Filed under: Reviews | Tags: Alice Rybak, Fritz Kreisler, George Perlman, Grieg, Joseph Golan, Lawrence Golan, Mozart
As part of the Lamont Subscription Concert Series, violinist Dr. Lawrence Golan, and pianist Alice Rybak presented a duo recital last evening, Friday, April 29, in Hamilton Hall at DUs Lamont School of Music. This concert was also a fundraiser for the Lamont Symphony Orchestra.
This was certainly a unique concert in that the first half of the program consisted of two marvelous violin sonatas: the Sonata in A Major, K. 305, by Mozart, and the Sonata in C Minor, Opus 45, by Grieg. The second half of the program after the intermission were showpieces that, according to the program, were to be announced from the stage. In this instance, do not think of show pieces as being exclusively from Broadway shows or musical theater. Show pieces, in this instance, meant pieces that were “showy” because of the virtuosity demanded from the performers, either technically or musically. And yes, virtuosity does encompass musicality, not just technical flash and daring.
Golan and Rybak opened the program with the Mozart, K. 305, which Mozart completed at the end of 1778 while he was in Mannheim. This is a delightful work of only two movements, the second of which, is a theme and variations. This sonata is very different from his other A major Sonata, K. 526, which is a very serious work, and often considered to be Mozart’s best sonata for violin and piano. Straight away, it was clear that both Golan and Rybak were able to infuse this sonata with a great deal of Viennese charm. I have heard this sonata performed many times, and often the performers do not take the repeat of the exposition section (and why not, for this is not a huge work), but certainly, Golan and Rybak did. Golan’s performances are always very interesting to watch, and, of course, quite remarkable to listen to. He simply stands on stage and plays with great assuredness and conviction. There is none of the extraneous motions say, that Joshua Bell might make. In this sonata, he played with a light airiness that fit the piece beautifully. Always on pitch, always with perfect tone no matter what the dynamic level, his love for the music comes across instantly. Musically, Ms. Rybak’s playing was gorgeous as well. Her use of the pedal is exceptional, and she is not “afraid” of all the minute periods of silence that occur in Mozart’s writing. Her portato notes (portato notes are notes that are longer than staccato but shorter than legato) were all of equal length. And, I still feel it necessary to remind some of the audience members that Alice Rybak is not an accompanist. This was a collaboration between the two artists that were on stage. Both piano and violin parts are equal: again, the pianist does not accompany. The pianist is an equal partner. I bring this up, because some individuals at the reception following the performance were overheard to say, “Alice Rybak has always been a good accompanist.”
The second movement of this sonata is a wonderful theme and variations. There are many examples in this movement of Mozart’s charming (again, that is the only word that fits) question-and-answer interchange that goes on between the violinist and the pianist. Each “question” and each “answer” had the same phrasing and the same delicate balance. Of course, one can easily say, “Well, that’s the way it’s supposed to be,” but that does not make it any less delightful to hear.
The Grieg Sonata in C minor, Opus 45, is a huge Sonata, especially compared to his first two sonatas for violin and piano which were written in a matter of weeks. The C minor Sonata was begun in 1886 and completed in 1887. It was premiered on December 10, 1887, with Grieg at the piano and Adolph Brodsky playing the violin. Almost immediately all of the other violinists of the generation were performing this piece, and one of my favorite recordings of the Sonata is with Fritz Kreisler and Sergei Rachmaninoff.
To my way of thinking, the opening of this is very symphonic because it is so expansive and so incredibly passionate. And that is exactly the way, Golan and Rybak performed it, both producing an incredibly rich sound. It was difficult, in the first movement, for me to concentrate on taking notes so that I could write this review, because listening to what was going on between these two musicians was so terrific. The first movement is not at all like the second movement where the violin and piano seemed to go their own way and not rely so much on each other. The second movement has a remarkable opening in the piano, and the opening key of E major is a startling contrast to the C minor of the first movement. But again, I was struck by the “comradeship” exhibited by Golan and Rybak, not because it was in existence, but because it was so natural and constant. Certainly, Alice Rybak kept a close eye on Lawrence Golan, but again, there was no theatrical motion made by either musician. They simply made beautiful music, and in the case of the second movement, they were more or less on their own, because Grieg did not write in any “dialogue” between the two instruments. On occasion, this can make it a little more difficult for each musician. But Golan and Rybak simply went about the task of making gorgeous music.
