Why, yes, I was at Carnegie Hall this past weekend. Through a ticket giveaway (and some luck), I attended two choral concerts under the auspices of Distinguished Concerts International New York. Without delving into all of the ramifications, choirs are assembled with members from various musical groups around the world. Sunday afternoon’s concert had choristers from Minnesota, Illinois, Idaho, Indiana, Alberta (Canada), Georgia, Florida, Massachusetts, Mississippi, and North Carolina. Whew! The Of Life and Liberty program:
The Gettysburg Address, Matt Hayes, (world premiere for men’s chorus); The Testament of Freedom, Randall Thompson; and Requiem for the Living, Dan Forrest (New York premiere).
Setting historical texts of Abraham Lincoln and Thomas Jefferson (the Thompson work) presents certain difficulties in that, in order to not blur the texts, they almost have to be presented as incantations. Mr. Hayes’ composition was pleasant, if a bit too much of a wash of choral sound, for my taste. By contrast, Mr. Thompson’s work, also for men’s chorus, was a more well-rounded and varied composition. Perhaps this is because the Jefferson texts were taken from more than one writing, indeed, even from two different time periods (1774/1775 and 1821). The four movements, The God who gave us life, We have counted the cost, We fight not for glory, and I shall not die without a hope, were nicely varied, including quite a bit of martial music (snare drums, brass fanfares, etc.). On a personal note, I’m pretty sure I performed this work in high school—if not the entire work, at least one or two movements. Ah, memories.
Mr. Forrest’s Requiem, Introit—Kyrie, Vanitas Vanitatum, Agnus Dei, Sanctus, and Lux Aeterna, played free and easy with the usual layout of a requiem mass. The opening movement began quietly, and then built in intensity. The second movement was rather ominous and very rhythmic. A “Pie Jesu” text went sailing above in the sopranos, and a harp provided a mood change in the “Lacrimosa” section. Overall, this movement had a film score quality (not in a bad way). Agnus Dei featured a mezzo-soprano soloist, then with the choir added, in a gently rocking setting. Sanctus had harp arpeggios (xylophone, as well) with a calm choral opening that gave way to a broad wash of sound from the orchestra and choir, building to an up tempo section with driving rhythms in the percussion. Lux Aeterna led off with the choir, joined by the mezzo with the choir. In the middle there was a step-out tenor solo (I’m not sure whether it was a student or a faculty member). The joined forces at the end slightly overpowered the mezzo soloist, but throughout, all choirs, soloists, and orchestra personnel performed quite well.
Monday evening was The Music of Karl Jenkins, 70th Birthday Celebration, featuring The Bards of Wales (U.S. premiere), “Benedictus” from The Armed Man: A Mass for Peace, and Stabat Mater. As previously noted two years(!) ago, Mr. Jenkins’ compositional style is a little on the lite, modern side for my taste. The eight-movement Bards of Wales was no exception. An amassed choir (similar to the previous concert, but this time with much more of an international scope) sang well, as did four vocal soloists. I was a little surprised that the vocal soloists were amplified. Maybe that was part of the problem, but I felt that balance was pretty difficult to pull off here. And partially due to that, some of the texts were totally covered up and unintelligible. The same held for the 12-movement Stabat Mater, although that did provide my first exposure to a Turkish wind instrument called a ‘mey’, which is used to bend pitches lending a middle eastern flavor to some of the Stabat Mater movements. The tenth movement, a setting of Ave Verum, could possibly be a stand-alone piece, while the seventh movement, a repetitive setting of a vocal phrase, reminded me of a vocal version of “Bolero.” And not in a good way.
“Benedictus” came just before intermission and is a very nice (if somewhat easy-listening) movement taken from Mr. Jenkins’ Mass. I had recently heard a recording of it on the radio, and it was nice to then hear it live.
These two concerts are not exactly the type of music I would seek out in the future, but it’s good to be exposed to differing styles and performances.
ConcertMeister
Thursday, January 23, 2014
Sunday, January 12, 2014
Concert á la Carte (1/11/14)
The Mirror Visions Ensemble, Music Inspired by Food. Vira Slywotzky, soprano; Scott Murphree, tenor; Jesse Blumberg, baritone; Richard Pearson Thomas, composer and pianist; with guest artisits Harumi Rhodes, violin; and Alberto Parrini, cello.
