Tuesday, May 29, 2012

Brazilian Music – Entremeados (“Intertwined”) 5/26/12

Brazilian music for cello and piano, at Bargemusic, was a very interesting program. The pianist – Júlia Tygel (also a composer), and Jody Redhage, cellist – presented a really interesting program. The composers, besides Ms. Tygel, included Edu Lobo, Chico Buarque, Vinicius de Morales, and Claude Debussy and J.S. Bach (more on that later).

Ms. Tygel announced from the stage that the composers we were about to hear took bossa nova basics and combined them with a classical influence. I can’t say that I heard bossa nova, though I did hear Latin-music influences.

“Beatriz” was moody, with a good interplay between piano and cello. “Ciranda da Bailarina” was certainly rhythmic and dance-like, with running scales and a real feeling of dance episodes.

“Barroca,” by Ms. Tygel, was a little bit disjointed in approach, with a seemingly academic compositional style. “Vasinha,” that followed (not Ms. Tygel), was darker but with a definite S. American flair.

“Invenção sobre um número telefônico” (Ms. Tygel—and ain’t HTML a kick?) had a cute back-story that was slightly longer than the piece. It’s based on the second phone number of her composition teacher (he loved his first phone #, lost the phone, and hated his second phone #). The composition was brief and interesting, but the story was better.

“Caicó” seemed to be a folk song arrangement, building in intensity and returning to serenity.

“Casa Forte” really took up the bossa nova/classical music mantle, with an A/B/A format—quite lively/contrast in tempo and intensity/lively finish.

“Estrada Branca/Arabesque N. 1” took a Debussy composition and added contrasting/complementary cello lines. Likewise, “Senhorinha/Prelude in G – 1st Cello Suite” transformed Bach by adding an all-left-hand, very Bach-like piano addition to the cello composition. These two were quite high on my list of most successful on the program, as they were inventive, yet tied in with established pieces.

The program finished with one more Chico Buarque piece, “Roda Viva,” that included variations with more modern writing (no dates were given for any of the compositions), but still very listenable.

Brazilian piano and cello music—who knew? A new experience for me; and a good one.

ConcertMeister

Saturday, May 26, 2012

Harwood Management Artists

This was a worthwhile endeavor, allowing young (early-20s–mid-30s) theater folk a chance to spread their wings. These are all performers associated with Harwood Management. There were some programs that had brief bios of the performers; unfortunately, the one I snagged only listed the performers and the songs. None of the singers wowed me, but it was interesting to hear a diverse mix of Broadway show tunes. But first, some stage management issues.

There were two accompanists (a good thing, in a program of 23 songs). Alas, they seemed to alternate quite a bit, so there was a built in lull, as one left and the other arrived. Would it really have killed them to set out an extra chair and have both of them onstage throughout each half, to cut down on unnecessary traffic? Just wondering. Also, somebody should drill these folks on stage comportment, especially on how to take a bow (even more so in the duet situations). Be forthright, smile, acknowledge the audience, bow, and leave. Determine ahead of time whether the accompanist should get an acknowledgment. In a duet situation, determine ahead of time whether it will be one bow, or one each, and then one together. Don’t make it look like you’re winging it. And if you screw it up, don’t acknowledge it (unless you’re absolutely sure you can play it for a laugh). Really, it’s a lot like life: If you look like you know what you’re doing, that level of confidence will carry you through.

Um, CM, what about the music?

Right. As mentioned above, there were 23 songs, so not every one will get its due. The opener was “Another Openin’, Another Show” (Kiss Me Kate), with the full cast of 17 singers. Rousing, mostly unison, with a go for broke ending, i.e., the sopranos went soaring. There was a mix of old—“Blue Skies” (from Betsy, who knew?)—new—“I Should Tell You” (Rent)—Disney—“Proud of Your Boy” (Aladdin)—and traditional—“People Will Say We’re in Love” (Oklahoma).

Also included were “Your Eyes” (Rent) and “Lily’s Eyes” (Secret Garden). In the humor department, we had “I Am Adolfo” (The Drowsy Chaperone) and a crackerjack performance of “Can’t Stop Talking” (Let’s Dance). This last one was new to me and it was just great—a witty, well-performed patter/novelty number. Another highlight was “The Man That Got Away” (A Star Is Born).