The last movement of this sonata has the architectural form of ABAB-coda, which some individuals have said is really a Sonata Allegro form without the development section. Just between you and me, I think that’s nonsense. Why not just call it what it is: ABAB-coda (for those of you who may not be quite sure what a coda it is, think of it as a closing section built upon thematic material that has previously been heard. In Italian, coda means tail). Again, what was most noticeable to me about the playing of this piece was the richness of tone and the incredible passion that both musicians gave this work. Each in their own way, seemed to fulfill the incessant rhythmic drive that the last movement of this sonata has. I must say that it seemed that this sonata meant something entirely different to each of the musicians on stage, and while each held their own deeply personal conception of this piece, they both produced a wonderfully memorable performance. Keep in mind that Alice Rybak has 88 keys with which to deal, and one can see how she shapes each phrase with her hands, or gives more weight to her hands from her shoulders in order to maintain tone. Even though Golan is almost motionless as he plays, one cannot escape the difficulty of this piece, and his concern with phrase endings and difficult fingerings.
The second half of the program was as terrific as the first half, and I must say that it took a great deal of confidence to present the second half of the program and the way that Rybak and Golan did. The program actually said that the second half would be showpieces to be announced from the stage. And again, I’m quite sure what they meant by showpieces was technically difficult pieces, and not show tunes. At any rate, Dr. Golan explained to the audience that they had several genres in mind such as works in the Viennese style, Latin style, Broadway melodies, works composed by Golan, etc., and they would take requests from the audience for each genre.
The first piece on this half of the program was from the movie Fiddler on the Roof used during the opening credits, and was originally performed by the late Isaac Stern. The original music was compsed by Jerry Bock with lyrics by Sheldon Harnick. The version used by Golan and Rybak was an arrangement by John Williams. Among the following pieces performed was Fantasia, a work composed by Golan which is full of double stops and technical intricacies. Golan, of course, makes all of this looks very easy. It isn’t. As I have said before, Golan always has a distinct musical goal not only in what he plays but in what he composes and, by the way, this work is available on a recording on the Entrata label. The next request from the audience was Latin music so Golan and Rybak performed a very well known tango, which is translated as Corn on the Cobb. It was written and dedicated (as I recall Golan explaining) to a club in Argentina.
Performed next were three works by Fritz Kreisler, Liebesfreud, Liebesleid, and Schon Rosmarin (I think!) which were instantly recognizable to everyone in the audience. Again, these pieces were infused with an incredible Viennese charm. I might add that since performance styles have changed so drastically since these were performed by Fritz Kreisler, that Golan did not scoop his pitches the way Kreisler used to do when he played. He was always squarely on pitch. Then, of course, a member of the audience suggested that he repeat the performance of last Tuesday night of his arrangement of Charlie Daniels’ The Devil Went Down to Georgia. He invited four individuals from the audience to be a “percussion section,” by sitting on the stage and clapping on the offbeat and on the beat. There was a beautiful piece composed by a teacher of his, George Perlman, entitled Indian Summer, which was written for his father Joseph Golan, and premiered by his father when he was eight years old. Golan and Rybak also performed the theme from the movie Schindler’s List, which, of course, is one of the better themes to come out of Hollywood, and is heartrendingly beautiful. They also performed a Chassidish which is full of fireworks and technical difficulties. While the piece was instantly recognizable, I missed the name of the composer, sorry to say. And yes, Golan performed all of these works from memory.
This was a wonderful program presented by two fine musicians. As a pianist, I have performed the Mozart and the Grieg sonatas on more than one occasion, so I am extremely familiar with both pieces. And it brings me to a point that I will have a tough time making. That is, that while there is no question that Alice Rybak is a superior musician, and while her performance musically was far above reproach, there were many wrong notes. Please understand that every pianist, myself included, has hit wrong notes. However, it seemed that Ms. Rybak was not quite prepared for the performance. Clearly, Golan was. I have heard Rybak before, and her playing has been exquisite in every respect. Did it detract from the overall quality of the recital? Well, that depends on the sophistication of the ears of those in the audience. Those who know these two sonatas intimately may have noticed, especially if they were pianists. The audience at large probably did not notice, but as a fellow musician, I feel that it must be mentioned. I can guarantee you that Ms. Rybak wished to do better.
Filed under: Reviews | Tags: Amra Tomsic, Antonio Domenick, Charlie Daniels, Chip Michael, Jeff Ashear, Jonathan Parker, Lamont Symphony Orchestra, Lawrence Golan, Malcom Lynn Baker, Myranda Whitesides, Traci Nelson, Travis Jürgens
I am constantly amazed at the versatility of the Lamont Symphony Orchestra and the Lamont School of Music. Their performance on Tuesday, April 26, in Gates Hall was comprised of new pieces – world premieres – of works produced by the composition students and faculty at the Lamont School. The Lamont Symphony was conducted at this performance by Travis Jürgens who is well on his way to becoming a major conductor in the world of symphony orchestras.
