Diversity – A Celebration of the Good in Everyone
Welcome to the new season of Songbook—the official name is Arts and Artists of Tomorrow – Broadway’s Future. The series presents songs written by up-and-coming composers, writers, and lyricists writing for the theater. In Diversity, producer/director John Znidarsic set out to present (in his words) “an evening of new songs written and performed by a variety of artists from all walks of life.”
And diversity was certainly represented. The music and lyrics to one song were written by the Australian Siri—she actually does all of the recording for Siri answering questions in Australia. Her song “Time to Say Goodbye” had a mellow opening but then picked up in tempo and power, and was very effective. That was the second song of the evening. The first, also mellow in a pop-lite way, was written and performed by the guy who acts as stage manager for these events. Who knew he was also a singer/songwriter? Well, now we do.
As usual, some (but not all) of the new songs are from new musicals. Two of these were from Shooting Star: A Revealing New Musical based on the pornography industry. The first was an interesting duet for two guys trying to find love amid all the random sex they’ve been exploring, while the second was an aging former porn star yearning for the pre-internet porn days. The vocalist here is also the Cowboy in the current iteration of the Village People.
After a stand-alone song written and performed by the composer, with guitar accompaniment, the next song was from Bradical and the Pink Socks, based on a children’s book of the same name. It was a lot of fun. “Running Out,” from Awakened, was a powerfully presented song with the kernel of truth that “Love don’t last forever.” As a side note, most of these musicals are in table reading, workshop, or pre-production stages.
Along the diversity trail, we next heard “I Fall in Love Too Easily” played by a jazz trumpeter. I’ve heard him before and really enjoyed his Harry Connick Jr.–like vibe. At one point, he played with a mute in his trumpet, producing a slightly echoing sound.
“The Shirt Song,” from SHE / THEY / HE was the tale of a young girl who saved one of her father’s shirts after he abandoned the family when she was just six years old. It was a touching memory song that also explored her feelings of wanting to be the son her dad always wanted. You want more diversity? A magic act followed—a rather amusing magician with a somewhat deadpan delivery. The requisite volunteers were brought onstage to assist him with the Magic Ropes. It was mildly interesting but almost seemed a little out of place.
After two stand-alone songs, one a duet with piano and cello accompaniment and the other a solo with piano and cello, we heard from the younger generation. “Not Afraid” was written and performed by a thirteen-year-old fellow who did a pretty bang-up job. And the concert ended with the song that actually ended the first concert of Songbook’s inaugural season twenty-seven years ago! The composer was there to play it and the vocalist was also from that first concert. Her pipes aren’t what they used to be, but it was a touching moment nonetheless.
So, rounding out the diversity program, we had black performers, Asian performers, female Asian composers, female lyricists and book writers, a female Australian composer, a transgender composer, a thirteen-year-old composer, a trumpeter, and a magician—am I leaving anyone out? Next month’s Songbook will be more traditional, featuring the songs of Dan Green. I plan on being there.
ConcertMeister
Wednesday, September 26, 2018
Sunday, September 23, 2018
Across a Crowded Room (9/20/18)
New Twenty-Minute Musicals
Blood Countess; Time Travel Makes Complete Sense; Someone Else;
My Robot Boyfriend
What an interesting concept and program. The Lincoln Center Library for the Performing Arts sponsored a series of master classes where teams of emerging theater writers, composers, and lyricists got together and brainstormed during the summer with the goal of creating twenty-minute musicals. On Monday evening, I saw four of the finished, or almost finished, products. These were not fully realized performances but rather readings with minimal staging. As such, there were a few rough patches but it was pretty cool to see these efforts. There was also a panel of judges, though this was not a competition.
Blood Countess was a capsulized version of the Elizabeth Báthory story. She was a late-16th-, early-17th-century Hungarian countess who was accused of murdering hundreds of young women, even going so far as to bathe in their blood. Touching on the vampire legends, it was a lot of history to squeeze into twenty minutes but it came off pretty well. I liked the music a lot. The vocal lines were fine and the level of composition was quite good.
That was not the case, in my opinion, with My Robot Boyfriend. Here, the melodies were a bit spikier (maybe because of the high-tech nature of the setting?) and, for the most part, the vocal lines were doubled in the piano part. It almost made me think that this was for guiding the singers, as this piece was the least fully formed (again, in my opinion). I loved the premise of a gal creating a robot and programming it to fall in love with her. But the plot line of the Mega Power Company and the parallel plot line of the dating app made things very confusing. The bright spot compositionally was the song “What Is the Algorithm of Love?” sung by Charlie, the robot.
A plot twist of body switching made Someone Else a rather interesting piece. That said, it helped to explain one part of the main love relationship, but it came a little too late. What seemed to be a mother/daughter relationship at the beginning of the show turned out to be an almost proposal of marriage. What made it even more interesting, as we learned during feedback from the judges, was that the role of what many of us perceived to be the daughter was actually written for a man, but had to be shifted to a woman at the last minute—everybody seemed to agree that the lesbian angle worked well and should maybe be kept, while trying to clear up or show better that the first scene was not actually mother/daughter.
About that feedback. The group of seven or eight judges gave thoughtful, mostly positive, and very helpful feedback to each of the four sets of writers/composers/
lyricists. All of the judges were very supportive of each project. It was enjoyable to listen to and to compare their reactions with my own.