Come to the Supermarket in Old Peking, Cole Porter; The Heavenly Banquet from Hermit Songs, Samuel Barber; Man Eating from Briefly it Enters, William Bolcom; Carrot Jingle, Christopher Berg; Bread from The Baker’s Wife, Stephen Schwartz; Tango du Dessert*, Christopher Culpo; La Bonne Cuisine, Leonard Bernstein; Les gourmandises* from Portrait en miniature de Madame de Sévigné, Christopher Berg; Daliah’s Soup, Martin Hennessy; Tuna Supreme* from Fish ’n Chicks, Richard Pearson Thomas; Clean Plates Don’t Lie*, Richard Pearson Thomas. (*Mirror Visions Ensemble commission.) Do we see a theme here? With so much on the plate, I’ll try to hit the highlights.
The overall quality of the singing and playing was great. As to the singers, all three had very good diction, though Ms. Slywotzky was at a slight disadvantage—composers really want to send a soprano into the stratosphere, and that (plus the setting of some texts) made it a little more difficult to understand some of her words.
The Porter, seemingly a stand-alone song, was very witty, sung by the trio of vocalists. (Mr. Thomas was at the piano throughout, a thoroughly wonderful accompanist/partner.) The Barber, sung by the soprano, got us into the spirit with references to beer. Barber’s setting, as mentioned above, was a little difficult to understand. The Bolcom, for baritone, was interesting and nicely performed. I liked Carrot Jingle a lot, sung by the tenor, especially the matinee/gratiné rhyme.
Schwartz’ Bread, for trio once again, provided my favorite rhyme of the day—“What is as luscious as a brioche is?” Tango du Dessert, also a trio, took us more into the realm of menu as lyrics. They ranged from Abricots (apricots) to Pamplemousse rose (pink grapefruit). This also took us into our French section. The Bernstein was in four movements (soprano, tenor, baritone, and trio) and was interesting, though the soprano suffered again from the setting of the texts. (An aside—a cell phone rang in the audience during this work; need I say more?) Back into English, Hennessy’s Daliah’s Soup has text by a New York City schoolchild, and was a bluesy novelty piece. Tuna Supreme was an actual recipe set to music, though I listened closely and the text said (twice) to bake at 300° while the printed lyrics had 350°. Hey, I notice these things.
Mr. Thomas’ Clean Plates Don’t Lie was certainly the entrée here, at 13 movements. As a cantata, this was very smoothly composed. The violin and cello were added, creating a true chamber music feel. Texts were taken from writings about a restaurant, Blue Hill at Stone Barns, as well as menu ingredients and writings of its chef, Dan Barber. (I hope I got all of that correct!) I was a little apprehensive, but the cantata was well served.
There was an Invocation (Know Thy Farmer) that segued beautifully into a Greenhouse chorus. All of the movements flowed beautifully. While the entire work was a complete success, as far as I’m concerned, Passacaglia and Chorale: Pasture and Madrigal: Sustainable were my favorites. Even the movements that were essentially menu ingredients were very witty and very interesting. When we got to the Fugue and Finale: Clean Plates Don’t Lie, I kept waiting for a big ending. I was not disappointed—for emphasis, it finished with Clean … plates … do … not … lie. It was esoteric, but I was fully satiated.
ConcertMeister
Come to the Supermarket in Old Peking, Cole Porter; The Heavenly Banquet from Hermit Songs, Samuel Barber; Man Eating from Briefly it Enters, William Bolcom; Carrot Jingle, Christopher Berg; Bread from The Baker’s Wife, Stephen Schwartz; Tango du Dessert*, Christopher Culpo; La Bonne Cuisine, Leonard Bernstein; Les gourmandises* from Portrait en miniature de Madame de Sévigné, Christopher Berg; Daliah’s Soup, Martin Hennessy; Tuna Supreme* from Fish ’n Chicks, Richard Pearson Thomas; Clean Plates Don’t Lie*, Richard Pearson Thomas. (*Mirror Visions Ensemble commission.) Do we see a theme here? With so much on the plate, I’ll try to hit the highlights.
The overall quality of the singing and playing was great. As to the singers, all three had very good diction, though Ms. Slywotzky was at a slight disadvantage—composers really want to send a soprano into the stratosphere, and that (plus the setting of some texts) made it a little more difficult to understand some of her words.
