You cannot but admire Wynton Marsalis for the dedication with which he has applied himself to the composition of All Rise.
The jazz trumpeter took time out from three years of a busy playing career to learn the craft of "classical" technique. The result is an incredible achievement of faith, a near two-hour blockbuster which embraces a kaleidoscope of colour and style, moments of great excitement - but where everything seems to neutralise everything else, leaving an impression which is ultimately bland.
It's easy to play "spot the influence" here, and to marvel at how diligently Marsalis has assimilated the crisp, nerviness of Stravinsky, the schmaltzy Viennese lilt of Mahler, the busy earnestness of Tippett and Hindemith, though I got tired of the game beyond this point.
More remarkable is the effectiveness of Marsalis' writing for symphony orchestra. Every member of the London Philharmonic Orchestra (including the CBSO's own Eduardo Vassallo guest-leading the cellos) seemed to be enjoying themselves in Friday night's British premiere.
At the heart of the orchestra was the superlative Lincoln Center Jazz Orchestra, topped by Marsalis' own screaming virtuosity.
Then there was the enthusiasm and expertise of the endearing London Adventist Chorale, passionately delivering the texts (presumably by Marsalis himself) which commentate on Man's fall into tribulation and eventual redemption through faith.
All this went down a storm with the overflowing audience, but left me impressed only with the execution, depressed by the self-defeating well-meaningness of the enterprise.