Which brings us to Time Travel Makes Complete Sense. This piece was flat out funny. And had really good vocal harmonies, which is always a big plus in my book. Crystal and Sterling are on a first date. She’s not sure she wants to stay through it, so she takes a quick break by going to the ladies’ room. Unbeknownst to her, there is a woman in one of the stalls who overhears Crystal talking to herself and trying to decide what to do about the date. Unbeknownst to us, the other woman is Future Crystal. FC gets a big laugh when, trying to explain the future of Crystal to Crystal, she flings her arm in an arc over her head and says, “Flash of light!” Another really funny bit is where FC and Crystal, who are moving in unison, slap their faces while FC says something along the lines of, “Snap out of it.” And then they both say, “Ow!” When Crystal asks why it hurt FC, FC explains that they really are the same person. The slap is funny again when it occurs with FC2 and Crystal. Yes, all in all there are four Future Crystals plus one Future Sterling. And yes, at one point all five Crystals do ‘the slap’ and it’s just as funny all over again. And this is without even going into the parallel plot lines of a possibly successful (but possibly not) Ravioli Restaurant (Crystal’s idea), which may (or may not) feature a marinara fountain, and Nüfood (Sterling’s idea) which may (or may not) be a cure for world hunger. I’m telling you, this was funny stuff with fun songs and great harmonies. Can you tell that this one was my favorite?
And for those of you wondering about the title of the event, Across a Crowded Room refers to the original master class, where everyone was meeting for the first time and figuring how to team up and begin the creative process. As to the performances, most of you know that I do not approach this blog from a reviewer standpoint. That said, the performers were all good but a few of them really stood out by being virtual chameleons and appearing in multiple shows. Alina Gattrell, Alison J. Freeman, and Kate Leonard appeared in three of the four. Laura Cetti appeared in two of the four. And Ms. Freeman and Ms. Leonard were lyricist and book writer, respectively, for Blood Countess. There was a lot of talent on that stage, as well as a lot of experience coming from the judges. This is the type of thing I would gladly see again.
And I will! Another four twenty-minute musicals will be on display on Mon., Oct. 1, and I already have my reservation. Win-win.
ConcertMeister
Blood Countess; Time Travel Makes Complete Sense; Someone Else;
My Robot Boyfriend
What an interesting concept and program. The Lincoln Center Library for the Performing Arts sponsored a series of master classes where teams of emerging theater writers, composers, and lyricists got together and brainstormed during the summer with the goal of creating twenty-minute musicals. On Monday evening, I saw four of the finished, or almost finished, products. These were not fully realized performances but rather readings with minimal staging. As such, there were a few rough patches but it was pretty cool to see these efforts. There was also a panel of judges, though this was not a competition.
Blood Countess was a capsulized version of the Elizabeth Báthory story. She was a late-16th-, early-17th-century Hungarian countess who was accused of murdering hundreds of young women, even going so far as to bathe in their blood. Touching on the vampire legends, it was a lot of history to squeeze into twenty minutes but it came off pretty well. I liked the music a lot. The vocal lines were fine and the level of composition was quite good.
That was not the case, in my opinion, with My Robot Boyfriend. Here, the melodies were a bit spikier (maybe because of the high-tech nature of the setting?) and, for the most part, the vocal lines were doubled in the piano part. It almost made me think that this was for guiding the singers, as this piece was the least fully formed (again, in my opinion). I loved the premise of a gal creating a robot and programming it to fall in love with her. But the plot line of the Mega Power Company and the parallel plot line of the dating app made things very confusing. The bright spot compositionally was the song “What Is the Algorithm of Love?” sung by Charlie, the robot.
A plot twist of body switching made Someone Else a rather interesting piece. That said, it helped to explain one part of the main love relationship, but it came a little too late. What seemed to be a mother/daughter relationship at the beginning of the show turned out to be an almost proposal of marriage. What made it even more interesting, as we learned during feedback from the judges, was that the role of what many of us perceived to be the daughter was actually written for a man, but had to be shifted to a woman at the last minute—everybody seemed to agree that the lesbian angle worked well and should maybe be kept, while trying to clear up or show better that the first scene was not actually mother/daughter.
About that feedback. The group of seven or eight judges gave thoughtful, mostly positive, and very helpful feedback to each of the four sets of writers/composers/
lyricists. All of the judges were very supportive of each project. It was enjoyable to listen to and to compare their reactions with my own.
Which brings us to Time Travel Makes Complete Sense. This piece was flat out funny. And had really good vocal harmonies, which is always a big plus in my book. Crystal and Sterling are on a first date. She’s not sure she wants to stay through it, so she takes a quick break by going to the ladies’ room. Unbeknownst to her, there is a woman in one of the stalls who overhears Crystal talking to herself and trying to decide what to do about the date. Unbeknownst to us, the other woman is Future Crystal. FC gets a big laugh when, trying to explain the future of Crystal to Crystal, she flings her arm in an arc over her head and says, “Flash of light!” Another really funny bit is where FC and Crystal, who are moving in unison, slap their faces while FC says something along the lines of, “Snap out of it.” And then they both say, “Ow!” When Crystal asks why it hurt FC, FC explains that they really are the same person. The slap is funny again when it occurs with FC2 and Crystal. Yes, all in all there are four Future Crystals plus one Future Sterling. And yes, at one point all five Crystals do ‘the slap’ and it’s just as funny all over again. And this is without even going into the parallel plot lines of a possibly successful (but possibly not) Ravioli Restaurant (Crystal’s idea), which may (or may not) feature a marinara fountain, and Nüfood (Sterling’s idea) which may (or may not) be a cure for world hunger. I’m telling you, this was funny stuff with fun songs and great harmonies. Can you tell that this one was my favorite?