The Porter, seemingly a stand-alone song, was very witty, sung by the trio of vocalists. (Mr. Thomas was at the piano throughout, a thoroughly wonderful accompanist/partner.) The Barber, sung by the soprano, got us into the spirit with references to beer. Barber’s setting, as mentioned above, was a little difficult to understand. The Bolcom, for baritone, was interesting and nicely performed. I liked Carrot Jingle a lot, sung by the tenor, especially the matinee/gratiné rhyme.
Schwartz’ Bread, for trio once again, provided my favorite rhyme of the day—“What is as luscious as a brioche is?” Tango du Dessert, also a trio, took us more into the realm of menu as lyrics. They ranged from Abricots (apricots) to Pamplemousse rose (pink grapefruit). This also took us into our French section. The Bernstein was in four movements (soprano, tenor, baritone, and trio) and was interesting, though the soprano suffered again from the setting of the texts. (An aside—a cell phone rang in the audience during this work; need I say more?) Back into English, Hennessy’s Daliah’s Soup has text by a New York City schoolchild, and was a bluesy novelty piece. Tuna Supreme was an actual recipe set to music, though I listened closely and the text said (twice) to bake at 300° while the printed lyrics had 350°. Hey, I notice these things.
Mr. Thomas’ Clean Plates Don’t Lie was certainly the entrée here, at 13 movements. As a cantata, this was very smoothly composed. The violin and cello were added, creating a true chamber music feel. Texts were taken from writings about a restaurant, Blue Hill at Stone Barns, as well as menu ingredients and writings of its chef, Dan Barber. (I hope I got all of that correct!) I was a little apprehensive, but the cantata was well served.
There was an Invocation (Know Thy Farmer) that segued beautifully into a Greenhouse chorus. All of the movements flowed beautifully. While the entire work was a complete success, as far as I’m concerned, Passacaglia and Chorale: Pasture and Madrigal: Sustainable were my favorites. Even the movements that were essentially menu ingredients were very witty and very interesting. When we got to the Fugue and Finale: Clean Plates Don’t Lie, I kept waiting for a big ending. I was not disappointed—for emphasis, it finished with Clean … plates … do … not … lie. It was esoteric, but I was fully satiated.
ConcertMeister
Wednesday, January 8, 2014
Recital (1/4/2014)
The recital consisted of Ayako Yonetani, violin, with Evan Solomon, piano. Saturday afternoon began with Sonata for Violin and Piano in D major, Op. 5 No. 1, Arcangelo Corelli (1653–1713), Grave-Allegro, Allegro, Allegro, Adagio, Allegro; followed by Sonata for Violin and Piano No. 7 in c minor, Ludwig van Beethoven (1770–1827), Allegro con brio, Adagio cantabile, Scherzo: Allegro, Finale: Allegro, Presto; Suite from the Incidental music for Violin and Piano, Much Ado About Nothing, Erich Wolfgang Korngold (1897–1957), Scene in the Garden; and Sonata for Violin and Piano in A Major, César Franck (1822–1890), Allegretto ben moderato, Allegro, Ben moderato: Recitative-Fantasia, Allegretto poco mosso.
A brief announcement from the stage informed us that the Corelli was the kickoff of the repertory. The first movement was an extended introduction, the second and third were more open and transparent, and the fourth worked better, in my opinion, because of the slower tempo and the way that the melody was nicely presented. The final movement began with solo violin that was then joined by the piano—mirroring the layout of the second movement. Overall, I enjoyed the work though there was some dry, patchy playing from the violinist.
The Beethoven had a fairly dramatic opening and was more of a violin and piano partnership, a much more solid composition that finished strongly. The second movement had a piano introduction that was then joined by the violin, outlining the opening phrases. As it was somewhat predictable, it didn’t really engage my interest. The third movement had very segmented, repetitive phrases, while the fourth ended briskly and brightly.
Korngold is known to me mostly as a composer of film scores, and this work had a cinematic arc to it—very tuneful, with a sense of forward motion, on an even keel. My notes include: set out to be pretty, and succeeded, including a sweet interlude.
