Filed under: Reviews | Tags: Boston Symphony Orchestra, Charles Munch, Franck
Last night, Friday, October 23, the Denver Philharmonic Orchestra performed for the first time this season. Dr. Horst Buchholz returned to Denver to conduct this performance, and unfortunately, Denver may have to wait for a while to hear him conduct again. But he will be back. He is now the Conductor Laureate and Artistic Advisor of the Denver Phil, and was the first to be awarded this position because of his ten years of remarkable service to the organization. He is the one solely responsible for making the Denver Philharmonic Orchestra the finest community orchestra in the state. Any of you who love orchestras, must hear this orchestra perform. Your next chance will be Friday, November 20, 2009, at the KPOF Hall which is located at 1340 Sherman St. near downtown Denver. They will program Tchaikovsky, Rodrigo, Vivaldi, and Mozart.
The program Friday night began with Giovanni Gabrieli’s (1553-1612) Sonata pian’ e forte followed by his Sonata Nr. XIII. Do not think these pieces, called sonatas, are the popular Sonata that we have known since the Classical Period. These are early pieces from the Baroque (note Gabrieli’s dates) that are instrumental versions of the canzone, a work which was based on Franco-Flemish polyphonic songs. The instrumental canzone influenced the fugue and was the direct ancestor of the Sonata. Gabrieli was noted for his brass choirs which were divided in two, and each choir was placed in a transept of the church, so that there was an antiphonal effect. The works performed Friday night are among the earliest pieces that specify exact instrumentation – which was new in the early Baroque – and they are among the earliest of Gabrieli’s works which call for specific dynamics, which was also new in early Baroque compositions. Dr. Buchholz placed the two brass choirs on opposite sides of St. John’s Cathedral, and he conducted from the center. The effect was outstanding, as St. John’s Episcopal Cathedral provides the kind of acoustics to really grasp what Gabrieli was after. The brass section of the Denver Phil has always been excellent, led by Manny Araujo, principal trumpet, Dave Wallace, principal horn, Josh Chance, Principal trombone, and Joe Walsh, tuba. Bruce Blomquist is the outstanding bass trombonist. Friday night, their attacks were excellent, and their quality sound and the acoustics of St. John’s, gave this piece of wonderful brilliance.
The next work on the program was by the Italian Impressionist composer, Ottorino Respighi (1879-1936). It may seem odd for many individuals to realize that Respighi was an impressionist composer, owing to the popular conceit that only the French can have impressionist composers. Respighi was not only a composer, but a fine violinist, and a fine musicologist. As a young man, he became interested in early Italian music of the 16th century after a long trip on his bicycle around the coasts and heartland of Italy. He included early Italian musical ideas in his compositions, such as the one performed by the DPO Friday night, which was entitled Ancient Airs and Dances. In the works based on older material, it would most likely be more accurate to refer to Respighi as in Neo-Baroque composer, rather than an Impressionist.
The DPO violins got off to a rather shaky start in this piece, which is scored for chamber orchestra. But after about 30 measures, they regained their footing, and it became quite noticeable that the entire string section of this volunteer community orchestra has improved tremendously. How does this happen? Because they have a really fine concertmaster named Kathy Thayer, and a new principal cellist, Bryan Scafuri. There are new members of the cello section as well. I have never heard the low strings of the Denver Phil sound so good. They were in tune, and have a new rich, full sound. Watching them play, I was convinced that they were individually very serious about making this orchestra their own personal statement. But I must say, that so much of the improvement of the Denver Philharmonic is due to the outstanding leadership by Dr. Buchholz. As I said in another review last year, Dr. Buchholz is exceptional because he has the ability to communicate his love for music to the members of the orchestra, and he has the ability to change that love into determination and dedication on their part. His movements, as he conducts every phrase, are so full of personal conviction that the orchestra’s response is very exciting to listen to and watch. The viola section, admirably led by Dr. William Hinkie, as well as the cellos and basses, never took their eyes off of Maestro Buchholz. The next time you go to any symphony concert, pay attention to see who really does look at the conductor. And by the way, the DPO has a fine new principal bass player, Jennifer West. The new players in this orchestra, combined with the obvious respect and admiration for Dr. Buchholz, have really transformed this organization. The new principal oboist, Kim Brody demonstrated incredible tone in the Respighi. It was warm and mellifluous.