And for those of you wondering about the title of the event, Across a Crowded Room refers to the original master class, where everyone was meeting for the first time and figuring how to team up and begin the creative process. As to the performances, most of you know that I do not approach this blog from a reviewer standpoint. That said, the performers were all good but a few of them really stood out by being virtual chameleons and appearing in multiple shows. Alina Gattrell, Alison J. Freeman, and Kate Leonard appeared in three of the four. Laura Cetti appeared in two of the four. And Ms. Freeman and Ms. Leonard were lyricist and book writer, respectively, for Blood Countess. There was a lot of talent on that stage, as well as a lot of experience coming from the judges. This is the type of thing I would gladly see again.
And I will! Another four twenty-minute musicals will be on display on Mon., Oct. 1, and I already have my reservation. Win-win.
ConcertMeister
Thursday, September 20, 2018
Gilbert & Sullivan (Sort Of) (9/15/18)
Cox and Box; Trial by Jury
These were studio performances by company members of the Delaware Valley Opera. Performed with modified staging and costumes, and performed to piano accompaniment, this was a fun romp on a Saturday evening. It was also the first meeting of the 83rd season of the Gilbert & Sullivan Society of New York, so there were a lot of G&S aficionados in attendance. In addition, we the audience were encouraged to be part of the chorus in Trial by Jury. I dutifully joined in but almost wish I hadn’t; I was focusing so much on the score (lent to me for the occasion) that I didn’t get the full effect of seeing the show.
Cox and Box – F.C. Burnand & Sir Arthur Sullivan (1866) – James John Cox – Bryan Elsesser; John James Box – Nicholas Wuehrmann; Sergeant Bouncer – Ken Parks
Trial by Jury– Sir William S. Gilbert & Sir Arthur Sullivan (1875) – The Learned Judge – Nicholas Wuehrmann; The Plaintiff (Angelina) – Natalie Ballenger; The Defendant (Edwin) – Jack Tobey; Counsel for the Plaintiff – Janice Myerson; Usher – Ken Parks; Foreman of the Jury – Anthony Maida; Erica Rome, piano (for both)
The ‘Sort Of’ referred to above is because Burnand (and not Gilbert) wrote the libretto for Cox and Box. All right, that’s out of the way.
I’m not even going to bother with plot descriptions (hello! Victorian-era comic opera). Suffice it to say that there were many chuckles and groans. OK, just a couple. This, from Cox and Box (after discovering that the two may/might/june be long lost brothers (twins!)): “Do you have a strawberry mark on your left arm?” “No.” “Then it is he!” (I’m not making this up, you know.) Trial by Jury had this nugget that the Learned Judge sang (and the chorus dutifully repeated): “She may very well pass for forty-three in the dusk with the light behind her.” The shows were fun, well performed, and well worth attending.
Here’s the real ConcertMeister approach. I had the great pleasure of working with Ken Parks many years ago (1984, specifically) in the longest-titled-musicals in history—Joseph and the Amazing Technicolor Dreamcoat, starring Jimmy Osmond; On a Clear Day You Can See Forever, starring Diana Canova; and How to Succeed in Business Without Really Trying, starring Ron Palillo, at Bucks County Playhouse. It was a great summer of summer stock.
Fast backward (as opposed to fast forward), here’s another real ConcertMeister approach. In 1977 (about six to eight months after moving to NYC), I sang the role of Box in a Light Opera of Manhattan studio performance. I was green but, hey! it was my Off-Broadway debut. I also performed in the ensemble of Trial. After seeing the DVO performances on Saturday night, I actually found a recording of my one-night-only performance. It was recorded on a tiny Walkman, so the sound quality was not great but it certainly brought back a lot of memories. Our version was performed with piano and organ accompaniment, and Michael was the organist. In fact, the Light Opera of Manhattan is where we met—and the rest, as they say, was history. Yes indeed, it truly did bring back a lot of memories.
I’m certainly glad that I heard and saw the DVO productions but I don’t think I’ll be running out to join the Gilbert & Sullivan Society of New York any time soon.
ConcertMeister
These were studio performances by company members of the Delaware Valley Opera. Performed with modified staging and costumes, and performed to piano accompaniment, this was a fun romp on a Saturday evening. It was also the first meeting of the 83rd season of the Gilbert & Sullivan Society of New York, so there were a lot of G&S aficionados in attendance. In addition, we the audience were encouraged to be part of the chorus in Trial by Jury. I dutifully joined in but almost wish I hadn’t; I was focusing so much on the score (lent to me for the occasion) that I didn’t get the full effect of seeing the show.