Franck’s violin sonata is very Romantic in nature, though not cloying. Here, as throughout the afternoon, the pianist was a very attentive partner. The second movement, especially, had a roiling accompaniment supporting lyrical violin phrases, creating a sense of yearning (at least to me). An expansive section followed—almost like flight—returning to a gentle state and then finishing with a frantic burst. The third movement had introductory phrases “lying in wait”—lightly touched upon—and also included a return to some of the earlier yearning themes. The last movement had a sunny and joyous theme followed by brief interludes, but that theme keeps returning. Then the piano joins in, as well, with the repeated theme, and finally all of the main themes put in an appearance. I know that I’ve included an audio link of this last movement in the past. At any rate, I urge you to explore the internet and search it out for yourselves.
This wasn’t the most polished recital I’ve heard, but once again, the fact that interesting music is available free of charge in NYC is a true joy. It’s making for a happy new year already!
ConcertMeister
A brief announcement from the stage informed us that the Corelli was the kickoff of the repertory. The first movement was an extended introduction, the second and third were more open and transparent, and the fourth worked better, in my opinion, because of the slower tempo and the way that the melody was nicely presented. The final movement began with solo violin that was then joined by the piano—mirroring the layout of the second movement. Overall, I enjoyed the work though there was some dry, patchy playing from the violinist.
The Beethoven had a fairly dramatic opening and was more of a violin and piano partnership, a much more solid composition that finished strongly. The second movement had a piano introduction that was then joined by the violin, outlining the opening phrases. As it was somewhat predictable, it didn’t really engage my interest. The third movement had very segmented, repetitive phrases, while the fourth ended briskly and brightly.
Korngold is known to me mostly as a composer of film scores, and this work had a cinematic arc to it—very tuneful, with a sense of forward motion, on an even keel. My notes include: set out to be pretty, and succeeded, including a sweet interlude.
Franck’s violin sonata is very Romantic in nature, though not cloying. Here, as throughout the afternoon, the pianist was a very attentive partner. The second movement, especially, had a roiling accompaniment supporting lyrical violin phrases, creating a sense of yearning (at least to me). An expansive section followed—almost like flight—returning to a gentle state and then finishing with a frantic burst. The third movement had introductory phrases “lying in wait”—lightly touched upon—and also included a return to some of the earlier yearning themes. The last movement had a sunny and joyous theme followed by brief interludes, but that theme keeps returning. Then the piano joins in, as well, with the repeated theme, and finally all of the main themes put in an appearance. I know that I’ve included an audio link of this last movement in the past. At any rate, I urge you to explore the internet and search it out for yourselves.
This wasn’t the most polished recital I’ve heard, but once again, the fact that interesting music is available free of charge in NYC is a true joy. It’s making for a happy new year already!
ConcertMeister
Monday, December 30, 2013
Opus Two (12/28/13)
Music of George Gershwin (1898–1937), William Terwilliger (violin), and Andrew Cooperstock (piano).
Selections from Porgy and Bess (1935) (arr. Jascha Heifetz) – Summertime/A Woman Is a Sometime Thing; My Man’s Gone Now; Bess, You Is My Woman Now; It Ain’t Necessarily So; Tempo di Blues
Short Story, for Violin and Piano (1927)
Three Preludes for Piano (1927) (arr. Jascha Heifetz) – Allegro ben ritmato e deciso; Andante con moto e poco rubato; Allegro ben ritmato e deciso
Excerpts from An American in Paris (1929) (arr. Jascha Heifetz/Ayke Agus)
Suite from Girl Crazy (1930/2012) (arr. Eric Stern – But Not for Me; Bidin’ My Time; Embraceable You; I Got Rhythm
First, this was some of the highest caliber playing I’ve heard in these free concerts at the Library for the Performing Arts. We actually got Summertime twice. It was played as a sort of lagniappe before Messrs. Cooperstock and Terwilliger took to the microphone in what was a bit of an old-fashioned concert/lecture. We learned that Gershwin (or the Gershwins) had written an earlier opera, “Blue Monday,” though I haven’t explored that info, yet, and that the first Heifetz arrangement we heard was made in 1944. Summertime had a rocking, lullaby accompaniment, with the tune presented in a straightforward manner. That was pretty much the tone of all of the Heifetz arrangements, though there was some exquisite writing for the violin. My Man’s Gone had an expansive opening from the piano, while the introduction to Bess was not exactly what was expected, but you knew that Bess was coming. Tempo di Blues seemed new to me, until I recognized the phrase, “There’s a Boat that’s Leaving Soon.”