Maestro Jürgens is the Assistant Conductor of the Lamont Symphony Orchestra and Opera Theater inDenver. He has a Bachelor’s Degree in Piano Performance with High Distinction from the prestigious Jacobs School of Music at Indiana University, and his Masters of Orchestral Conducting from the University of Illinois. While there, he was the cover conductor for the University of Illinois orchestras and Assistant Conductor for the University of Illinois Opera Theater. He also founded the United Orchestra of Urbana. One of the reasons that his conducting is so spectacular, aside from its energy and abundant musicianship, is the fact that he knows how to lead rehearsals. An absolutely unimpeachable source told me that this concert was produced with only two rehearsals. That is quite remarkable – almost miraculous – when you consider that every piece on this program was pristine and very difficult. It also says volumes about the quality of the students that the Lamont School produces.
Let me say at the outset that I was very impressed with the maturity of these compositions. There was none of the catchy, experimental, hit-them-with-avant-garde “noisemaking” that many composers still use today. I am referring to playing on washboards, shaking marbles in a tin can, etc., that really were an outgrowth of all of the experimentation that legitimately went on in the late 1950s and through most of the 1960s. In that period of time, composers were truly looking for something absolutely new, and even Igor Stravinsky said (in the mid-1960s) that the compositional techniques being taught to composers were totally inadequate. He was referring to musical notation which went through radical changes in the 1960s, and was even filled with gimmickry by some composers. Stravinsky also said that composers were totally unprepared by their schooling. Keep in mind that Stravinsky made those comments in the 1960s (he died in 1971), and like any art of any era, composers and those who teach composition, are finding their way through all of the complexities that they face.
My point is that the composers whose works were on this program seem to be facing the present in a very artistic way, and a very confident way, without resorting to passé styles of making sounds. This was refreshing indeed, because it not only represents the latest in the art, but there was not one piece on the program that relied on musical “tricks.” (Please note that there is always a use in percussion ensembles for something new or something old.)
The first work on the program was by Antonio Domenick, who is a composer, arranger, singer, and trombonist from Denver. The title of this piece was In Several Keys. The first thing that struck me about this new composition was the excellence of the orchestration. There is no doubt whatsoever that he knows his way around an orchestra. The orchestration and chords that he used reminded me very much of the pre-twelve tone compositions of Arnold Schoenberg, particularly his Gurrelieder. The chords were quite complex, and he seemed to have many added note chords that almost became tone clusters, and that is something that Schoenberg did not use. However, these added note chords were used in a way that had a function similar to tonality, which provided a strong structural sense. It also seemed that there was quite a bit of influence from Bartok. I really look forward to hearing this piece again. Many critics seem to think that it is very unscholarly to say that a new piece of music was “beautiful,” but that’s exactly what this piece was.
The second piece on the program was entitled Mystery Lie, and was exceedingly short, but exceedingly appealing. It was written by Jon Parker of Denver who is active as a pianist, composer, arranger, and conductor. While in the Army, he was the pianist with the NATO Big Band and has performed for government dignitaries throughout Europe. He is still in the adjutant general officer corps of the Army reserves while he works on his Masters Degree in Musicology from the Lamont School. Mystery Lie was really a soundscape, very dulcet and very ethereal, which bordered on the microtonal.
Jeff Ashears’ work, 11:1, was next on the program, and was clearly microtonal. I don’t know exactly what the title – a mathematical ratio – refers to, but my guess would be that the whole step relationship, which is traditional in pre-avant-garde music, contains 11 steps rather than two half steps in this work. There was also a minimalist aspect of this work which reminded me of Arvo Pärt and/or John Tavener. I was a little puzzled by the use of the piano, which, when played, normally was highly effective. But, when the pianist plucked the strings with his fingers, or tapped directly on the strings, the sound generated was almost inaudible. It didn’t really seem to me that the composer wanted that part of the performance so very soft. This was a very effective piece, very well done.
Lamont faculty member Malcolm Lynn Baker’s work, Giving, was performed next. This terrific piece began in the orchestra, but it soon became apparent that this was a short introduction which led to an almost John Cage-like percussion ensemble, which reminded me very much of Imaginary Landscapes One and Two, by Mr. Cage. This was a deceptive piece simply because I fell into the trap of imagining that the work with the title of Giving would be a little more gentle, but this was a hard driving and very impassioned piece of music. After this section, and it seemed to be inABA form with the percussion solos in section B, the orchestra in the A return was clearly microtonal. But its emotional fluency was so great that I wondered if this wonderful piece was some kind of avant-garde tone poem. I would really like to see the score to this composition.
The next work on the program, Pace Plateau, was written by Amra Tomsic. I would have loved to see some kind of bio statement in the program, but according to the web: “Amra Tomsic is a Junior transfer student new to DU this year. He comes from a small town in Colorado called Gunnison where he attended Western State College for three years. He majored in classical voice, piano and Music Education. Now at Lamont he is working on a BM in classical voice, after which he plans to get his Masters, also from the Lamont School. He plans to pursue a career in operatic performance after his completion of school and hopes to someday teach as well. He also loves conducting, theory, and composition.”