Cox and Box – F.C. Burnand & Sir Arthur Sullivan (1866) – James John Cox – Bryan Elsesser; John James Box – Nicholas Wuehrmann; Sergeant Bouncer – Ken Parks
Trial by Jury– Sir William S. Gilbert & Sir Arthur Sullivan (1875) – The Learned Judge – Nicholas Wuehrmann; The Plaintiff (Angelina) – Natalie Ballenger; The Defendant (Edwin) – Jack Tobey; Counsel for the Plaintiff – Janice Myerson; Usher – Ken Parks; Foreman of the Jury – Anthony Maida; Erica Rome, piano (for both)
The ‘Sort Of’ referred to above is because Burnand (and not Gilbert) wrote the libretto for Cox and Box. All right, that’s out of the way.
I’m not even going to bother with plot descriptions (hello! Victorian-era comic opera). Suffice it to say that there were many chuckles and groans. OK, just a couple. This, from Cox and Box (after discovering that the two may/might/june be long lost brothers (twins!)): “Do you have a strawberry mark on your left arm?” “No.” “Then it is he!” (I’m not making this up, you know.) Trial by Jury had this nugget that the Learned Judge sang (and the chorus dutifully repeated): “She may very well pass for forty-three in the dusk with the light behind her.” The shows were fun, well performed, and well worth attending.
Here’s the real ConcertMeister approach. I had the great pleasure of working with Ken Parks many years ago (1984, specifically) in the longest-titled-musicals in history—Joseph and the Amazing Technicolor Dreamcoat, starring Jimmy Osmond; On a Clear Day You Can See Forever, starring Diana Canova; and How to Succeed in Business Without Really Trying, starring Ron Palillo, at Bucks County Playhouse. It was a great summer of summer stock.
Fast backward (as opposed to fast forward), here’s another real ConcertMeister approach. In 1977 (about six to eight months after moving to NYC), I sang the role of Box in a Light Opera of Manhattan studio performance. I was green but, hey! it was my Off-Broadway debut. I also performed in the ensemble of Trial. After seeing the DVO performances on Saturday night, I actually found a recording of my one-night-only performance. It was recorded on a tiny Walkman, so the sound quality was not great but it certainly brought back a lot of memories. Our version was performed with piano and organ accompaniment, and Michael was the organist. In fact, the Light Opera of Manhattan is where we met—and the rest, as they say, was history. Yes indeed, it truly did bring back a lot of memories.
I’m certainly glad that I heard and saw the DVO productions but I don’t think I’ll be running out to join the Gilbert & Sullivan Society of New York any time soon.
ConcertMeister
Monday, September 17, 2018
Music from China – Erhu-Cello Duo (9/15/18)
Wang Guowei, erhu; Michael Katz, cello
Reflections (2018) – Wang Guowei
River Songs (2001) – I. The River Spirit; II. Da Shosho; III. To the Western Frontier – A Farewell Song – Yang Yong
Raindrops Falling on Palm Leaves (2018) – Arr. W. Guowei
Taiwan Song (2018) – Arr. W. Guowei
Songs from the Mountain (2018) – Arr. W. Guowei
Gobi Polyphony (2003) – Lei Liang
Taiping Drum (1983) – Zhou Long
Eh, what? Erhu? The erhu is a Chinese two-stringed instrument sometimes referred to as a stick fiddle. It dates back thousands of years, is long and skinny, with a small resonating sound box at its bottom, and is a bowed instrument, although it is also sometimes plucked, pizzicato style. It teamed very well with the cello on Saturday afternoon. Mr. Guowei played on three different erhus, though I’m not entirely sure what the differences were.
Reflections had elements of the folk music of China but it also reminded me a bit of southern country-style fiddling. It was interesting even though it meandered a bit. There were some very playful touches at the end.
The three movements of River Songs ended up more like two, since the second and third are played without a pause (the printed program even says so). The first two were a mix of avant-garde sounds mixed with folk-style tunes and phrases. The second was brisker than the first, and Mr. Guowei changed erhus in the middle, while the third was slightly mournful, perhaps highlighting the farewell. In general, the erhu and the cello were equal partners and matched each other in the style of playing—the erhu is just a little more exotic sounding.
OK, it’s slight-bone-to-pick time. The printed program had a brief description
of each piece. On Saturday, an Asian woman (the director of some program/
organization) came out before each piece and read the description—but she was soft spoken and did not use a microphone. It got very tedious very quickly, especially since I had already taken the time to read them before the concert began.
Raindrops was an arrangement of a Cantonese tune and reminded me of Irish or Scottish fiddling, but that’s pretty much the same the world over, right? The song, though, was a little easier to listen to than some of the others. After two interruptions (what sounded like a video interrupting someone’s web surfing—and a phone call, that a guy actually took!), the third time was the charm. Taiwan Song was gentle, almost hymn-like, and easily my favorite of the afternoon. Charming.
The rest of the program featured more of the same fiddling sounds, avant-garde sounds, folk song sounds, and some rather amusing representations of bird calls. But there was just too much sameness for me. I appreciated the techniques and talent. Not so much the music itself. I liked hearing the erhu, and it would be great to hear it again, in a program with a little more variety.
The very responsive audience brought the duo out for an encore that was more of the same. I high-tailed it out of there in case there was a second encore (there was not).