From the stage, we learned that Short Story was the only Gershwin composition written for violin and piano and that, despite its charms, it never really caught on. I can fully see why, though, once again, this performance was completely enjoyable and well played.
The Three Preludes were all pretty much familiar to me. The second was relatively moody while the third was reminiscent of “It Ain’t Necessarily So” both rhythmically and in the tunes involved. Unfortunately the performance was marred slightly by the ringing of a cell phone in the audience. Turn the damn things off, or to vibrate. In fairness, there was not a specific announcement made ahead of time, but really?
An American in Paris was announced as 1928 from the stage, though the program said 1929. As an introduction, there was a film clip of the M-G-M musical, which I thought was not necessary at all. The juxtaposition of recorded music against what we were hearing live only made me appreciate the live sound even more. This arrangement for duo was just fine, though there were not imported French car horns as there were for the NY premiere of the original!
With the suite from Girl Crazy, we got a nice introduction to the popular/Broadway song form—AABA—a phrase, repeated, then a contrasting phrase (called the “bridge” or the “release”), followed by a return to the first phrase (usually musically, but with different lyrics). There was another film clip intro, which served no real purpose as far as I was concerned (though the audience seemed to appreciate Judy Garland’s singing). Mr. Stern’s arrangement was definitely an updating, in style, from the Heifetz arrangements. But Not for Me was cinematic, but still direct in terms of the tune. Bidin’ My Time had humor built into the arrangement. Embraceable You had a bit of a winding intro and then a lush laying out of the tune in the piano. I Got Rhythm jazzed up and tossed around the rhythm—to be expected. I have had the pleasure of singing an Eric Stern arrangement of a show tune (commissioned for the barbershop quartet I sang with at the time), and these arrangements pleased me just as much.
An encore was played—an Aaron Copland transcription of his “Hoedown” from Rodeo. While interesting, it was almost too frantic for my taste. I think I might have been happier sticking with all Gershwin. Still, as mentioned above, these two pros played marvelously, and it’s very clear that they are very well attuned to each other. What a great way to end a ConcertMeister year!
ConcertMeister
Selections from Porgy and Bess (1935) (arr. Jascha Heifetz) – Summertime/A Woman Is a Sometime Thing; My Man’s Gone Now; Bess, You Is My Woman Now; It Ain’t Necessarily So; Tempo di Blues
Short Story, for Violin and Piano (1927)
Three Preludes for Piano (1927) (arr. Jascha Heifetz) – Allegro ben ritmato e deciso; Andante con moto e poco rubato; Allegro ben ritmato e deciso
Excerpts from An American in Paris (1929) (arr. Jascha Heifetz/Ayke Agus)
Suite from Girl Crazy (1930/2012) (arr. Eric Stern – But Not for Me; Bidin’ My Time; Embraceable You; I Got Rhythm
First, this was some of the highest caliber playing I’ve heard in these free concerts at the Library for the Performing Arts. We actually got Summertime twice. It was played as a sort of lagniappe before Messrs. Cooperstock and Terwilliger took to the microphone in what was a bit of an old-fashioned concert/lecture. We learned that Gershwin (or the Gershwins) had written an earlier opera, “Blue Monday,” though I haven’t explored that info, yet, and that the first Heifetz arrangement we heard was made in 1944. Summertime had a rocking, lullaby accompaniment, with the tune presented in a straightforward manner. That was pretty much the tone of all of the Heifetz arrangements, though there was some exquisite writing for the violin. My Man’s Gone had an expansive opening from the piano, while the introduction to Bess was not exactly what was expected, but you knew that Bess was coming. Tempo di Blues seemed new to me, until I recognized the phrase, “There’s a Boat that’s Leaving Soon.”
From the stage, we learned that Short Story was the only Gershwin composition written for violin and piano and that, despite its charms, it never really caught on. I can fully see why, though, once again, this performance was completely enjoyable and well played.
The Three Preludes were all pretty much familiar to me. The second was relatively moody while the third was reminiscent of “It Ain’t Necessarily So” both rhythmically and in the tunes involved. Unfortunately the performance was marred slightly by the ringing of a cell phone in the audience. Turn the damn things off, or to vibrate. In fairness, there was not a specific announcement made ahead of time, but really?