Pace Plateau was a very energetic piece quite reminiscent of Yugoslavian or Slovenian folk melodies. There was a great deal of forward drive in this work which was very short indeed, but was possessed of great saga. Though the harmonies were not so terribly new, this was another terrific piece that I am quite sure was very difficult for the orchestra.
Chacon is the title of the composition that was performed next on the program. It was composed by Myranda Whitesides ofDenver. Again, I quote from the website, DU Portfolio: “Myranda Whitesides is a BA in Vocal Performance at the University of Denver’s Lamont School of Music. Her instruments include guitar, piano, and cello. She participates in the Lamont Chorale, and also plays in two bands in addition to performing acoustic shows at DU and various coffee shops inDenver. She recorded an Alternative Rock EP with original material in 2009 at FTM studios. Myranda graduated from the International Baccalaureate Program at Lakewood High School in 2009 with High Honors. She participated in Lakewood’s Encore and Acappella group Eclipse. She also performed in Lakewood’s orchestra for 3 years. Myranda is working on a minor in Art at the University of Denver. She enjoys drawing and painting, and has recently begun exploring woodworking and sculpting.”
Chacon is a beautiful work with some wonderful flowing melodic lines in the violas. This composition also seemed to be in ABA form where, in the B section, the oboe carried much of the melodic work. I must say, that for my ear, the oboe seemed a little harsh after the wonderfully mellifluous viola sections. I guess my question is this: “What? Is she the only female composer on the program?” There is no question that this young lady has a real talent for composition, and it would be my hope that she continue her efforts in this direction. She is gifted.
The next to the last work on this remarkable program was the third movement of a Trumpet Concerto by composer Chip Michael. This Concerto was dedicated to Mr. Joseph Docksey who, as almost everyone knows by now, is retiring from a long and illustrious Directorship at the Lamont School of Music. I will quote from the program notes:
“Clarity of melody with intense rhythms is a key element in the music of Chip Michael. He feels it is important that the listener have something to grasp in terms of melody while providing interesting, intricate rhythms, odd meter and complex counterpoint. The unique blend of rhythms and melody are what make Chip’s music appealing to audiences of all types from around the world.”
“The Boulder Symphony Orchestra announced Chip Michael as Composer in Residence for their 2010- 2011 season. Conductor Devin Hughes created the appointment along with commissioning a new work for the BSO, Exchanging Glances.”
This is truly a fine composition. This is another work where I would like to examine the score, because it seemed to me that intentionally or unintentionally, Mr. Michael made use of what theory students have learned to tag as “white key diatonicism.” This is the style of composition personified by the American composer Aaron Copland, and as I have said before in very oversimplified terms, white key diatonicism is where key signatures and enharmonic equivalence are taken as points of departure for a study of the diatonic-chromatic relationship. In other words, key relationships do not follow established rules of traditional harmony. But I must tell you that as I listened to this composition, I was totally astonished not just by the work itself, but by the amazing trumpet performance by Traci Nelson. Ms. Nelson has her own website which I encourage all of you to visit. I quote from it here:
“Traci received a Bachelor’s Degree in Trumpet Performance from DePaul University of Chicago, IL, in June 2009, graduating Summa Cum Laude. Her primary teachers at DePaul were Chicago Symphony Orchestra members John Hagstrom, Tage Larsen, and Matthew Lee. During her time in Chicago Traci performed with countless ensembles in and outside of the school, including DePaul’s Symphony Orchestra, Opera Orchestras, Wind Ensemble, the Classical Orchestra of Chicago, various brass ensembles including quintets, trios, trumpet ensembles, and more.”
“Traci currently resides in Denver, Colorado where she is trumpeting her way toward a Master’s Degree in Trumpet Performance at the University of Denver’s Lamont School of Music, studying with Al Hood and serving as a Graduate Teaching Assistant. Traci also freelances and teaches throughout the Denver metro area.”
This young lady is a remarkable performer, and it is wonderful to see a young woman be such a skilled brass player. She reminded me instantly of Alison Balsom, the remarkable English performer who has taken the trumpet world by such a storm. Does that remark sound prejudiced? Both Alison Balsom and Traci Nelson have the appearance of supermodels. Is that necessary to say? Probably not, but when I was in my high school band as a percussionist, many, many years ago, young ladies simply did not play brass instruments. Those who did smoked and drove pickup trucks. But it is also necessary to understand that in the 1800s it was considered very unladylike to play the cello. However, here, at this concert, was a very sophisticated, young woman who is a fantastic performer. No burbles, incredibly reliable with an orchestra, and capable of wonderful technical feats. What a joy to listen to! All of you who know her must get her autograph now.