ConcertMeister
Reflections (2018) – Wang Guowei
River Songs (2001) – I. The River Spirit; II. Da Shosho; III. To the Western Frontier – A Farewell Song – Yang Yong
Raindrops Falling on Palm Leaves (2018) – Arr. W. Guowei
Taiwan Song (2018) – Arr. W. Guowei
Songs from the Mountain (2018) – Arr. W. Guowei
Gobi Polyphony (2003) – Lei Liang
Taiping Drum (1983) – Zhou Long
Eh, what? Erhu? The erhu is a Chinese two-stringed instrument sometimes referred to as a stick fiddle. It dates back thousands of years, is long and skinny, with a small resonating sound box at its bottom, and is a bowed instrument, although it is also sometimes plucked, pizzicato style. It teamed very well with the cello on Saturday afternoon. Mr. Guowei played on three different erhus, though I’m not entirely sure what the differences were.
Reflections had elements of the folk music of China but it also reminded me a bit of southern country-style fiddling. It was interesting even though it meandered a bit. There were some very playful touches at the end.
The three movements of River Songs ended up more like two, since the second and third are played without a pause (the printed program even says so). The first two were a mix of avant-garde sounds mixed with folk-style tunes and phrases. The second was brisker than the first, and Mr. Guowei changed erhus in the middle, while the third was slightly mournful, perhaps highlighting the farewell. In general, the erhu and the cello were equal partners and matched each other in the style of playing—the erhu is just a little more exotic sounding.
OK, it’s slight-bone-to-pick time. The printed program had a brief description
of each piece. On Saturday, an Asian woman (the director of some program/
organization) came out before each piece and read the description—but she was soft spoken and did not use a microphone. It got very tedious very quickly, especially since I had already taken the time to read them before the concert began.
Raindrops was an arrangement of a Cantonese tune and reminded me of Irish or Scottish fiddling, but that’s pretty much the same the world over, right? The song, though, was a little easier to listen to than some of the others. After two interruptions (what sounded like a video interrupting someone’s web surfing—and a phone call, that a guy actually took!), the third time was the charm. Taiwan Song was gentle, almost hymn-like, and easily my favorite of the afternoon. Charming.
The rest of the program featured more of the same fiddling sounds, avant-garde sounds, folk song sounds, and some rather amusing representations of bird calls. But there was just too much sameness for me. I appreciated the techniques and talent. Not so much the music itself. I liked hearing the erhu, and it would be great to hear it again, in a program with a little more variety.
The very responsive audience brought the duo out for an encore that was more of the same. I high-tailed it out of there in case there was a second encore (there was not).
ConcertMeister
Friday, September 14, 2018
Midday Masterpieces (9/12/18)
Jordan Bak, viola; Ji Yung Lee, piano
(And his last name is pronounced 'Bach' and I'm biting my tongue.)
Le Grand Tango (1982) – Astor Piazzolla
Fantasia No. 9 in B minor, TWV 40:22 (1735) – Georg Philipp Telemann
Viola Sonata in E-flat major, Op. 120, No. 2 (1894) – Johannes Brahms
This was the opening concert of season three of Midday Masterpieces. It is a series, sponsored by WQXR and the Jerome L. Green Foundation, featuring up-and-coming Juilliard students. The hour-long concerts make for a nice break in the day. Interestingly, the first piece on the program was originally written for violin and piano; the second was originally for solo cello; and the third was originally written for clarinet, though Brahms himself created this transcription for viola, with minor adjustments to suit the viola.
The Piazzolla, played from memory by Mr. Bak, was very energetic though it also had a sense of being subdued. A second section was slightly haunting, while a third was a mix, but mostly high energy with touches of jazz. It was a great way to start the concert.
The Telemann, also played from memory, is a solo work for viola (here). It had a rather simple opening, with a few double stops added—this is where the violist plays on two strings at once to add a touch of harmony to the solo instrument. The second movement was brisker, with pleasant dance rhythms. The last movement was also brisk and interesting for the most part. Mr. Bak played with style and grace, standing there dead center stage, all by himself.
The first movement of the Brahms, played here from the score by Mr. Bak, had a very pretty theme in the Romantic style, sweeping at times and introspective at others, and included a couple of phrases that sounded as though they wanted to become a song. The second movement was bold, with phrases bouncing back and forth between the viola and the piano, often with a sense of urgency. These were mingled with some tender phrases, a chorale-like piano section, a gentler section for both players, a return to a variation of the opening theme, and then a tender ending to the movement. The third movement began with a fairly simple theme that was also varied in smaller, contrasting sections. The theme itself somehow gave me a feeling of hope. Both players were very expressive and attentive to each other. That even carried over to the page turner—at times, I thought I was watching a miniature version of choreography, with all three moving, ever so slightly, in unison. It was a nice touch.
Mr. Bak spoke effectively from the stage in introducing and explaining each piece, and as each one finished you could tell that he was really having a good time. I was, too. I’ll be returning for more masterpieces throughout the season.
ConcertMeister
(And his last name is pronounced 'Bach' and I'm biting my tongue.)
Le Grand Tango (1982) – Astor Piazzolla
Fantasia No. 9 in B minor, TWV 40:22 (1735) – Georg Philipp Telemann
Viola Sonata in E-flat major, Op. 120, No. 2 (1894) – Johannes Brahms
This was the opening concert of season three of Midday Masterpieces. It is a series, sponsored by WQXR and the Jerome L. Green Foundation, featuring up-and-coming Juilliard students. The hour-long concerts make for a nice break in the day. Interestingly, the first piece on the program was originally written for violin and piano; the second was originally for solo cello; and the third was originally written for clarinet, though Brahms himself created this transcription for viola, with minor adjustments to suit the viola.