An American in Paris was announced as 1928 from the stage, though the program said 1929. As an introduction, there was a film clip of the M-G-M musical, which I thought was not necessary at all. The juxtaposition of recorded music against what we were hearing live only made me appreciate the live sound even more. This arrangement for duo was just fine, though there were not imported French car horns as there were for the NY premiere of the original!
With the suite from Girl Crazy, we got a nice introduction to the popular/Broadway song form—AABA—a phrase, repeated, then a contrasting phrase (called the “bridge” or the “release”), followed by a return to the first phrase (usually musically, but with different lyrics). There was another film clip intro, which served no real purpose as far as I was concerned (though the audience seemed to appreciate Judy Garland’s singing). Mr. Stern’s arrangement was definitely an updating, in style, from the Heifetz arrangements. But Not for Me was cinematic, but still direct in terms of the tune. Bidin’ My Time had humor built into the arrangement. Embraceable You had a bit of a winding intro and then a lush laying out of the tune in the piano. I Got Rhythm jazzed up and tossed around the rhythm—to be expected. I have had the pleasure of singing an Eric Stern arrangement of a show tune (commissioned for the barbershop quartet I sang with at the time), and these arrangements pleased me just as much.
An encore was played—an Aaron Copland transcription of his “Hoedown” from Rodeo. While interesting, it was almost too frantic for my taste. I think I might have been happier sticking with all Gershwin. Still, as mentioned above, these two pros played marvelously, and it’s very clear that they are very well attuned to each other. What a great way to end a ConcertMeister year!
ConcertMeister
Thursday, December 19, 2013
Holiday Songbook, 2013 (12/14/13)
My regular reminder—Songbook is a performance of music written by up-and-coming (and sometimes already-established) music theater composers and lyricists. Holiday Songbook includes holiday songs composed for musical theater shows as well as songs composed especially for this event. This year there were two (different) performances—I caught the one on Saturday and there was another one Monday evening (12/16), that I couldn’t make, unfortunately.
There were 16 songs on display, so I’ll hit some of my favorites. Guess What? It’s Christmas! – Music, Brad Ross and Lyrics, Barbara Campbell – was a traditional, fun Christmas song and it was a great opener for the afternoon. Everything a Girl Wants – M/L, Tim Rosser/Charlie Sohne – is from a musical in progress that involves creation of toys. The song refers to a teddy bear, so a repeating tag line is, “Everything a girl wants—from a bear.” The Snow Queen, by Micah Young, was a real classical-style, story song based on the Hans Christian Andersen tale. It was a modern-day lied that was given a wonderful performance.
My Epiphany – Andrew David Sotomayor – was a paean to that unsung, until now, holiday that received a humorous and interesting treatment. You want humor? The Egg Nog Song – M/L, Derek Gregor/Sam Carner – delivered. Written especially for this event, it started off as a traditional holiday song until we got to the hook—somebody put acid (the LSD variety) in the eggnog. It gave a new meaning to this “magic” season, and it got real laughs throughout. Outcast Holiday – Eli Zoller – reminded us that Jesus was somewhat of an outcast, as are we all in some ways. It was almost like a folk song and was accompanied by a guitar and a mandolin—you don’t hear very many mandolins on stage these days.
The Prisoner’s Song – Joe Iconis – was the closer and was quite an audience pleaser, too. It had a call-and-response section (not usually my favorite performance device) that was used to good effect here.
All of the composers, lyricists, accompanists, and vocalists acquitted themselves well (with a few minor fluffs). But some of the backstories were really fun to hear. One gal had learned her song on the day of the performance and did a bang-up job. Two sisters, who are writing partners, had only rehearsed with each other via phone, including delays in the two different speakerphones. The afternoon’s musical styles included folk, country, traditional, rock’n’roll, and Sondheim-esque treatments, among others.
The program was produced by Erica Ruff and directed and hosted by John Znidarsic, the man with the red hat. I really wish that I could have heard Monday night’s version, especially as it was all different songs, but I’m sure glad that I got to experience this holiday treat!