The Denver Philharmonic concluded Friday’s program with the beautiful Symphony in D minor by César Franck. Franck (1822-1890), was born in Liège, Belgium, but so many people think that he is French because he taught for such a long time at the Paris Conservatory. He was an outstanding organist, and was one of the finest at improvising on that instrument. As a matter of fact, Debussy studied improvisation with Franck, even though the two composers had very different ideas about music. Debussy wanted to destroy tonal centers by using major and minor keys combined with medieval church modes to create his impressionistic effects. Franck believed in constant modulation, and once, when he was trying to convince Debussy of its benefits in improvisation, Debussy stormed out of the lesson shouting, “No, no, no”. A large portion of Franck’s compositions are based on a cyclical form, which gives unity to the entire work, because the same theme reappears. Franck’s harmonies are wondrous to behold as he modulates to very remote keys. He is able to accomplish extreme modulation by using common tones, for example the note C occurs not only in a C major chord, but is the middle note in an A Flat major chord.
Horst Buchholz’ interpretation of this work was spellbinding and displayed the influence of the great conductor, Charles Munch, who is best known from his work with the Boston Symphony Orchestra. That influence was reflected in the tempos which Dr. Buchholz took. They are faster than most, but provide the work with a wonderful sense of direction and momentum. All of the strings in Friday’s performance were outstanding. You must understand that a community orchestra is made of people who are not professional musicians. Granted, there are a few in the DPO who are professionals, such as the above mentioned principal trumpet, Manny Araujo, who was principal trumpet for the Colorado Symphony before he retired. The large portion of the orchestra, is comprised of people who like to play, but have other jobs. They share a common love of music, even though they may be at different levels of skill. Dr. Buchholz has been able to transform their love of music and different skill levels into a cohesive and skillful community orchestra which truly is the best community orchestra in Colorado.
Before the start of the second half of the program, Russell Klein, the Executive Director of the Denver Philharmonic, presented Dr. Buchholz with an award for his 10 years of service. Mr. Klein also acknowledged Dr. MeeAe Nam, Maestro Buchholz’ wife, who is also a truly fine musician. This performance may be the last, at least for a while, that Horst Buchholz will conduct here in Denver. As many of you know, he is now the Canon of Music at the Episcopal Cathedral in Cleveland, and his wife is now on the voice faculty at Eastern Michigan University. Horst Buchholz has had a profound affect on the musical community in this city, and his performances as conductor, organist, and teacher, have warmed the hearts of many. He is always an inspiration.
Filed under: Reviews | Tags: Boettcher, Cui, Olga Kern, Rachmaninoff, Walter Damrosch
One of the reasons I like to hear Olga Kern perform is that she is not only a phenomenal pianist, she is also a first rate musician. Many people may think those two terms are synonymous, but they are not. Being a musician means that she has the knowledge and ability to understand what the composer wants, and perhaps even more important, is that she puts the music first and foremost, and places her pianism second. That is what all great performers do whether they be pianists, violinists, or singers. Because of this, I rank her with the recent great pianists such as Sviatislav Richter, John Browning, and Arthur Rubinstein. All of these pianists used their technical ability to show the public what the music is all about, and what the composer wanted to say. I do not have to point out that this is hallowed ground indeed, but I have heard her perform several times now, and I have been truly astounded at her mental prowess, as well as her technical ability at the keyboard. I sometimes find myself wondering if the general concert going public, who loves good music, has any idea of the mental effort it takes to learn and perform such a monstrous piece as the Rachmaninoff Third Piano Concerto, let alone the fact that she is performing all of the Rachmaninoff concertos here in Denver. Do not think for a minute that simply because she is Russian that she automatically knows how to play Rachmaninoff. Simpatico has nothing to do with it. She is an astounding musician as well as an astounding pianist.
The Rachmaninoff Piano Concerto Nr. 3, in D minor, which Ms. Kern performed Saturday, October 17, was completed in 1909. Rachmaninoff had recently suffered setbacks in his confidence as a composer, at least once, due to the vitriolic comments of César Cui, who was a composer as well as a critic (he was one of the so-called “Mighty Five”, and could be as acid tongued as Camille Saint-Saëns). Even though Rachmaninoff had had astounding success with his Second Piano Concerto, he was somewhat fearful of competing with himself. This Concerto was premiered on November 4, 1909, with Walter Damrosch conducting the New York Symphony Society Orchestra (it amazes me that Damrosch does not mention this premiere, nor does he even mention Rachmaninoff in his biography entitled, “My Musical Life,” which was published in 1923). He performed it again in January of 1910 with Gustav Mahler conducting, but this time with the New York Philharmonic. Rachmaninoff received rave reviews for his playing, but the concerto itself received mixed reviews because of its length. He, therefore, allowed for cuts to be made so as to shorten the entire piece, and it was performed this way several times. But, today it is performed the way it was originally written, and we should all be eternally grateful for that, because it is an absolutely remarkable piece, not only in its beauty, but in its technical difficulty.