The Piazzolla, played from memory by Mr. Bak, was very energetic though it also had a sense of being subdued. A second section was slightly haunting, while a third was a mix, but mostly high energy with touches of jazz. It was a great way to start the concert.
The Telemann, also played from memory, is a solo work for viola (here). It had a rather simple opening, with a few double stops added—this is where the violist plays on two strings at once to add a touch of harmony to the solo instrument. The second movement was brisker, with pleasant dance rhythms. The last movement was also brisk and interesting for the most part. Mr. Bak played with style and grace, standing there dead center stage, all by himself.
The first movement of the Brahms, played here from the score by Mr. Bak, had a very pretty theme in the Romantic style, sweeping at times and introspective at others, and included a couple of phrases that sounded as though they wanted to become a song. The second movement was bold, with phrases bouncing back and forth between the viola and the piano, often with a sense of urgency. These were mingled with some tender phrases, a chorale-like piano section, a gentler section for both players, a return to a variation of the opening theme, and then a tender ending to the movement. The third movement began with a fairly simple theme that was also varied in smaller, contrasting sections. The theme itself somehow gave me a feeling of hope. Both players were very expressive and attentive to each other. That even carried over to the page turner—at times, I thought I was watching a miniature version of choreography, with all three moving, ever so slightly, in unison. It was a nice touch.
Mr. Bak spoke effectively from the stage in introducing and explaining each piece, and as each one finished you could tell that he was really having a good time. I was, too. I’ll be returning for more masterpieces throughout the season.
ConcertMeister
Tuesday, September 11, 2018
Meister-Lite x Two
Shakespeare in the Park (9/1/18) and Sugar Hill Music Festival (9/8/18)
Yes, more Shakespeare in Bryant Park via The Drilling Company (known for their Shakespeare in the Parking Lot performances that I’ve never attended). I’m not making this up, you know. This was Mac—the Scottish play. I had never actually seen this, so was very entertained. Some of the plot was a bit convoluted (hello! Shakespeare tragedy) but I got the gist of it. Cool casting of a guy as one of the witches. Minimal sets, though costuming was pretty good. And a good mix of Equity and non-Equity actors there (hey, some of us non-Equity actors did good work before we finally got an Equity contract).
Bubbling cauldron? Check. Bloody hands? Check. Death and ghosts? Check. Worthwhile endeavor, and I’m glad I did it.
2018
When Sugar Hill Was Sweet (9/8/18)
Alas, less successful. I went last year and enjoyed it. Sort of. It was a combo of entertainment and history—the Harlem struggle and the rather Communist leanings of the fighters there, in the ’50s and ’60s. I don’t have a problem with that; I just prefer good music without the politics. This year, there was more of the politics. ’Nuff said. On to the music. The Regina Carter (violin)/Xavier Davis (piano) duo played some darned good stuff. When I Grow Too Old to Dream was cool, with a few riffs (English Country Gardens and Eleanor Rigby) thrown in for good measure. Higher Ground, by Stevie Wonder followed, but I did not recognize the tune. An arrangement of the Hoagy Carmichael tune Judy followed. An Ella Fitzgerald song/tune followed but I didn’t get the name (no printed program). Also not announced was the final song that sounded like a classic ‘good-bye’ piece.
A reading by MaryLouise Patterson followed that was OK but just.
The Uptown Brass Quintet was next and they had a nice mix of tunes—fanfare from Rocky; A Closer Walk with Thee (sort of a N’Orleans dirge that then bumps up to up tempo); then The Junkman Rag by C. Lucky Roberts (all announced from the stage and me frantically writing in the afternoon drizzle); then W.C. Handy’s appropriately plodding St. Louis Blues. Fats Waller’s Ain’t Misbehavin’ followed; William Grant Still’s El Marigate was next (music written for a puppet show in South America—I’m still not making this up, you know!); and then Tom Turpin’s The Harlem Rag. The educational aspect was great. The execution, not so much. Take the A Train and one other song were the obligatory encores.
The deteriorating weather and length of the afternoon led me to leave then, before hearing Sugar Hill Quartet with TC the 3rd and Firey String Sistas! Maybe next year. Maybe not, though.
ConcertMeister
Yes, more Shakespeare in Bryant Park via The Drilling Company (known for their Shakespeare in the Parking Lot performances that I’ve never attended). I’m not making this up, you know. This was Mac—the Scottish play. I had never actually seen this, so was very entertained. Some of the plot was a bit convoluted (hello! Shakespeare tragedy) but I got the gist of it. Cool casting of a guy as one of the witches. Minimal sets, though costuming was pretty good. And a good mix of Equity and non-Equity actors there (hey, some of us non-Equity actors did good work before we finally got an Equity contract).
Bubbling cauldron? Check. Bloody hands? Check. Death and ghosts? Check. Worthwhile endeavor, and I’m glad I did it.