Closing the program was, in many ways, the biggest surprise of all. It was an orchestral arrangement – and remember, a world premiere – of a very famous work by Charlie Daniels, who, most of you are aware, is one of the pillars of country music and southern rock. The work’s title is The Devil Went Down to Georgia. This work was arranged, played (violin), and sung (!) by the multifaceted conductor of the Lamont Symphony Orchestra, Dr. Lawrence Golan. And what an accent! Who knew? But, typical of Dr. Golan, this was a very sophisticated work and performance. The Devil Went Down to Georgia could almost be considered a very short version of Stravinsky’s The Soldiers Tale. The hero, rather than the Devil, as in Stravinsky, beats the Devil at a violin competition. Maestro Golan proved that he can play the violin (which everyone has been aware of), that he can make skillful arrangements (maybe some of us have been aware of), and that he is a very good singer/narrator (few of us have been aware of), and that he was capable of an incredible hillbilly accent (who knew that!)!
What a delightful program this was! There was not an inferior piece in the entire concert, and, as I said above, it is very gratifying to hear new works composed with such confidence and artistic skill. In addition, I cannot say enough about the skill and musicianship of Maestro Jürgens. He is a very dynamic conductor who, without a doubt, knows the music before him, and who has no difficulty whatsoever, in communicating that skill and joy to the orchestra. Remember that these were new compositions. The Lamont Symphony Orchestra, under Jürgens direction, performed them as if they were concert standards. It will be a long time before this performance is forgotten.
Filed under: News | Tags: Adam Flatt, Amanda McKerrow, Gil Boggs, John Gardner, Marie Belew Wheatley, Michael Pink, Peter Pan, Philip Feeney, Sandra Brown, Swan Lake, The Colorado Ballet, The Nutcracker
There is good news for all of us who have been starved to see a performance by the Colorado Ballet during the off-season. We can now look forward to the new season which was announced yesterday, April 26, for this coming year. The new season will begin October 7, and the opening ballet will be Tchaikovsky’s Swan Lake. Choreography will be based upon the work done by Marius Petipa and Lev Ivanov, but will also include original choreography done by Sandra Brown, who you all know is ballet mistress for the Colorado Ballet, as well as Amanda McKerrow and John Gardner who danced with the American Ballet Theatre. Keep in mind that there is a very good reason that Swan Lake is such a popular ballet. Simply put, it has some of the most beautiful music written for any ballet at any time, and if you haven’t seen this ballet yet, now is your chance. Artistic Director Gil Boggs (and this cannot be stated often enough) has made many positive changes in this ballet company, and working with the new Executive Director, Marie Belew Wheatley and Conductor, Maestro Adam Flatt, there is no reason why this coming season should not be the best yet. Therefore, I hope all of you take my suggestion to make this an opportunity to see and hear one of the best ballets ever written. The performance dates for Swan Lake will be October 7 through October 23.
Yes, the Colorado Ballet will perform Tchaikovsky’s The Nutcracker beginning November 26, and running through December 24, 2011. There are many of you in Denver who have made going to The Nutcracker a yearly tradition, and I would point out that one of the reasons this is so easy to do, is because the Colorado Ballet always presents this classic as if they were doing it for the very first time. It is a fantastic story, the music is so good, and the costumes so wonderful, that it simply never gets old.
The most exciting announcement from the Colorado Ballet is the notice that they will be presenting a brand-new ballet, the Denver premiere, entitled Peter Pan, which will run from February 24, 2012, through March 4, 2012. The music was written by Philip Feeney, and the choreography is by Michael Pink, and I’m sure that the ballet audience will recall that Feeney and Pink where the artistic collaborators in last year’s production of Dracula. That collaboration was so blindingly successful that I have absolutely no doubt that Michael Pink’s choreography will be just as stunning and evocative as was his work in Dracula. Philip Feeney has certainly established himself as a major composer of ballets, and after the striking success last year of Dracula, there is every reason to believe that J.M. Barrie’s fondly remembered, Peter Pan, will be an instant success here inDenver.
From March 29 through April 1, 2012, will be the “mixed repertory” performance which will be performed at the NewmanCenterfor the Performing Arts at the Universityof Denver. This performance entitled, Tribute, is a collection of three world premieres by three female choreographers (another Colorado Ballet first?) which will run March 29, through April 1, 2012. The three choreographers will be Emery LeCrone, Jodi Gates, and Amy Seiwert, and I would point out that Seiwert made her debut with the Coloradoballet in 2009, when the company performed the world premiere of her ballet, Things Left Unsaid.
The Colorado Ballet will also perform two special appearances, one at the Vail International Dance Festival and the second at the ArvadaCenterfor the Performing Arts. Their appearance in Vail, August 8, 2011, will be at the VilarPerformingArtsCenterin Beaver Creek, where they will perform LeCrone’s Upclose: Premieres, a program that will also include works by Christopher Wheeldon and Richard Siegal with dancers from the New York City Ballet and Trey McIntyre Project.
The performance at the ArvadaCenterwill be given on August 27, 2011, and will include various classical excerpts featuring Faraway, which was performed last season.