As it should be known by now, Olga Kern is capable of playing Rachmaninoff the way it should be played, that is to say, the way he wanted it to be played. Rachmaninoff opens his concerto with a very lyrical theme played in octaves. Kern, as some pianists do, does not make this overly sentimental, but allows the music to speak for itself – the sign of a good musician.
And I must say, as I have said before, I simply do not understand why the people at Boettcher Concert Hall insist on amplifying the piano. And, if they want to do so, why do they have to put the microphone inside the nose of the piano. This was also done at Gates Hall a week ago or so, when Murray Perahia performed. I suppose someone at Boettcher decided that Kern was incapable of the necessary power to be heard in the seats furthest from the stage. They are absolutely dead wrong. The results of the amplification kept Ms. Kern from producing the dynamics of which she is capable. In other words, the piano was never quite soft enough. There are many places in this concerto, as big as it is, where the piano is subservient to the orchestra, and I am sure that on stage that is the way it sounded. But in the audience, it was too loud. I am absolutely baffled by the supposed need to amplify the piano. It also distorts the sound. Why don’t those responsible just stand out in the hall at a rehearsal and listen? Maybe they would learn something.
The orchestra and the piano exchange this incredibly lyrical opening theme, and out of it grows some very rapid finger work and some ferocious climaxes that lead into the cadenza. It was after the cadenza where the amplification of the piano was really noticeable. It did not ruin the performance, but it certainly affected it.
The theme of the second movement is in A major and is stated in the orchestra. The entrance of the piano is almost explosive when compared to the nearly pastorale character of the orchestra. But if one listens carefully, one hears the opening theme from the first movement of this concerto stated in the middle of this second movement, but it is in the key of D flat major, quite a switch from the opening key of A major. That Rachmaninoff is able to make such a distant modulation is because D flat is the enharmonic spelling of C sharp, which is the middle note of an A major chord.
The third movement is no doubt the most difficult. It is quite similar to a theme and variations for indeed, Rachmaninoff does bring back two melodies from the first movement. There is a long coda which is very exciting and full of the most technically demanding writing for the keyboard. Olga Kern is such a fine pianist but she was able to make incredible music in these monumentally difficult spots rather than just hammer out the notes. You must understand that Rachmaninoff was such a superlative pianist that he could play like this all day (Rachmaninoff also had a phenomenal memory and was a remarkable sight reader). At the time of his death in 1943, Rachmaninoff was simply the finest musician-pianist since Franz Liszt, Clara Schumann, and Frédéric Chopin. Olga Kern is one pianist today who stands forefront of those ready to take Rachmaninoff’s mantle.
After the intermission, the Colorado Symphony performed Rachmaninoff’s tone poem, The Isle of The Dead, which Maestro Kahane pointed out to the audience, has not been performed in Denver since 1952. Rachmaninoff composed this piece in 1907, and conducted its premiere performance in Moscow on May 1, 1909. It was inspired by a painting done by the Swiss painter, Arnold Böcklin. The painting is very dark, and depicts a rowboat carrying a coffin to an island which is almost nothing but cliffs with an opening through which the boat must pass. There is a figure standing in the bow of the boat, shrouded in white, guarding the coffin, while a single oarsman guides the boat to the island. Rachmaninoff begins this solemn work with a 6/8 meter in the low strings, the violas completing the second half of a phrase begun by the cellos. It becomes a very grim barcarole, and as the undulation becomes more animated, the theme is taken up by the oboe. At length, one can hear the familiar theme of the Dies irae of the Requiem Mass. Rachmaninoff used this theme, and hints at it, in several of his compositions, including the Rhapsody on a Theme of Paganini which was performed after this symphonic poem. Rachmaninoff used this theme so often that one wonders if he was as obsessed by it as he was by the sound of bells. Indeed, one can hear bells in almost every single piece he composed. He once said that as a youth, he loved hearing the bells at Easter time.
