Search - Michael Daugherty, David Zinman, Baltimore Symphony Orchestra :: Daugherty: Metropolis Symphony/Bizarro

Daugherty : Music :: Lichtenstein : Art

M. Hibbs | Bar Harbor, Maine | 04/15/2003

(5 out of 5 stars)

"The music of Michael Daugherty is deeply rooted in the American psyche because of his focus on pop culture. In an analogous way to the pop art style of some modern visual arts, Daugherty uses familiar motifs and patterns to create soundscapes that are quite evocative.Some of his critics claim that portions of his music are 'trite' or 'cliches', but this is precisely the point with pop art. Daugherty is able to create beauty from new use of the mundane.While not everyone will enjoy Metropolis, it is an emminent work in the sense of connections between movements in visual art and music. Just as Schoenburg reflects Kandinsky, Cage reflects Pollak, and Stravinsky reflects Picasso, so does Daugherty reflect Lichtenstein."

World of Imagination for Man of Tommorrow

Joseph J. Stefan | Baltimore, MD United States | 01/16/2003

(5 out of 5 stars)

"Michael Daughtery's METROPOLIS SYMPHONY is a fitting tribute to the American mythology of the Superman story. He creates an environment of imagination and even suspense starting with the oddly spinning "Lex" which pulls us along with it, trying to keep up with the orchestra trying to keep up with its violin virtuoso. Other movments include "Krypton", a dirge-like piece complete with funeral bells, "Mxyzptlk", a somewhat mystical and confused musical metaphor for the imp from the 5th dimension, "Oh Lois", which is a little campy and gives the feeling of the damsel in constant distress relying on her hero.
The symphony itself ends in the dramatic fight to the death of Superman and Doomsday in "Red Cape Tango". There is also another piece Daughtery composed with the Superman folklore legend in mind called "Bizarro". It is strange, awkward, amusing, and potentially dangerous, just like it's supposed to be, forging off with superpower going...well,somewhere. All music makes full use of a fully structured orchestra tightly conducted by David Zinman. A great ride."

¿Que...Superman or Daugherty? "Lois on the side, please."

Joseph J. Stefan | 08/08/1999

(2 out of 5 stars)

"Regarding Superman, an international fictional heroic symbol and as staple youth entertainment, I have many fond memories that go way back into my childhood. I first saw "Superman I" in Taiwan, at age six in a premier metropolitan theater along with my grandmother. That night was special: I got "so totally psyched" when grandma said, "I'm taking you to see 'Superman' tonight." An experience like this, especially since I was seeing the debut production of what later became an entire series of exciting sequels (something you don't predict off-hand), was the ultimate "coolness" for a young boy. Nowadays, seeing "Superman" movies not only throws me back to that nostalgic evening with grandma, but also I'm driven to praise its legendary creator. No other "branded" American comic hero holds to Superman's household recognition, time-tested.I have heard Michael Daugherty's "Metropolis Symphony" (A.K.A. "Superman Symphony") both live and on CD. Throughout my hearings, I feel totally confused with Daugherty's compositional reference, intent, structure, and relation to the superhero's basic philosophy. Superman is not just about rough gong crashes, ostinados, triple-forte brass, booms, groans, and relentless percussion. Instead, Superman's character is supra humanistic, largely romantic, subtly passionate, and even self-effacing. On the flip side, Daugherty does maintain musical success in capturing the movie's surface excitement. But compared to my first stimulus, the feelings are worlds apart. Thank goodness Lois wasn't overused as theme for "post-modern decomposition" (Daugherty's own quote), for that "she's too sexy for my shirt" (R&B song lyrics)."