2018
When Sugar Hill Was Sweet (9/8/18)
Alas, less successful. I went last year and enjoyed it. Sort of. It was a combo of entertainment and history—the Harlem struggle and the rather Communist leanings of the fighters there, in the ’50s and ’60s. I don’t have a problem with that; I just prefer good music without the politics. This year, there was more of the politics. ’Nuff said. On to the music. The Regina Carter (violin)/Xavier Davis (piano) duo played some darned good stuff. When I Grow Too Old to Dream was cool, with a few riffs (English Country Gardens and Eleanor Rigby) thrown in for good measure. Higher Ground, by Stevie Wonder followed, but I did not recognize the tune. An arrangement of the Hoagy Carmichael tune Judy followed. An Ella Fitzgerald song/tune followed but I didn’t get the name (no printed program). Also not announced was the final song that sounded like a classic ‘good-bye’ piece.
A reading by MaryLouise Patterson followed that was OK but just.
The Uptown Brass Quintet was next and they had a nice mix of tunes—fanfare from Rocky; A Closer Walk with Thee (sort of a N’Orleans dirge that then bumps up to up tempo); then The Junkman Rag by C. Lucky Roberts (all announced from the stage and me frantically writing in the afternoon drizzle); then W.C. Handy’s appropriately plodding St. Louis Blues. Fats Waller’s Ain’t Misbehavin’ followed; William Grant Still’s El Marigate was next (music written for a puppet show in South America—I’m still not making this up, you know!); and then Tom Turpin’s The Harlem Rag. The educational aspect was great. The execution, not so much. Take the A Train and one other song were the obligatory encores.
The deteriorating weather and length of the afternoon led me to leave then, before hearing Sugar Hill Quartet with TC the 3rd and Firey String Sistas! Maybe next year. Maybe not, though.
ConcertMeister
Tuesday, September 4, 2018
Concerts on the Slope (8/26/18)
Songs for Our Children
Jin-Xiang Yu, soprano; Lucas Barkley, piano
~Children’s Poetry~
I Hate Music! – A Cycle of Five Kid Songs – L. Bernstein (1918–1990)
Der Sandmann, Op. 79 Liederalbum für die Jugend No. 12 – R. Schumann (1810–1856)
La courte paille – F. Poulenc (1899–1963)
~Lullabies~
Da unten im Tale, WoO 33 49 Deutsche Volklieder No. 6 – J. Brahms (1833–1897)
Wiegenlied, Op. 105/D. 867 Vier Lieder No. 2 – F. Schubert (1797–1828)
Meinem Kinde, Op. 37 Sechs Lieder No. 3 – R. Strauss (1864–1949)
Wiegenliedchen, Op. 49 Acht Lieder No. 3 – R. Strauss
Aludj, aludj, Op. Post. 3 Songs on Poems by Béla Bálazs No. 3 – Z. Kodály (1882–1967)
Leise, leise weht ihr Lüfte, Op. 97 Vier Lieder No. 2 – M. Reger (1873–1916)
Schwallbenmütterlein, Op. 142 Fünf neue Kinderlieder No. 2 – M. Reger
Kindeslächeln, Op. 76 Schlichte Weisen No. 27 – M. Reger
Die ihr schwebet, Spanisches Liederbuch: Geistliche Lieder No. 4 – H. Wolf (1860–1903)
Margretes Vuggesang, Op. 15 Romanser No. 1 – E. Grieg (1843–1907)
~Songs for Our Children~
Chants de Terre et Ciel – O. Messiaen (1908–1992)
What a difference a day makes—a classical collection compared to a Sinatra collection. Clocking in at fourteen selections, three of which have multiple movements, I will definitely not be commenting on each individual song. I do, however, want to add a little back story for the Bernstein. Apparently, “I hate music” was a phrase used by one of his roommates who got tired of hearing some of the same phrases and pieces over and over as Bernstein was coaching singers. The song cycle was written in 1943. I liked all five of the songs, although the text for the centerpiece, I Hate Music, got a little bit lost in the reverb in the church sanctuary where the concert took place. That happened a few more times during the afternoon, usually when the lyrics were rapid and the piano accompaniment was rapid as well.
The alternating vocal and piano phrases of Schumann’s Sandmann were very pleasant. This one got a + in my written notes. Two of the slower movements of the Poulenc were also quite good and effective. My note for the seventh (and final) movement was one word—lovely.
The Brahms lullaby was not the famous one. All of the lullabies were interesting to some degree but hearing ten lullabies in a row was a little too much for me. As announced by Ms. Yu, she could not find a score for the Kodaly, so she transcribed it from a recording. It was a nice, gentle setting.
The Messiaen was six movements of modern and esoteric music. There were some pretty sounds but also some weird sounds. Messiaen is somewhat of an acquired taste and one that I don’t quite have. Indeed, I footnoted the third movement as ‘least favorite’ only to end up footnoting the fifth movement as ‘new least favorite’—not quite a ringing endorsement.
I’m certainly glad I attended and I’ll most likely go back for additional Concerts on the Slope. And the songs for children program was quite fitting since Ms. Yu was obviously pregnant. Her child will definitely hear some beautiful music when trying to be lulled into slumber. Additionally, we were told that the artistic director of the organization, Benjamin Larsen, might need to leave the concert suddenly, as his wife was in labor for the birth of their first child.