The last work on this program was the Rachmaninoff Rhapsody on a Theme of Paganini, Opus 43. This is a set of variations which uses the theme from Paganini’s 24th Caprice in A minor for a set of twenty-four variations which Rachmaninoff cast in a remarkable four-movements-in-one composition. The first 11 variations form the first movement which is fast, Variations 12 through 15 form a minuet, Variations 16 through 18 are the slow movement, and Variations 19 through 24 are the final, fast movement. I am sure that everyone in the audience recognized Variation 18, as it has been used in several Hollywood films. It is the epitome of Rachmaninoff’s melodic skill, but most do not realize that it is Paganini’s theme turned upside down. This is a technique that one would ascribe more to Rachmaninoff’s great contemporary composer, Arnold Schoenberg. This piece throughout, has many sly touches, for example, Rachmaninoff places the first variation before the entrance of the theme. And as stated above, it is one of several compositions in which Rachmaninoff quotes the Dies Irae theme from the medieval Requiem Mass.
Olga Kern’s performance of this work was above reproach. Her musicianship is wonderful to behold as is her piano technique. Ms. Kern has two more performances for this Rachmaninoff Festival month; Friday, October 23, and Saturday, August 24, both at 7:30 PM. You have to go.
Filed under: Reviews | Tags: Adam Flatt, Dana Benton, Dimitry Trubchanov, Don Quixote, Gill Boggs, Igor Vassine, Jack Lemmon, Lorita Travaglia, Maria Mosina, Sandra Brown, Sayaka Karasugi
The use of the word “Wow!” is probably considered not very sophisticated, and quite possibly uncouth, in refined circles. In academic circles, most likely it should be avoided completely. After all, in undergraduate school and graduate school, I was always taught to be very objective and concise and totally un-emotional in my academic writing. But I have to say that during Friday night’s performance of Don Quixote by the Colorado Ballet, the word “Wow!” with its attendant exclamation point came to mind quite often. I may have even mouthed the word.
The Colorado Ballet has come so far in the last few years that it is almost unrecognizable in comparison to its earlier days. Artistic Director, Gill Boggs, Ballet Mistresses, Sandra Brown and Lorita Travaglia, have had a profound effect on this organization which is headed by Executive Director, Jack Lemmon. And of course, the other name that is so deserving and equal in importance to the people I just named, is Music Director and Principal Conductor, Adam Flatt. Not to insult anyone’s intelligence, but many people do not understand how difficult it is to conduct a ballet. The conductor has to honor the composer’s intentions, and he also has to honor what the dancers are capable of, for example, when it comes to tempo. The conductor has to keep an eye on the score and the orchestra, but he also has to keep an eye on stage so that when a dancer comes back down from a grand jeté (a step where the legs are thrown ninety degrees with a corresponding high jump. The grande jeté is always preceded by a preliminary movement which gives impetus to the jump.), he can cue the orchestra for its entrance or rhythmic jab to coincide with the dancers foot touching the stage. Keep in mind that every performance is different, and every dancer is different, so that the length of time they stay in the air before landing changes all the time no matter how hard they strive for consistency. The conductor’s job is not easy, but Mr. Flatt makes it appear effortless.
And while we are talking about consistency, let me mention that is what the Colorado Ballet has. There were several instances, not involving dance steps, but handclapping and finger snapping where the entire corps was absolutely together. And of course, the corps’ dancing was total precision. That’s what every ballet company strives for, but I have rarely seen it. This is a very high tribute to the Artistic Director Boggs and the Ballet Mistresses Brown and Travaglia. And by the way, do any of you remember the old days of ballet and ballet programs, when the Artistic Director and Ballet Mistresses were listed up front with the dancers? It should be done today as it was in this program.
The choreography for Friday’s performance was essentially that of Marius Petipa. Petipa (1822 – 1910) was born in France but traveled to Spain where he was employed by the King’s Theater. He eventually signed a contract to be the principal dancer at the Imperial Theater in St. Petersburg, where he remained for the rest of his life. In 1854 he became the instructor at the Imperial Ballet School and continued to dance and re-stage the ballets. Then, in 1862, he was made the Chief Choreographer, a position which he held for almost fifty years. The trademark of his classic choreography is concentration on the dance and little attention to the dramatic content. As emphasis on dramatic content began to increase, his style began to fall out of favor, and yet he is still considered one of the best choreographers who ever lived. Friday’s performance by the Colorado Ballet most certainly had a pronounced dramatic content.
