When Californian Teddy Abrams, perhaps the youngest conductor of a major American orchestra, came to Kentucky, Louisville Orchestra supporters wondered whether he would seek to capitalize on the orchestra's existing renown in the field of contemporary music, or begin to cultivate the kind of broadly accessible repertoire that has benefited Giancarlo Guerrero's Nashville Symphony, among others. With All In, strikingly, he does both, and it would seem that if he could not find concert music that exactly filled the bill for ...
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When Californian Teddy Abrams, perhaps the youngest conductor of a major American orchestra, came to Kentucky, Louisville Orchestra supporters wondered whether he would seek to capitalize on the orchestra's existing renown in the field of contemporary music, or begin to cultivate the kind of broadly accessible repertoire that has benefited Giancarlo Guerrero's Nashville Symphony, among others. With All In, strikingly, he does both, and it would seem that if he could not find concert music that exactly filled the bill for what he was looking for, he simply wrote some himself. All In is not a crossover album, but something more ambitious: an album that programs classical and popular selections together and attempts to make sense of them together. Gershwin isn't present on the program, but he seems to be one of the influences on Abrams' opening Unified Field, with its jazzy piano part. Jazz is present, too, in Copland's Concerto for clarinet and string orchestra with harp and piano, but before you get...
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