ConcertMeister
There were 16 songs on display, so I’ll hit some of my favorites. Guess What? It’s Christmas! – Music, Brad Ross and Lyrics, Barbara Campbell – was a traditional, fun Christmas song and it was a great opener for the afternoon. Everything a Girl Wants – M/L, Tim Rosser/Charlie Sohne – is from a musical in progress that involves creation of toys. The song refers to a teddy bear, so a repeating tag line is, “Everything a girl wants—from a bear.” The Snow Queen, by Micah Young, was a real classical-style, story song based on the Hans Christian Andersen tale. It was a modern-day lied that was given a wonderful performance.
My Epiphany – Andrew David Sotomayor – was a paean to that unsung, until now, holiday that received a humorous and interesting treatment. You want humor? The Egg Nog Song – M/L, Derek Gregor/Sam Carner – delivered. Written especially for this event, it started off as a traditional holiday song until we got to the hook—somebody put acid (the LSD variety) in the eggnog. It gave a new meaning to this “magic” season, and it got real laughs throughout. Outcast Holiday – Eli Zoller – reminded us that Jesus was somewhat of an outcast, as are we all in some ways. It was almost like a folk song and was accompanied by a guitar and a mandolin—you don’t hear very many mandolins on stage these days.
The Prisoner’s Song – Joe Iconis – was the closer and was quite an audience pleaser, too. It had a call-and-response section (not usually my favorite performance device) that was used to good effect here.
All of the composers, lyricists, accompanists, and vocalists acquitted themselves well (with a few minor fluffs). But some of the backstories were really fun to hear. One gal had learned her song on the day of the performance and did a bang-up job. Two sisters, who are writing partners, had only rehearsed with each other via phone, including delays in the two different speakerphones. The afternoon’s musical styles included folk, country, traditional, rock’n’roll, and Sondheim-esque treatments, among others.
The program was produced by Erica Ruff and directed and hosted by John Znidarsic, the man with the red hat. I really wish that I could have heard Monday night’s version, especially as it was all different songs, but I’m sure glad that I got to experience this holiday treat!
ConcertMeister
Thursday, December 12, 2013
Blasts from the Past, Sort of (11/16 and 23)
Pre-Thanksgiving concerts that I’m just now getting around to blogging about. Saturday the 16th found me at Bargemusic again, and I’m delighted to report that they had a printed program available. The performers were Branko Simic, violin; Ian Tyson, clarinet; and Judy Pang, piano. The program of all-living composers: Serenade for Three, Dances, Songs, Variations – Peter Schickele (1935–); Tibetan Dance, Prelude, Song, Tibetan Dance – Bright Sheng (1955–); and Trio for Clarinet, Violin and Piano – Paul Schoenfield (1947–).
The first movement of the Schickele was rhythmic, playful, and focused, reminding me of the music of Aaron Copland, while the second contrasted with a slower, calm beginning that included a repeated note in the piano with filigree work from the violin and clarinet. The third movement was perky again, with a sense of real Americana, reminiscent of a barn dance cum jazz dance in honky-tonk style, with touches of humor. (As a side note, Mr. Schickele has a very humorous side in his persona as PDQ Bach.)
The Bright Sheng offering opened with transparent writing that included more modern and dissonant harmonies. The second movement was a violin/clarinet duet, also with very modern harmonies, though not so far afield as to be off-putting. The final movement was rhythmic, almost imitative of drumming, followed by fragmented melodic phrases. The movement then bounced back and forth between cacophonous sections, rhythmic and fragmented sections, finishing with a bold, cacophonous flourish.
The beginning of Mr. Schoenfield’s piece had a klezmer-like feel, with a wailing clarinet line and bending of pitches from the violin and clarinet, with an Eastern European feel. This was followed by a tuneful minor key march, a contrasting calmer section, and a return to the klezmer sound while maintaining a mystical quality. The third movement began with solo clarinet, joined by the violin, and then the piano. The meandering phrases had a somewhat amorphous effect that then segued into the fourth movement, with all three instruments being equal partners with dance-like rhythms, tempos getting faster, then relaxing a bit, and then—off to the races! The piece finished with a bang. It was quite a pleasure to hear an afternoon of music by living composers.
The following Saturday found me at a vocal recital featuring Marco Stefani, tenor, and Brent Funderburk, piano. The program included three Haydn songs, a Handel aria, three Schubert lieder, and an aria from Mignon, by Ambroise Thomas. After intermission, there were three Liszt songs and a Rossini aria from La Cenerentola.