The music for Don Quixote was written by Ludwig Minkus. Minkus was an Austrian composer who spent most of his time in Russia as the official composer of the Bolshoi Theater in Moscow. His compositions were almost exclusively ballets (similar to today’s Webster Young), and he wrote over twenty. His ballet music is characterized by clear dance rhythms and very expressive melodies, which were different from his great contemporary, Tchaikovsky (can you imagine yourself as a ballet composer and having Tchaikovsky as a contemporary?). However, his ballet music has always been appreciated. After spending 11 years in Moscow, he took a position in St. Petersburg where he composed until 1891 when his position was eliminated. He found it very difficult to live on the pension that he was being paid in Russia, and he returned to Austria where he died in abject poverty at the age of 91 in 1917.
In Act I, in the first pas de deux, it was readily apparent that both Maria Mosina as Kitri, and Igor Vassine as Basilio were incredibly well matched. Vassine demonstrated great strength to accompany his gracefulness, and really that is what technique is – it covers everything, both dancers possess it: strength, grace, remarkable confidence (think how easy it would be to pull a muscle or break something if it is not done properly, or that there is a split second of hesitation), and remarkable rhythm. As I watched them, and also Sayaka Karasugi as Mercedes and Dimitry Trubchanov as Espada, I was struck by their ability to work together. Every movement and gesture must communicate something. It reminded me of performing a two piano concert – everything must be concentrated in the same direction and to the same goal. These four dancers were superb. Adam Flatt’s energy as a conductor was received and returned by them, and it was obvious that everyone was working toward a common purpose.
Act II takes place in a gypsy camp where Kitri and Basilio are hiding. Chandra Kuykendall who danced the role of the Gypsy Queen was breathtakingly wonderful. But I must tell you, that I was astonished at the performance of Dana Benton who danced the role of Amour. Several time she executed what is known as a pas de bourrée couru, which is a series of small, even steps with the feet very close together. I have never seen it done so quickly – and she was smiling all the time. How does one smile when doing something so difficult? The orchestra was exceptional in this act.
In the final Act III, the celebration of Kitri’s and Basilio’s wedding, Dimitry Trubchanov as Basilio’s friend, Espada, executed several large leaps which reminded me of Merce Cunningham, who I regard as probably the finest choreographer in the world. But you must understand that all of the soloists that I just mentioned and all of the corps were equally fine and rewarding to watch. All are virtuosos. They are fantastic dancers and very good actors, and they genuinely communicate.
One aspect of Friday’s performance at which was quite obvious was the ability of all of the soloists and the entire corps to communicate through their acting ability, aside from their remarkable dancing ability. Kevin Aydelotte, who played Don Quixote, is not required to do much dancing, but he certainly did a great deal of acting, and was very successful in allowing us to see Don Quixote as a sympathetic and kind individual caught up in his dreams and a constant search. Joey Wishnia was equally effective as a Sancho Panza, and so were Ken Street as Lorenzo, and Gregory Gonzales as Gamache. So many times I have seen a ballet where the dancers, and everyone involved in the production, are solely concerned with dancing and not concerned with giving the audience a character with which to share emotions.
In a review that I wrote last year about the Colorado Ballet, I said that this company had finally arrived after so many years of struggle. That may turn out to be an understatement. It is such a fine organization that is difficult for me to imagine that they still have to rent scenery and sets from other ballet companies around the nation. If the Louisville Ballet (from whom the Colorado Ballet rented the Don Quixote set) can have their own scenery and sets which they rent to the Colorado Ballet, why can’t we have our own? Now I am aware of all of the answers to that question, but consider this: Denver’s six county metro area population is slightly over 2 million. Louisville, Kentucky’s population is roughly 1.4 million. We have a better symphony and many community symphony orchestras, and I will wager that our ballet company is superior to theirs. I know that times are tough for everyone, and the people who form the organization of the Colorado Ballet work incredibly hard. Can’t we give them more support? The Colorado Ballet no longer has to prove itself as an organization.
