or who are currently serving in our armed forces. This is our salute to you. When you hear your song, please stand if you are able to be recognized.”

As the concert began to wrap up, Joyce discussed their second-to-last piece, Tchaikovsky’s “1812 Overture.”

“We thought that we’d do a July Fourth tradition. I don’t know how it became a July Fourth tradition — it’s a piece about Russian and French armies battling each other by a Russian composer. But we’ll enjoy it nonetheless.”

Now, there were no cannons (probably for the best) but PSO’s bass drum was a more than serviceable replacement during the epic finale of the famous composition.

It’s always a marvel to hear the “1812 Overture” in person, and I’ve never heard it played better than by the PSO.

“We wouldn’t leave you without one Sousa march,” Joyce said as he wrapped up the concert and thanked the audience for coming. “Stars and Stripes Forever” is a fitting finale leading into Independence Day. Sousa can often be seen as a bit cliche, but listening to this whole piece makes the heart swell — it really is impressive.

Standing out was the piccolo, whose beautiful, trilling notes brought the performance to another level.

Getting to experience the amazing talents of (mostly) American composers as played by the exceptional Pittsburgh Symphony Orchestra was a perfect beginning to the Fourth of July weekend.

If you couldn’t make it on Thursday night, the PSO will be playing many of these selections, with some others as well, at their free concerts in South Park and Hartwood Acres on Saturday and Sunday.