Mr. Stefani produced a clear voice with good diction and declamatory phrasing in the Haydn songs. I felt that some of the rapid settings of the lyrics ended up with some of them getting lost. The Handel aria had nicely adapted phrasing and interesting treatment of many of the repeats of the refrain. While the Schubert songs were nice, they seemed to be the same type of singing over and over, with not much variation. The Mignon aria sounded somewhat more comfortable, as if it might have been in Mr. Stefani’s repertoire longer than the earlier songs.
The Liszt songs were a return to the same declamatory singing and phrasing, while the La Cenerentola aria was once again more comfortable, including some of the more rapid, florid passages. All in all, the program was successful, though I would have liked to hear a bit more subtlety and variation. Mr. Funderburk was an excellent accompanist and partner throughout the entire concert. I’m glad I heard the recital, but I wish I had liked it a little better. But, hey! the price (free) was right.
ConcertMeister
Monday, December 9, 2013
Man with the Bag (12/7/13)
'Tis the season, and the PhilHallmonics were back at the Bruno Walter Auditorium with a program of holiday favorites. Phil Hall (piano) with a bass player and a reed player (saxophone, oboe, clarinet, and flute, if I’m remembering correctly), plus ten Ladies, all in a program staged and choreographed by Sharon Halley, provided a really fun afternoon. I saw the first of two performances on Saturday.
The program was a very nice mix of secular and serious (though not overly religious), with some broad (pun intended) humor, a bit of dancing, solos and ensemble numbers (with real harmony), and an appearance by Santa (including a breakaway Santa suit!). While some of the ladies were more polished performers than others, there were no clunkers amid the 32 numbers on the program. Unfortunately, there were a few technical glitches resulting in some microphone “pops” and a bit of feedback.
Highlights included I’ve Got My Love to Keep Me Warm, I’ll Be Home for Christmas (simple, yet effective), a jazzy version of The Christmas Waltz, Christmas Time Is Here (for all you Peanuts fans), A Marshmallow World/You’re All I Want for Christmas, and Silent Night (piano, bass, and reeds).
Serious presentations included A La Nanita Nana, Sweet Little Jesus Boy, I Remember, and Hallelujah (not the one you’re thinking of), while On This Winter’s Night added a touch of country and Let It Snow! Let It Snow! Let It Snow! gave us a bit of the old soft shoe.
In the humor department, Mister Santa involved the use of potholder Santas—I’m a sucker for that sort of thing! Suzy Snowflake, Dance of the Sugar Plum Fairy, Mele Kalikimake, The Man with the Bag, and the finale, A Swingin’ Christmas, also added dashes of humor.
All in all, this was a fun way to ease into the holiday spirit. Thank you, PhilHallmonics and thank you, Lincoln Center Library for the Performing Arts.
ConcertMeister
The program was a very nice mix of secular and serious (though not overly religious), with some broad (pun intended) humor, a bit of dancing, solos and ensemble numbers (with real harmony), and an appearance by Santa (including a breakaway Santa suit!). While some of the ladies were more polished performers than others, there were no clunkers amid the 32 numbers on the program. Unfortunately, there were a few technical glitches resulting in some microphone “pops” and a bit of feedback.
Highlights included I’ve Got My Love to Keep Me Warm, I’ll Be Home for Christmas (simple, yet effective), a jazzy version of The Christmas Waltz, Christmas Time Is Here (for all you Peanuts fans), A Marshmallow World/You’re All I Want for Christmas, and Silent Night (piano, bass, and reeds).
Serious presentations included A La Nanita Nana, Sweet Little Jesus Boy, I Remember, and Hallelujah (not the one you’re thinking of), while On This Winter’s Night added a touch of country and Let It Snow! Let It Snow! Let It Snow! gave us a bit of the old soft shoe.
In the humor department, Mister Santa involved the use of potholder Santas—I’m a sucker for that sort of thing! Suzy Snowflake, Dance of the Sugar Plum Fairy, Mele Kalikimake, The Man with the Bag, and the finale, A Swingin’ Christmas, also added dashes of humor.
All in all, this was a fun way to ease into the holiday spirit. Thank you, PhilHallmonics and thank you, Lincoln Center Library for the Performing Arts.
ConcertMeister
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