Less successful (or less to my taste) were works from In the Heights, Little Shop of Horrors, 9 to 5, and Nine. I guess I’m more of a traditionalist. Sondheim was represented with “Good Thing Going” (Merrily We Roll Along) and “Johanna” (Sweeney Todd), both performed relatively successfully. Also relatively successful was a duet of “You’re the Top” (Anything Goes). The intention was good and the performers had good instincts, but the tempo was just too fast. The song’s witty character got lost in the shuffle. Hearing “Who Can I Turn To?” (Roar of the Greasepaint, Smell of the Crowd) brought back some fond memories of junior high. Yep, I was exposed to show tunes at an early age.

Just before intermission, it was announced that Celeste Holm was in attendance. A lot of people flocked to her at intermission. I didn’t, but I did walk over to get a closer view. At 95, her smile is just as radiant as ever.

So, all in all, a pleasant afternoon, exposure to new (to me) Broadway tunes, sung by a fledgling group of performers with talent—though talent that is still rough around the edges. I’m glad I went.

ConcertMeister

Tuesday, May 15, 2012

The Lascivious Biddies

This was a Carnegie Community concert; actually part of their Musical Connections series. As such, I applaud them for sponsoring an afternoon concert in the atrium of Bellevue Hospital. Unfortunately, this was a blessing and a curse.

The Lascivious Biddies’ press: “[Their] irrepressible, genre-defying blend of jazz, pop, and cabaret mixed with soaring harmonies has earned then a reputation for expert musicianship, sharp wit, and a dash of sentimentality.”

Alas, in this setting, they didn’t live up to that press. What I heard was jazz-lite and pop-lite, with what probably would have played better in a more intimate setting. The electric keyboard, amplified ukulele, and amplified stand-up bass didn’t quite cut it in the atrium setting. Even with microphones, actually getting the text was sometimes difficult, especially when the gal playing the bass was featured as a singer. I could understand everything, but just. And I was one of the younger audience members. And I think any lascivious stuff was toned down That said, the audience really seemed to enjoy themselves, and that’s one of the strong points of the
program(ming).

Individual songs are hard to highlight, since the gals (did I mention they were all gals? hence Biddies?) wrote some of their own material and included songs “written” by some of the seniors in their other community events. I have a feeling that the gals added a lot to the ideas that the seniors brought to the table—but that’s just guesswork on my part.

So, some tunes—You Can Take the Girl Out of Texas, To Keep My Love Alive, and You Don’t Own Me were recognizable to me. Some written by the band included
I Quit Quitting (actually, pretty witty), and Lost Luggage Song. Some of the senior-inspired songs included Why Can’t a Man Be a Man?, and a Carousel Horses song.

Re. jazz-lite, a couple of times they threw the spotlight (as it were) to the keyboard or the bass—completely lost on this audience, in this setting.

The gals sang OK, the harmonies were nice (though not really soaring), and the audience enjoyed themselves. Success for Carnegie Community concerts, not so much for—

ConcertMeister

Monday, May 14, 2012

Lyons Chamber Players

The players—Douglas Lyons, horn; Sayuri Lyons, violin and viola; Joseph Rabbai, clarinet; and Evan Solomon, piano.

The program—F.A.E. Sonata – Scherzo for Violin and Piano, Johannes Brahms (transcribed by D. and S. Lyons); Clarinet Trio in E flat (‘Kegelstatt Trio’), K498,
W.A. Mozart; Suite for Violin, Clarinet, and Piano Op. 157b (1936), Darius Milhaud; and Horn Trio in E flat Major Op. 40, J. Brahms.

The first work (as a hybrid transcription) was interesting, and opened the program on a nice note. The (French) horn can be notoriously prone to bobbles but there were none here, even in the very wide-ranging writing for the horn. Also, it was nice to start with a one-movement opening to the concert.

The Mozart consisted of an Andante – pleasant but not syrupy, and graceful, with some gravity to the score. This might have been because of the slightly “weighty” feeling of the viola. The Menuetto could possibly have benefited from a slightly lighter touch, or a slightly sprightlier tempo. The Rondeaux (Allegretto) had a little more interplay between the three musicians, but the interplay was still slightly lacking. After intermission, I decided that maybe it was the clarinetist. He played well, with a nice tone, but just not quite the “chamber” feeling I associate with chamber music players. Merely my opinion.

The Milhaud, after intermission, was quite interesting. There was a little more sense of interplay. The Ouverture was lively, followed by a Divertissement that had a sort of “call and response” between the violin and clarinet, then joined by the piano. The Jeu was (if I’m remembering correctly) violin and clarinet only. The oddly named last movement – Introduction and final – had a broad/grand opening intro, and then the final turned bright. This was followed by a western- cowboy-like theme (think of the music in a tumbling tumbleweed cartoon) alternating with bursts of energy, leading to a subdued ending. Remembering that its composition date was 1936, it managed to stretch tonality, especially movements one and four, in a modern but listenable way.