Filed under: Reviews | Tags: Ars Nova Singers, Bill Douglas, Gregg Smith, Joan Szymko, John Tavener, Jurgen de Lemos, Rachel Starr Ellins, Tana Cochran, Thomas Morgan, Veljo Tormis
Every once in while, a concert comes along that takes me completely by surprise, even though I may have heard of the soloist, the orchestra, or the group that presents the concert. Such was the case Friday night, October 9, at St. John’s Cathedral in Denver. The concert was given by the Ars Nova Singers. For those of you who are unfamiliar with the history of music literature, the Ars Nova period was from 1300 to 1400, and it gave birth to the isorhythmic motet in France and the Madrigal in Italy. In short, this was the “new music” of the day. Today’s Ars Nova Singers perform the new music of our day. This was the first time that I have heard them perform, and I remain stunned at the beauty and quality of the performance.
The Ars Nova Singers is a choir of thirty-two individuals led by Artistic Director Thomas Edward Morgan, and it has to be one of the best choirs in the country. I say this because no matter how softly they sang, or how loudly they sang, I could understand every single word. I have not heard a choir like this since I left my undergraduate alma mater, Indiana University. There, pianists like myself had to augment various choirs, and I was at times conducted by George Krueger, who was Associate Director of Chorus under Rachmaninoff and Toscanini, sometimes Hugh Johnson, sometimes Fiora Contino, and sometimes Robert Stoll. All of these conductors, and I must also include the entire voice faculty (for whom I did much accompanying), emphasized diction first and foremost, so much so, that diction almost became a trademark of any of the music school choirs, whether it was a concert choir or an opera chorus. So, I have been quite spoiled when I listen to other choirs. Thomas Edward Morgan is an individual that I now rank with the above mentioned choral conductors.
The concert on Friday featured choral works accompanied by cello, harp, and soprano soloist. The guest artists were Jurgen De Lemos (recently retired as Principal Cellist with the Colorado Symphony), cello; Tana Cochran (well known throughout the region), soprano; and Rachel Starr Ellins (Instructor of Harp at Colorado State University), harp.
The work that opened the program was by the well-known Estonian choral composer, Veljo Tormis, and was entitled Helletused (Childhood Memory – Herding Calls). This composition, dedicated to the memory of the composer’s sister, created the image of a very poignant pastorale devoted to the memories of past and lost childhood. It was a tonal composition in which the choir provided a background quite similar to an ostinato for Tana Cochran. Much of the harmony seemed to be centered around 13th chords which created a very haunting feeling, particularly, considering the amazing dynamic range. The second piece on the program was Sound Canticle on Bay Psalm 23, by Gregg Smith. This was based on a Psalter (a book of Psalms) from the Massachusetts Bay colony of 1698. It was a polytonal piece with a quartet in the center flanked by choirs on either side, though not quite as antiphonal as Gabrieli. Again, the dynamics were amazing. And I must also say that I was amazed at the vigorousness with which Thomas Morgan conducted. He communicated what he wanted on every single note and every single phrase, even every syllable, and the choir unfailingly responded to his hard work. It was very clear that they were as excited with these pieces as he was. It was also very clear that they love music as much as he does. It has been a very long time since I have heard a choir so concerned with the minutest of detail.
There followed three pieces for cello and harp wondrously done by de Lemos and Ellins. They performed an Adagio by Handel, a piece entitled Prayer by Ernest Bloch, and Elegia, op 22, by Luigi Maurizio Tedeschi. I found Bloch composition the most interesting, because it sounded very much like it was based on themes sung by a Jewish cantor. It was very beautiful indeed.
Immediately before the intermission, the Ars Nova Singers presented the Colorado premier of two compositions by English composer Tarik O’Regan. O’Regan is rapidly establishing himself as a brilliant composer of the liturgical music, and these two works are evidence of his creativity and imagination. Entitled Magnificat and Nunc Dimittis: Variations for Choir, they were commissioned separately by Timothy Brown for the Choir of Clare College, Cambridge. In these works for choir and cello, he uses traditional chant melodies sung by a quartet, then followed by the full choir, giving an almost responsorial effect. At times, the choir seemed to provide an ostinato for the quartet. O’Regan used both polytonality and tonality, and the work makes use of a double choir, soprano, alto, tenor, and bass soloists. O’Regan is incredibly gifted as a composer for the choir. This composition of two combined works had a very definite otherworldly sound, and I genuinely believe that he is one composer in which the future of choral composition lies. This is without question one of his major works.
