The Honolulu Symphony: A Century of Music.(Book Review)

By Dale E. Hall. Honolulu, HI: Goodale Publishing, 2002. [xvi, 224 p. ISBN 0-9662945-6-4. $39.95.] Illustrations, index.

While some social critics may question its relevance in modern society, the symphony orchestra, and the musicians who comprise it, will always be important if for no other reason than their ability to communicate great art to new generations. Music lovers know, of coupe, that the symphony orchestra has many functions in society. It provides entertainment, education, and inspiration in various musical venues throughout the many communities that are fortunate to maintain an orchestra. The history of America's symphony orchestras is not only an essential part of our musical history; it is also an indicator of our cultural, social, and economic health. Much can be learned about a region, city, or town by its commitment and ability to support the musical activities of a symphony orchestra. Philip Hart convincingly made this compelling argument in his major retrospective history on the subject (Orpheus in the New World: The Symphony Orchestra as an American Cultural Institution [New York: W. W. Norton, 1973]). Robert Craven added considerably to the field of symphony orchestra studies in his two major works, Symphony Orchestras of the United States: Selected Profiles (New York: Greenwood Press, 1986) and Symphony Orchestras of the World: Selected Profiles (New York: Greenwood Press, 1987). Dale Hall's history of the Honolulu Symphony makes a welcome and significant contribution to this area of study.

Hawaii's fame as the "Paradise of the Pacific" has led to its success as one of the world's major tourist destinations. As such, most associate the island state with sun, sand, and surf. When one thinks of Hawaiian music, the sounds of steel guitars, ukuleles, and the hula leap to the imagination while symphonic music often takes a back seat. But this is a mistake that is made all too often by those visitors who never take the time to experience the rich history and culture that exist in the "Aloha State." As Hall's book so successfully reveals, there is much more to Hawaiian music history than the hula, important as it is. Western art music has long been enjoyed in the islands. Hawaiian royalty were patrons of the arts and joined in nineteenth-century productions of scenes from Verdi's Il trovatore, Friedrich von Flotow's Martha, and Gilbert and Sullivan's H. M. S. Pinafore. The fact that Hall's book commemorates the centennial year of the Honolulu Symphony Orchestra (HSO) further confirms Hawaii's enduring association with Western art music. The repertoire of the HSO has also benefitted from the musical traditions of the many non-Western cultures that call Hawaii home. Locally raised composers such as Dai-Keong Lee, Byron Yasui, and Takeo Kudo have produced a body of work that bring the sounds and stories of Hawaii's ethnic diversity into the concert hall. In addition, transplanted composers such as Dan Welcher, Don Womack, and Jere Tanner, who have made Hawaii their home, often draw upon the legends and distinctive soundscapes of the islands to produce uniquely Hawaiian orchestral works that have been premiered by the HSO.

Hall traces the growth of the HSO from its humble beginnings in 1902 with the founding of the Honolulu Symphony Society (HSS). At that time, Queen Lili'uokalani's Aloha Oe was already a popular hit across the mainland United States. Hall's narrative unfolds chronologically to reveal the many colorful events that mark the symphony's history. The interrelationship between the military wind players stationed on the islands and the slowly developing symphony orchestra is a notable example of how the people of Hawaii overcame their isolation by capitalizing on the resources at hand. The HSO's history also reveals parallels with much of America's symphonic development, specifically that it began with many imported musicians playing imported music, and most of both were Teutonic in origin. Even so, the ethnic makeup of the HSO was at the forefront of creating an interracial performing organization. In fact, a non-Caucasian, Ernest Ka'ai, was on the HSS membership list as early as 1904. Breaking down the gender barrier was also a hallmark for the HSO. While the early professional symphony orchestras in Boston, New York, and Philadelphia excluded women, the Honolulu Symphony, desperate for competent players, welcomed ...