Season tickets for the Colorado Ballet will be available beginning May 2, 2011, and individual performance tickets will be available August 22, 2011. Additional details can be found at the Colorado Ballet’s website, www.ColoradoBallet.org.
I encourage everyone to attend the Colorado Ballet. You must understand that ballet is no longer the stereotypical art in which a line of dancers stands at the rear of the stage in white tutus, while a pas de deux is danced in front. Ballet tells a real story with real people, and Artistic Director Gil Boggs with his ability to choose outstanding choreographers and dancers creates in this company’s ballets the most alluring ballet that I have seen in years. It truly equals or exceeds anything you will find in any city in theUnited States.
Filed under: Reviews | Tags: Bill Hill, Dave Hanson, Neil Haverstick, Rich Chiaraluce, Ron Bland
I attended a concert at the Lamont School of Music on Monday evening, April 11, and it was entitled “Bill Hill and Friends: Fusion and Fission.” It was part of the Lamont Subscription Concert Series, and was a jazz fusion concert, with all of the works composed by the Lamont School’s William Hill. Mr. Hill called this a fusion concert because all the pieces on the program were a synthesis of jazz, which is based on improvisation (usually of well-known tunes), and newly composed works which are written in the jazz style by Mr. Hill: Improvisation and composition. In his opening remarks, Mr. Hill explained that the Fission element of the program stemmed from the opposite of the combining (Fusion) the styles, as in his composition Molybdenum: the explosion of the jazz styles on the program. As most of you readers know, I am a “classically” trained musician, however, one of my high school friends, Tom Hensley, who has been playing with Neil Diamond, lo these many years, instilled in me an interest in jazz. As a result, I often listen to Miles Davis, Charlie Mingus, Astrud Gilberto, Bill Evans, Jimmy Smith, Oscar Peterson, and all of the rest of the incredible jazz artists of the 1950s and 60s. As a matter of fact, one of the things that Mr. Hill articulated in his opening remarks at this concert, and this certainly applies to me, that for him, as a composer, Colorado Symphony timpanist, and jazz musician, there are no divisions in music. With a few exceptions, he likes all music, and wherever possible he avoids titles such as, classical, romantic, etc. It is, of course, necessary to apply such labels when one is discussing differences between Baroque and romantic, for example, but other than that, music is music. I couldn’t agree more.
The “Friends” that appeared with Bill Hill on his program Monday evening are some of the most talented jazz musicians, and all-around musicians in the area. Rich Chiaraluce: flute, saxes, and clarinet; Neil Haverstick: guitars; Dave Hanson: piano and synthesizer; Ron Bland: electric and acoustic bass; and of course, Bill Hill: drums and percussion. I hope that all of these gentlemen will excuse me for not listing a short bio of them in this article, but if I did so it would take up so much room there would be nothing left for discussion of the music that they played. Every single one of them has played with major bands or orchestras, some have had their arrangements performed by major orchestras in the United States, and all of them have recorded with major singing stars all over the country. Their vast experience shows in the way they play, and the way they play together.
Bill Hill and Friends opened the program with a jazz composition entitled The North Shore. It was a mellow, very laid-back work, though it was of a medium tempo. If it had been any slower, it would have reminded me very much of the West Coast style of jazz from the late 50s and early 60s. Right away, I noticed that this group, in spite of being only five members, produced a very large sound, even when they were playing softly. I began to wonder where the title of this piece came from as I was listening to it, because it reminded me very much of a jazz group, whose name I do not remember, that I heard in Chicago in 1967. Perhaps because the name of this work involves the word “shore”, it was very easy to imagine the Outer Drive in Chicago where it goes past all the marinas. After this work was over, Mr. Hill explained that he was motivated to write it after stay in Hawaii, and a visit to the North Shore of Oahu. So, it seems that I was at least 2000 miles off, but water was still involved.
Chromatic Sunsets was the second work on the program. Mr. Hill reminded the audience that the word chromatic means to encompass every color. Of course, to musicians, it means involving many different keys that are foreign to the given scale. Hill explained that he is definitely referring to sunsets in this work because of their constant color changes. Dave Hanson, piano, was truly remarkable in this piece which centered around a samba rhythm. Likewise there was some beautiful playing by Rich Chiaraluce on flute.
Next on the program was The Bad Boys, motivated by Bill Hill’s touring with the Colorado Symphony, and during the time between rehearsals, doing all kinds of things to enjoy the local scenery. Mr. Hill described this piece as funk. For those of you who are uninitiated, funk is an amalgam of soul music and R&B, and has a hard driving rhythm. This work had an absolutely incredible soprano saxophone solo, which was as hard driving as the rhythm accompaniment. As far as jazz is concerned, there may be a gap in my otherwise vast store of knowledge (!), however this piece seemed to me to be a very hard driving East Coast (as in New York) style of jazz, and completely without prejudice, I would say that it seemed to classy for funk.