ConcertMeister
Jin-Xiang Yu, soprano; Lucas Barkley, piano
~Children’s Poetry~
I Hate Music! – A Cycle of Five Kid Songs – L. Bernstein (1918–1990)
Der Sandmann, Op. 79 Liederalbum für die Jugend No. 12 – R. Schumann (1810–1856)
La courte paille – F. Poulenc (1899–1963)
~Lullabies~
Da unten im Tale, WoO 33 49 Deutsche Volklieder No. 6 – J. Brahms (1833–1897)
Wiegenlied, Op. 105/D. 867 Vier Lieder No. 2 – F. Schubert (1797–1828)
Meinem Kinde, Op. 37 Sechs Lieder No. 3 – R. Strauss (1864–1949)
Wiegenliedchen, Op. 49 Acht Lieder No. 3 – R. Strauss
Aludj, aludj, Op. Post. 3 Songs on Poems by Béla Bálazs No. 3 – Z. Kodály (1882–1967)
Leise, leise weht ihr Lüfte, Op. 97 Vier Lieder No. 2 – M. Reger (1873–1916)
Schwallbenmütterlein, Op. 142 Fünf neue Kinderlieder No. 2 – M. Reger
Kindeslächeln, Op. 76 Schlichte Weisen No. 27 – M. Reger
Die ihr schwebet, Spanisches Liederbuch: Geistliche Lieder No. 4 – H. Wolf (1860–1903)
Margretes Vuggesang, Op. 15 Romanser No. 1 – E. Grieg (1843–1907)
~Songs for Our Children~
Chants de Terre et Ciel – O. Messiaen (1908–1992)
What a difference a day makes—a classical collection compared to a Sinatra collection. Clocking in at fourteen selections, three of which have multiple movements, I will definitely not be commenting on each individual song. I do, however, want to add a little back story for the Bernstein. Apparently, “I hate music” was a phrase used by one of his roommates who got tired of hearing some of the same phrases and pieces over and over as Bernstein was coaching singers. The song cycle was written in 1943. I liked all five of the songs, although the text for the centerpiece, I Hate Music, got a little bit lost in the reverb in the church sanctuary where the concert took place. That happened a few more times during the afternoon, usually when the lyrics were rapid and the piano accompaniment was rapid as well.
The alternating vocal and piano phrases of Schumann’s Sandmann were very pleasant. This one got a + in my written notes. Two of the slower movements of the Poulenc were also quite good and effective. My note for the seventh (and final) movement was one word—lovely.
The Brahms lullaby was not the famous one. All of the lullabies were interesting to some degree but hearing ten lullabies in a row was a little too much for me. As announced by Ms. Yu, she could not find a score for the Kodaly, so she transcribed it from a recording. It was a nice, gentle setting.
The Messiaen was six movements of modern and esoteric music. There were some pretty sounds but also some weird sounds. Messiaen is somewhat of an acquired taste and one that I don’t quite have. Indeed, I footnoted the third movement as ‘least favorite’ only to end up footnoting the fifth movement as ‘new least favorite’—not quite a ringing endorsement.
I’m certainly glad I attended and I’ll most likely go back for additional Concerts on the Slope. And the songs for children program was quite fitting since Ms. Yu was obviously pregnant. Her child will definitely hear some beautiful music when trying to be lulled into slumber. Additionally, we were told that the artistic director of the organization, Benjamin Larsen, might need to leave the concert suddenly, as his wife was in labor for the birth of their first child.
ConcertMeister
Guest Post (8/31/18)
Hubby and I have a great love for the puppetry arts. When we found out about this show—via a full-page ad in the Beacon-Journal no less—we jumped on it.
Phillip Huber is a master puppeteer with awards worldwide. It’s unclear how long he’s been running this particular show, Suspended Animation, but most of the clips are available on YouTube. Still, nothing beats seeing an artist live—and Huber definitely qualifies.
The all-marionette show opens with a trapeze artist puppet, and the wow factor shows up immediately. Even though Mr. Huber is in full sight, the puppet commands all the attention as she floats and twirls in ways that defy expectations of how marionettes move.
Throughout the evening we’re treated to a gypsy dancer, a ballet dancer, and a golden gymnast figure. Musical acts include a German oom-pah accordionist, a violinist, an opera singer, and celebrity look-a-likes including Liza, Ella, and Natalie Cole. There was also a puppy, a snarky little girl, and a Chinese magician.
At one point, he showed a video—a behind-the-scenes of the workings of his marionettes, and another, later, showing the construction of Natalie Cole.
Fascinating stuff.
BrotherMeister
p.s. I approve this message. CM
Phillip Huber is a master puppeteer with awards worldwide. It’s unclear how long he’s been running this particular show, Suspended Animation, but most of the clips are available on YouTube. Still, nothing beats seeing an artist live—and Huber definitely qualifies.
The all-marionette show opens with a trapeze artist puppet, and the wow factor shows up immediately. Even though Mr. Huber is in full sight, the puppet commands all the attention as she floats and twirls in ways that defy expectations of how marionettes move.
Throughout the evening we’re treated to a gypsy dancer, a ballet dancer, and a golden gymnast figure. Musical acts include a German oom-pah accordionist, a violinist, an opera singer, and celebrity look-a-likes including Liza, Ella, and Natalie Cole. There was also a puppy, a snarky little girl, and a Chinese magician.
At one point, he showed a video—a behind-the-scenes of the workings of his marionettes, and another, later, showing the construction of Natalie Cole.
Fascinating stuff.
BrotherMeister
p.s. I approve this message. CM
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