The Brahms Horn trio began with an Andante that had very full writing – full in harmonies and full in style. The Scherzo - Allegro had a driving, rhythmic opening, bright, followed by a calm section, but always maintaining a happy, scherzo feeling. The Adagio Mesto had a gentle tune/motif, almost (but not quite) plaintive, building up dramatically and then returning to gentle. Think violin theme from “Young Frankenstein.” The Finale - Allegro con brio was quite energetic, with a few shifts in tempo and dynamics.

All in all, a very nice concert. The woman next to me (after I’d moved to a new seat to accommodate another listener) astutely commented that the viola in the Mozart gave the work a nice darkly hued flavor. And I have to give a shout out to Nikita, whose first classical music concert this was, and who sought me out afterwards to inquire about my blog. She and I agreed that the Brahms Horn trio was the most interesting work on the program. It sounds like she enjoyed herself; we may have a classical music convert.

ConcertMeister

Friday, May 11, 2012

Charles Jones—Piano (5/6/12)

Okay, I’ve been at this for a while now. I’m just not hearing fluidity in piano concerts. But I’m not quite sure whether it’s because I expect to hear the engineered sound of a CD (even a “live” recording CD?) or the fact that I’m listening close up in a relatively small house (as in, every flaw, or lack of sound filling the room, is causing questions in my ear/brain?). These are things for me to sort out.

Mr. Jones’ program opened with Piano Sonata No. 23 in f minor, Op. 57 “Appassionata”, Beethoven (1770–1827). First off, it was nice to hear the entire work, as opposed to a lot of radio exposure where you hear only one movement at a time. The Allegro Assai was full of many contrasts; the Andante con moto had a hymn-like chordal opening followed by a series of variations, and the Allegro ma non troppo rounded things out nicely. Still, I wanted more fluidity.

Next was Scherzo in b flat minor, Op. 31, Chopin (1810–1849). This was a strong, straightforward account with (maybe) a few dropped notes and that pesky lack of fluidity.

After intermission, we had Toccata in C Major, Op. 7, Schumann (1810–1856). My notes include–“Energetic, youthful? (because of Op. number), almost as if setting out to prove something.” It had a very sweet ending.

The final work, and all were played from memory, was Gaspard de la Nuit, Ravel (1875–1937). A work in three movements, the first movement, Ondine, was Impressionistic, with repeating rhythmic patterns in the right hand combined with arpeggios and tune notes in the left hand; Le Gibet had a calm opening followed by repeating notes, almost like the tolling of a bell–hypnotic, with hints of a Debussy paraphrase. The third movement, Scarbo, had hints of Latin/Spanish flair and was the closest to a real tune – still, it seemed a bit aimless.

Nice playing, if a bit segmented/disjointed. As I say, I’m not sure if it’s my CD-inspired/inflated expectations, or the room, or the pianists. Time will tell.

Curmudgeon alert! There was a “Thumbelina” three rows in front of me. Maybe she was so enraptured with the concert that she had to text while listening. Somehow, I doubt it. Hello!!! Your blue screen is very annoying! The concert hall is a place to get away from outside disturbances. Please keep your fellow audience members in mind.

ConcertMeister

Tuesday, May 8, 2012

Wall to Wall Gertrude’s Paris

“What is Wall to Wall?” you might ask.

It’s a really cool series put on at Symphony Space (95th and Broadway), where there are themed “happenings” that run from 11:00 a.m. to 11:00 p.m. This one dealt with Gertrude Stein’s Paris. Apparently there was a month-long+ Gertrude Stein Festival at Symphony Space (April 1–May 5, 2012) culminating in Wall to Wall. (Maybe ConcertMeister needs a social secretary?) This was my second Wall to Wall, though I can’t for the life of me remember what the first one was. Once again, Wall to Wall is free (in general), and you can enter, depart and re-enter throughout the day. I didn't spend the entire day there but I did see some of the early offerings and then, after my pique-nique déjeuner, part of the afternoon program. I had to get home for the Kentucky Derby and Cinco de Mayo!