The composition, Loss, followed the above work, and it was a blues style piece of jazz with a wonderful acoustic bass solo. It was inspired by the tragedy in Arizona of a few months ago. I would like to see the score to this piece, but it seemed to be in ABA form, with the middle section gathering in intensity, particularly of the percussion. In so many ways, it was a heart-wrenching piece of music. Dave Hanson, on piano, had tone clusters against a really wonderful guitar solo by Neil Haverstick.
The next work on the program was inserted at the last minute, and in doing so, Mr. Hill wanted to reverse the rather despondent mood of the previous piece. All he said was that everybody in the audience would recognize this piece, and of course, he was absolutely right. The five gentlemen swung into a New Orleans jazz style arrangement of Sweet Georgia Brown. The famous melody was initiated by the clarinet after a short introduction. Dave Hanson had a marvelous solo as did Ron Bland on acoustic bass, and it certainly had the desired effect.
Mind Bender was the next work on the program, and Mr. Hill named it that because of the constantly changing meter. As a matter of fact, the changing meters reminded me very much of the Stravinsky Concerto for Piano and Wind Instruments which I had heard about a week before. And like the composition, The Bad Boys, this was in the East Coast jazz style with a marvelous clarinet solo. The big surprise came when the rhythm totally changed and became what I would call a 2011 version of the classic street beat.
After the intermission the work entitled Remembering Manfredo led the way. In this composition pianist Dave Hanson absolutely soared. It was a difficult samba with two measures of 5/8 followed by two measures of 3/4. Manfredo was a jazz musician who was an acquaintance of Bill Hill’s. This piece was really dedicated to his memory and had a marvelous saxophone solo in the opening which led to the piano work by Dave Hanson.
Bill Hill introduced the next work on the program, Molybdenum, as a reaction that he had when he saw some molybdenum mines by Idaho Springs. And, in a bit of abstract expressionist thought, stated that art can sometimes be ugly as well is beautiful. The work, Molybdenum, was probably the most difficult work on the entire program. In this piece, Bill Hill used the 12 tone technique. To my ear, this gave a certain European sound to this marvelous piece of jazz. Quite frankly, I did not think that it was all that ugly, and I really enjoyed it, and it was somehow strangely rewarding watching the five gentlemen on stage work so hard at producing such a fantastic piece of music. It had some verbalizations in the early style of John Cage or, perhaps, the late William Albright.
The next to the last piece on the program, In Your Imagination, was a beautiful piece that always moved and had an incredible sense of direction. It was in a very laid-back, West Coast jazz style, and it also had one of the finest jazz closing themes I think I have ever heard. This was truly a sophisticated piece of music which underscores Bill Hill’s ability at composition, as well as the skill and musicianship of everybody on stage.
The closing work, Banderas Bay, was inspired by a trip that Mr. Hill took to Mexico. It was a samba which was incredibly evocative of the sun setting over the ocean. It had quite an exciting percussion solo, and it gave Mr. Hill the opportunity to show that he can do with one hand what most other percussionists can do with two hands. Absolutely amazing.
Of course, they got a standing ovation, and did an encore: Take the A Train, which was written by Billy Strayhorn for the Duke Ellington Band.
This was a very different kind of jazz concert. Every single work on the program was extremely sophisticated because it not only involved improvisation, but Mr. Hill seems to revel in complexities. Chiaraluce, Haverstick, Hanson, Bland, and Hill are capable of some of the most difficult improvisations that I have heard in many years. Every work exhibited masterful variations on the theme, and this is something that only vast experience can produce.
Filed under: Reviews | Tags: André Hafner, Anna Arzumanyan, Arvo Pärt, Bach, Janis Sakai, Pablo de Sarasate, Prokofiev, Yumi Hwang-Williams
Sometimes, I will have people say to me, “Why are you reviewing a student, for heavens sake?” Or, sometimes they will say, “Don’t you think it’s a little unfair to pick on a student?” And, on occasion, I have even had them say, “A student? Students don’t play well! They are students!” My response to all of this is that I have worked with students all my life and I have taught for 53 years. I have worked with undergraduate and graduate students, so I think I have a pretty good idea of those who will succeed (though it is, of course, always difficult to make predictions, especially when you are dealing with future!), those who will not succeed, and those who play extraordinarily well. Janis Sakai, a violinist and a senior at the Lamont School of Music, is one of those students who plays extraordinarily well, and I see no reason why she will not succeed.
Ms. Sakai gave her senior recital Sunday evening, April 10. Her collaborative pianist was Anna Arzumanyan, herself a remarkable musician. Ms. Sakai was also joined by André Hafner, in a violin duet, and he is yet another remarkable musician. The point to this is that Janis Sakai is enough of a musician to surround herself with musicians of similar ilk. That is all part of the learning process. I have heard Janis Sakai play before, when she performed as concertmaster in Richard Strauss’ Ein Heldenleben. She was stunning then, and she was stunning Sunday night.