Following the intermission, the Ars Nova Singers performed two works by the English minimalist composer, John Tavener. And by the way, he is a direct descendent of the 16th century English composer of the same name – John Tavener. Minimalism in music was an American innovation from the 1960s and involves any music that works with limited materials, pieces that have only a few notes for example, or pieces that use only one or two instruments. It often includes music that utilizes a drone of some kind, whether it is electronic, instrumental, or vocal. Often, the melodic notes above the drone can take a very long time to change, so that the composition seems to employ very few notes. This was the case in the first Tavener work called Svyati. The cello, played by Jurgen de Lemos, had a melody that sounded distinctly Middle Eastern because it moved in stepwise motion, but often had small leaps of one and a half steps. The bass section of the choir provided a drone which was quite soft and remarkably controlled. How can the human voice be so soft for such a great length of time and be produced so evenly? But they did it. Of his composition, John Tavener said, and I quote, “The text is in Church Slavonic, and it is used at almost every Russian Orthodox service, perhaps most poignantly after the congregation have kissed the body in an open coffin at an Orthodox funeral. The choir sings as the coffin is closed and borne out of the church, followed by the mourners with lighted candles. The cello represents the Priest or Ikon of Christ, and should play at a distance from the choir, perhaps at the opposite end of the building. As is Greek drama, choir and priest are in dialogue with each other. Since the cello represents the Ikon of Christ, it must be played without any sentiment of a Western character, but should derive from the chanting of the Eastern Orthodox Church.”
The second Tavener work was a set of six songs entitled Akhmatova Songs. Anna Akhmatova (1889-1966) is one of the best known 20th-century poets that Russia has produced. She had a painful life because it encompassed two world wars and the Stalinist regime. If my memory serves me correctly, she was one of the poets, artists, and composers (including Prokofiev, Shostakovich, and Kabalevsky) who were summoned to appear before the Central Communist Committee in 1948, where they were told that their art was worthless and not in the true Soviet tradition. These six songs were for solo voice and cello. They are absolutely beautiful and encompass a wide range of pitches in which Tana Cochran seemed absolutely comfortable. In addition, she captured the emotional essence of all six songs wonderfully well. She has a marvelous voice for these songs, and it is my hope that the Ars Nova Singers will perform them again.
The concert closed with two pieces for choir and cello; Nada te turbe, by Joan Szymko, and Deep Peace, by Boulder’s Bill Douglas. These two pieces ended the program on a superbly quiet note.
This was a very satisfying program produced by a group of people and soloists who are true artists. I might add that the public needs to hear more of Rachel Starr Ellins. She is a fine harpist whose playing is full of vivacity and warmth. The program notes stated that under Thomas Morgan’s leadership, the Ars Nova Singers has become one of the premiere ensembles in the region. However, I believe they have every reason to become one of the premiere ensembles in the United States.
Filed under: Commentary | Tags: conductor, Fritz Reiner
It has come to my attention that many people in a concert audience have no idea what the conductor does, or for that matter, what the score looks like that he follows. As a matter of fact, allow me to change the word “does” in the previous sentence, and say many people in a concert audience have no idea what the conductor is responsible for, though they may have a faint idea. Most understand that a conductor keeps the ensemble together, and most surmise by watching the conductor’s movements, that he is also in charge of dynamics. Many individuals in the audience do not realize that the performance they have come to hear is the end result of enormous preparation not only at rehearsals, but in study and preparation on the conductor’s part.
A competent conductor must have a superb knowledge of music history as well as the performance practices in each musical period. To over simplify, one cannot conduct Bach the same way one conducts Schumann. The conductor must call for, and receive, an integrity of performance that fits the composer, the musical period, and the particular piece.
In keeping a steady beat, the conductor does follow conventional beat patterns, but with his other hand can communicate dynamic changes and phrasing to the orchestra. The vigorousness of the pattern can also communicate many different aspects of what the conductor wants. The beat may be very delicate with small motions, very emphatic, or in some cases, almost violent. All of this will cause the orchestra to respond differently. And almost all the time, a very expressive body language coincides with the arm movements. All good conductors use entire body movements, and even facial expressions, to cajole the orchestra to perform the way the composer wished. It does take specific training and long experience to be a good conductor. When I was in undergraduate school, the great cellist, Janos Starker, told the Chamber Literature class that many instrumentalists tried to become conductors (known for his dry wit, he singled out cellists, because they sat very close to the conductor), but few instrumentalists, even though they may have fine musical minds, are successful. The reason, most likely, is that they have not been schooled in conducting and feel inhibited, no matter what their desire, in their movements when they are conducting. Some are not natural leaders and have difficulty communicating when before a group.