So here’s what I saw and heard. Sonata for Flute, Viola, and Harp (1915) –
I. Pastorale, II. Interlude, III. Finale, Claude Debussy (1862–1918); a reading from The Autobiography of Alice B. Toklas (1933), “My arrival in Paris/salons,” Gertrude Stein (1874–1946); strolling musicians; readings from Portraits and Other Short Works, “If I Told Him: A Completed Portrait of Picasso,” “Matisse,” “Cezanne,” Stein; “From their correspondence,” Igor Stravinsky (1882–1971) and Manuel de Falla (1876–1946); Suite No. 1 (1925) and No. 2 (1921) for Chamber Orchestra, Stravinsky (arranged by Jonathan Jensen for oboe, bassoon and piano); a reading from Tender Buttons (1914), “A long dress,” A red hat,” “A blue coat,” and “A purse”; Trio for Oboe, Bassoon, and Piano (1926) – I. Presto, II. Andante, III. Rondo, Francis Poulenc (1899–1963); a conversation with Edmund White; and La Création du Monde (1923), Darius Milhaud (1892–1974).

After lunch I heard an evocation of cabaret life via eight songs performed by baritone Robert Osborne, accompanied by Richard Gordon, piano. Highlights included “Fascination” (1904), “Masculine Women, Feminine Men” (1925), and “Dada” (1920). He even included an encore by Comden and Green that included the lyrics, “A rose is a rose is a rose”!

A reading of “Stein’s little Ford” followed, after which we heard Stein lyrics to American opera—“Capital Capitals,” Virgil Thomson (1896–1989) – no date given for the opera, and “Three Sisters Who Are Not Sisters,” Ned Rorem (b. 1923) – no date given for the opera. Mr. Rorem was there for a post-opera discussion. I listened to part of it, then high-tailed it home for the Derby/Cinco de Mayo.

All of the music I heard was presented beautifully, and I enjoyed every bit of it. The street musicians included a chanteuse/accordionist, clarinet, trombone, saxophone and guitar. They strolled through the audience as the stage was being reconfigured for the readings and the next onstage musical setup. The Milhaud orchestra was composed of a string quartet, saxophone, two flutes, clarinet, oboe, bassoon, two trumpets, trombone, piano and two percussionists, all under the direction of Ransom Wilson (the ensemble plays under the name Le Train Bleu)—check them out.

A bit of Paris in New York. A lot of fun. I can’t imagine what the evening was like!

ConcertMeister

Sunday, May 6, 2012

The Great American Revue: How Florenz Ziegfeld, George White and Their Rivals Re-Made Broadway (5/2/12)

Wow! What a mouthful. This was a concert of music from the revue era, with lots of songs and lots of performers, so not everyone (or song) will get a shout out. Birth of the Blues (George White’s Scandals (1927)) was our opener, with a brassy quartet (Abby Rockwell Savage, Madison Stratton, Nicholas Wuehrmann, and (a last minute addition) Richard Coombs), plus our host for the evening, Steve Ross. The program continued with Shaking the Blues Away.

Steve Ross is a cabaret standout—my notes include “a true stylist.” Not the best voice out there, not the best pianist out there, but a true stylist, nevertheless. His driving force made the evening a complete success. His panache made us feel as though we were in a chic New York cabaret.

This was the Revue era—’20s and ’30s—via song. One of the highlights was
T. Oliver Reed’s rendition of Nobody, in the style of one of its writers (and star performer) Bert Williams. I’m not certain whether Mr. Reed’s performance was a replica of Mr. Williams’ (I’m not that old), but it certainly evoked Mr. Williams and his era.

The tunes were culled from the George White’s Scandals, the Ziegfeld Follies, Music Box Revue, Life Begins at 8:40, Seven Lively Arts, Garrick Gaieties, Flying Colors, and the Greenwich Village Follies. As Mr. Ross drolly commented, “I never had a folly in Greenwich Village, but I guess there were some.”

The composers/lyricists included Buddy DeSylva, Lew Brown, Ray Henderson, Irving Berlin, Bert Williams, Cole Porter, George Gershwin, Harold Arlen, Yip Harburg, Rodgers & Hart, and Dietz & Schwartz. Not shabby company!

Two Little Babes in the Woods gave us “… fountain of youth is gin and vermouth.” I’ll Build a Stairway to Paradise/Beautiful Ladies covered the stairway theme. Most of the songs were upbeat, with a couple of mood changers, including What’ll I Do? In introducing the song, Mr. Ross stole a line from somewhere re. Irving Berlin—“Russia’s greatest export … after vodka!”

Yielding the stage to Peter Mintun (after a bit of a faux pas) produced another well-seasoned performer for us, the audience. His set included American Tune (yay, us! but without the rah! rah!); You’re a Builder Upper (introduced in 1934 by Ray Bolger, dancing with Dixie Dunbar, of TV ad’s “tap-dancing-cigarette-box” fame—I’m not making this up, you know!),which yielded us the rather cool lyric, “I’m a giver-in-er”; and the classic, A Pretty Girl Is Like a Melody. (Was that last sentence too convoluted? Or just convoluted enough?!?)