She opened her program with Fratres, by Arvo Pärt. Lest you have forgotten, Arvo Pärt (1935 –) is one of the most important living composers. He has devoted much of his time researching sacred polyphonic vocal music from the Renaissance, and he has established a new approach to totality and dissonance which he calls “tintinnabulation.” He is devout in his Orthodox faith, and has often infused his compositions with spiritual meaning. Pärt completed seven versions of Fratres, and I have always thought that the version for violin was demanding on several levels. Ms. Sakai demonstrated immediately that she has excellent tone while playing extremely softly, and (keep in mind that I am a pianist) it always amazes me when violinists play completely across the strings without their arm falling off. But that she did, while maintaining her tone and pitch, with only a few scattered squeaks. This is really a very beautiful piece, and most importantly, she made it beautiful, and so did her pianist, who has absolutely fantastic peripheral vision, and a wonderful intuitive sense.
Following the Pärt, Janis Sakai performed the Bach Partita in D minor, BWV 1004. The violin partitas represent some of Bach’s most amazing polyphonic writing for a non-keyboard instrument. They make huge technical demands on performers, their scope is huge, they are incredibly important to the development of violin technique, and their intellectual intensity makes them a real challenge to perform. None of this seemed to bother Ms. Sakai terribly much as she began with an absolutely full, almost gutsy sound. In just the first two measures however, there was the slightest loss of feeling the beat, but that disappeared almost immediately. The rest of the opening Allemande was full of confidence and very good voicing. I found myself thinking, and I have not heard this piece performed live for quite some time, that this is a good piece for a senior recital. It allows the violinist to gain a little bit of confidence because the Allemande does not have any double stops to speak of. And let’s face it, there has hardly ever been a senior, whether they are a violinist, a pianist, or a singer, who has not been nervous at one of their required recitals. The Corrente and Sarabande were extremely well done, though in the Corrente there were a couple of phrase endings that seemed to just disappear. Still, it was readily apparent that Ms. Sakai should be performing this piece even though it is excruciatingly difficult. The Sarabande has a coda which leads directly into the Giga, itself a wonderful movement, which was wonderfully done. My question of the day is why the monumental Chaconne, which is movement number five in this Partita, was not performed. I did not realize that it was optional. It could be because of time constraints, as it is one of the most colossal works that Bach has ever written, and is often performed as a solo piece without the rest of the Partita. Its length is at least fifteen minutes, which is as long as the first four movements combined. Nonetheless, my ear itched to hear it.
Before the intermission, Janis Sakai was joined onstage by André Hafner and the pianist Anna Arzumanyan to perform a piece of concert fluff by Pablo de Sarasate. Though I call this piece “concert fluff” I am being humorously cavalier, because, though I have never heard this work before Sunday evening, it has to be one of the most difficult pieces of “concert fluff” ever written. It has every known technical difficulty for two violinists known to man. Not only that, but the large portion of it is in the unspeakably high range of the violin where it sounds almost like flutes and sometimes piccolos – and I am not exaggerating. But it was great fun listening to two students who seemed to be equally matched in ability (how can the Lamont school have two violin students in the same semester who are so good?), and seemed to enjoy waiting for the other to get tired first. They were always in tune, and their ensemble was something to behold. You must understand that when a piece is as difficult as this piece is, ensemble (the ability to play and stay together in the minutest of details) becomes critical. Surely this piece must have been enough for her degree, because it was also very musical.
I have written before about the USSR’s Cultural Committee, and how they bullied the Russian composers, including Prokofiev, to bend to their dictates. And though he became known as a “bad boy,” he still became one of the great composers of all time. The opening of his Violin Concerto Nr. 2 in G minor is written in a 4/4 meter, but the opening theme, begun by the violin in solo, has five distinct beats. Sakai, again demonstrated her deftness in creating lush tone in these opening bars, and seemed to have no problem whatsoever in the ensuing abrupt changes in tonality and mood.
The second movement of this beautiful concerto is in E flat, and is lyrical and introspective. Sakai’s phrasing in this movement was as beautiful as the piece itself. How can one so young do all of this? Her performance in the third movement absolutely sparkled. Constant triplets and a fierce forward driving rhythm did not faze her at all. This was a very exciting and very musical performance. And, by the way, Ms. Sakai studies with Yumi Hwang-Williams.
I was also quite struck with the ability of the pianist, Anna Arzumanyan. She was rock-solid in her role as orchestra in the Prokofiev, while providing Janis Sakai with the ability to take rubato wherever she wished. She is a very sensitive pianist, not only in the music she was playing, but in listening to, and “being available” in, all of the difficult spots for Sakai. A terrific musician!
As I sat and listened to this recital, I kept wondering where this young lady will go next. Of course, to graduate school, but after that? Maybe the whole world.