A good conductor must spend a great deal of time outside the rehearsal studying the score. I have talked to some concertgoers who think that the score the conductor follows is similar to a piece of piano music. In all fairness, I think these individuals did not think through the obvious number of different instruments in the orchestra. On one page (if all are playing simultaneously) the flutes are listed at the very top, and in descending order come the oboe, first and second clarinets, bassoon, French horns, trumpets, trombones, percussion and harp, first and second violins, violas, cellos, and finally bass. It is extremely helpful for a conductor to be a good pianist and a good sight reader, because one of the ways the score is studied, particularly if the conductor has not performed the work before, is to play through it on the piano making mental notations to be observed at the rehearsal.
At the rehearsal the conductor must display great confidence in his ability in coordinating all of the musicians and must, in particular, display absolutely perfect rhythm. But he must also be able to tell when individuals are playing out of tune or making their entrances early or late. A good conductor has the ability to display confidence just as any person who is in the position of leadership. But it has been proven that conductors do not need to be tyrannical in their position. I think that it is necessary to point out that some – not all – individuals who make up a community orchestra can often believe that their conductor is far too demanding, or quite possibly even tyrannical. In most community orchestras, many musicians are not professional musicians but have a strong love of music (here, I define professional musician as one who has been trained at a school of music and has a degree in their instrument). They are not musicians by profession. Therefore, they are not accustomed to having demands of perfection, or even demands for better performance, placed upon them because, at that moment, they may be doing the best they can. They do not seem to realize that the orchestra is to the conductor what the piano is to a pianist. It is his performance instrument. If a pianist determines that his piano is out of tune, he calls a tuner. Likewise, if the conductor determines that a section, for example the cellos, are out of tune, he lets them know. And of course, in a community orchestra there are those who just want to play in an orchestra and are not terribly concerned, and have no passion for, the music involved. They disassociate themselves with the music because they have no care for learning about it. To them, playing in an orchestra is simply a source for status. When asked by the conductor to perform better, they feel put upon and angry with the conductor because he may have singled them out. Some do not even practice until the rehearsal.
Members of a professional orchestra may also be dissatisfied with a conductor if they feel the conductor is unprepared, if he makes mistakes with cues, or if he has problems communicating.
One way for the audience member to determine if the orchestra has respect for the conductor (and here, I am speaking of a large professional orchestra, such as the Colorado Symphony or the Chicago Symphony), is to see how many orchestra members are actually watching the conductor. If the members of the orchestra have respect for the conductor, they will watch him quite often and try to do everything that he asks for. Often, when the orchestra has no respect for the conductor, they will simply sit there and play. Realize they are accustomed to performing together, and they do not want to give a bad performance (after all, they do get paid for playing well). In addition, they may have played the work so often that it almost plays itself. Many audience members go to a concert to hear a particular work and not the subtle nuances between conductors, so they may never notice that the orchestra is playing by itself and ignoring the conductor.
There are so many ways the conductor is responsible for the orchestral performance. He hires the musicians at auditions, and is also responsible for firing musicians, though in this day and age that has become more and more difficult for him because of unions and review committees. No longer can conductors behave like the well-known conductor of the Chicago Symphony, Fritz Reiner, who once fired all of the French horns and trombones (as my memory serves, that was in 1948) because he was dissatisfied with their playing at a rehearsal. He was forced to hire them back when the symphony board threatened to fire him unless he relented. Nonetheless, a conductor can make life so miserable that an individual may leave the orchestra. But that is not a common situation. Conductors are very careful with their “instrument”, and enjoy conducting a good orchestra as much as they take pleasure in seeing an orchestra improve under their leadership. They hold the members of the orchestra in high regard because they perform well, and the orchestra members return the respect.
The conductor also relies a great deal on the concertmaster (the first violin) who also takes a role of leadership by setting the bowings that the strings will use so that they all play a given passage the same way. If a string player is using a ‘down bow’ when an ‘up bow’ should be used it can change an accent or even the tone. That is why all of the bows are moving in the same direction. If they are not, someone is wrong. The concertmaster is also a liaison between the conductor and the rest of the orchestra.
In truth, this is a superficial article guided by the space available. But the next time you go to a symphony concert, I hope that you will have more to think about and notice as you listen to the music being made.