The program closed out with a tribute to Ethel Merman in the guise of both Stephen Cole and Klea Blackhurst, accompanied by David Krane*. The songs included My Song, and Ladies and Gentlemen, That’s Love, both from George White’s Scandals (1931), and, from the same year, Life Is Just a Bowl of Cherries. Who knew that that was a “Merm” song? Not I. But now I, and you, do!

Mr. Ross and company provided a great stroll down memory lane with some fun, some laughs, and a great time, enjoyed by a very enthusiastic audience.

ConcertMeister
*David Krane was the music director of the Broadway revival of “Sweeney Todd” that I was blessed to be a performer in.

Wednesday, May 2, 2012

Piano – All Gershwin: A Double Life

The pianist was Alexander A. Wu, Yamaha Piano Artist and the double life referred to jazz/popular music versus American classical. Somehow with George Gershwin, they blend together. This was an old-fashioned Lecture/Recital, a format that I wish would make more of a comeback. Mr. Wu played from scores but spoke from memory.

Program – George Gershwin (1898–1937) (an all too brief life, the ConcertMeister editorialized)

Rialto Ripples Rag (1916–1917) transcribed by Richard Dowling (more on that later); Three Preludes (1926), Prelude I (in B flat), Prelude II (Blue Lullaby), Prelude III (Spanish Prelude); Novelette in Fourths (1918–1919), transc. by Dowling; An American in Paris in Miniature (1928) arranged by Maurice C. Whitney; Three Virtuoso Etudes based on Gershwin songs (1924) arr. by Earl Wild; and Fantasy on Gershwin’s Porgy and Bess (1935), arr. by Wild.

So you’re saying, “Why do we need a transcription of a Gershwin rag?” As it turns out, Gershwin recorded it on a player piano roll and what we heard was a transcription of the actual piano roll! Youthful Gershwin, to be sure.

With the Preludes, Gershwin had the idea of composing a set of 24 preludes à la Chopin, but only six were eventually written. And for those of you keeping score at home, it’s true that last week’s pianist played the Three Preludes and that one of my comments was, “Touch of a blues-y feeling in No. 2.” I feel somewhat vindicated now, knowing that No. 2 is referred to as Blue Lullaby. That said (and I’m really not going to do a total compare and contrast), I felt that Mr. Wu’s performance was a bit brisk for a Lullaby. In fact, all three Preludes were just a bit speedy for my taste. Hey, that’s what makes a horse race. Throughout the program, Mr. Wu had a nice fluidity, with strength as needed, in his playing.

As it turns out, the Novelette (with the fourths—pairs of notes four notes apart) gave the piece what was perceived as an Oriental flair with a ragtime feel. Think “da-da-da-da, da-da, da-da-da!” and you’ll know exactly what I mean. Also, interestingly, we learned that this piece from 1918–1919 wasn’t even published until 1955. And it was one of the six completed Preludes. That’s why I really enjoy the Lecture/Recital aspect of this program.

An American in Paris was arranged c.1951, very close to the release of the movie of the same name. It felt and sounded like an old friend (“honk, honk, honk”).

The Virtuoso Etudes (no. 4, Embraceable You; no. 2, Somebody Loves Me; no. 7, Fascinatin’ Rhythm) were indeed virtuosic. Earl Wild was known for performing his improvisations of many works and was persuaded to write them down. The result here is the pianistic reveries of an incredibly gifted improvisationist. Embraceable You opened with arpeggiated chords, once again like a ballet perpetual motion movement. There was a bit of a false start, so (fortunately for us) Mr. Wu did a re-start. Totally worth it. Fascinatin’ Rhythm was both rhythmic and fascinating.

After intermission, we had the Porgy and Bess. While I acknowledge its standing in American opera/musical theater, I just don’t know the entire score well enough to comment on the total composition here. The highlights were hit—Summertime, Plenty O’ Nuttin’, It Ain’t Necessarily So, and Bess, You Is My Woman Now—but as for Jasbo Brown Blues, My Man’s Gone Now, and Oh, Lawd I’m on My Way, I just can’t say.

I can say that this is a very talented pianist who presented a very well-thought-out Lecture/Recital. I learned about the music while learning to love the music. So we had jazz/popular, with the ragtime and popular show tunes, American classical, with the Preludes and An American in Paris, and both, with the Earl Wild arrangements of the songs as Etudes and Porgy and Bess. A double life, indeed.

ConcertMeister