A great 08

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83 Personalites interviewed by John from January to December 2008:
Joseph Polisi
Anastasia Khitruk
Alex Shapiro
Gail Archer
Ed Rieke
Drew Stephen
Brent Watkins
Doc Severinsen
Owen Duggan
Kimball Gallagher
Nathaniel Stookey
Lee Trio
Andrea Bocelli
Ken Metz
Timothy Kramer
Diane Persellin
Yizhak Schotten
David Finkel
Charles Yang
Eric Owens
Chris Brubeck
JoAnn Falletta
Jennifer Higdon
Leonard Slatkin
Kurt Anderson (son of Leroy)
Eugene Drucker
Glen Roven
Ittai Shapiro
Rachel Barton Pine
Joshua Bell
James Galway
Peter Schickele
Stephanie Sant’ Ambrogio
David Heuser
Richard Danielpour
Philippe Entremont
Christopher Seaman
Ken David Masur
Christoph Campestrini
Alondra de la Parra
Scott Yoo
Jean-Marie Zeitouni
Orli Shaham
Ken Freudigman
Stephanie Key
Carolyn True
Ertan Torgul
Ruth Moreland
Irma Taute
Marguerite McCormick
Anya Grokhovski
Steven Stucky
Emmanuel Borok
Angela Maleek
Christopher O’Riley
Gene Scheer
Paul Phoenix, Kings Singers
David Hurley, Kingers Singers
Anne-Sophie Mutter
Michael Gordon
Sergio Assad
Carlos Alazraqui (officer James Garcia, Rocko, Lazlo)
Amanda Stewart
Augusta Read Thomas
Cynthia Lawrence
Daniel Bernard Roumain (DBR)
Nicole Narboni
Gabriela Montero
Jay Dunahoo
David Mairs
Peter Bay
Jessica Mathaes
Miguel del Aguila
Prazak Quartet
Rachel Ferris
Stephen Payne
Simone Pedroni
Stephanie Teply Westney
Sam Almaguer
Thomas Steigerwald
Mark Ackerman
Warren Jones
Leila Josefowicz

Tired of politics?

I am so tired of every four years, political candidates wasting millions of dollars and yet the country neglects the arts. So I'm asking instead of giving to so-and-so politician, make a contribution to an artist - me!
Click on the donation button on the right hand side of the screen. Amounts over $2,000 (US) take alot of rigamaroll via paypal, so for the time being, I'd request you keep it at or under $1,999.99.
Your donation will help with an upcoming book project, violin strings, travel for this blog and for my website, http://www.classicallyhip.com/.
Thanks so much!

A response to a response

More from Comparing Notes at Minnesota Public Radio. Here's what I had to say:
John-
Thanks for your response, and congrats on a successful drive!

A few more points, to help clarify (or clare-ify if you will, hahaha)
If John had read carefully, I wrote "perhaps" they walk out because the music is bad.
Great word, "perhaps"...and I agree completely. Most of this discussion comes from my part reading it before coffee and a cigar. I’m now trying to take time in making these comments precise and with thought (hence sleeping on it last night and posting today.)
I just don't see that many folks walking out on concerts in general - nor do I really want them to leave unless they do give it a chance (be it Beethoven or Babbitt!) – what is “giving it a try” length?

Quantity ain't necessarily quality.
I'm asserting that the many concerts I take in there IS great quality to the performance and music choices. Of course, I spend a large amount of time figuring out what concerts to go to before I go - which I recommend to others as well.
I am not asserting that since there are so many composers these days that music is on a higher level - but in general I want to make a point that American music really is top form – hence the Vienna of the 1890s comparison. You should really give music every bit of chance. Perhaps this is why I don’t watch American Idol: I want to make my own opinion, and I also do not want to judge immediately.

This assumes that a) you gave it a fair shake, and b) it's not disruptive to others at the concert who *are* getting the experience they came for.
Amen! and there (being disruptive) is where I have a huge problem: talking during the music or being loud in leaving. Please, if you must leave, be kind and respectful to the other audience members.

If it was simply a matter of being averse to "sonic disturbances," people would be leaving movie theaters in droves every night of the week at Dolby THX suburban multiplexes across the land.
THIS is where I mentioned the latest movies. Sorry, but I didn’t get the idea you were talking about volume, rather I took it as content.

if the art that's presented to them has a compelling story to tell, one that makes them so engaged that they can't wait for the next scene, the next movement, the next chapter.
I will maintain that if you go through a journey, things become clearer. Should people leave after the first chord in Beethoven’s Ninth Symphony finale?! Gosh, if you don’t like percussion, shouldn’t I leave Beethoven’s Ninth when the second movement starts with that awful timpani?! If you stay through an entire piece, you’ll get the architecture and perhaps some catharsis…I will say if the orchestra is butchering a work, say a masterpiece like Beethoven’s Ninth, you should feel free to leave. (But again, please be considerate to other concert goers!) [A cinematic comparison could be made with the movie “Crash” – where after the first hour things are connected that weren’t before; if you left the theater after that hour, you would have a very different view of this movie than staying for the entire film. A literary example might be an Ayn Rand novel where five seemingly unrelated elements are all drawn together to make a compelling and remarkable story. Yet, if you stop reading it, you don’t realize the elements are there to clarify it.]
Mostly I yearn to keep an open mind about art – especially music of our time. I do not want to give any ammunition for the bashing of new music. It’s close to my heart and I try to protect it in any way possible.

John, I will admit there are compositions I don’t care for, but you’ll hear me plead for those that I love, rather than those I hate. (Hard to believe after my passionate defense above, huh?) I write a regular “Five Things” post on ClassicallyHip about concerts I attend. They are on the whole positive, because I write about what I liked, rarely about the negative.

So, I’ll come around and answer, What keeps me in my seat?
Creativity, originality, beauty, and curiosity.
More specifically, performers like Helene Grimaud, Janine Jansen, eighth blackbird, and Gil Shaham. Composers like Andrzej Panufnik, Jennifer Higdon, Augusta Read Thomas, Elliott Carter, and John Harbison to name a few.
I hope more folks comment on what keeps them in their seat, I’m anxious to know!

Help is here

I wanted to announce a new service from ClassicallyHip - for those superstars/models, perhaps former exotic dancers, who are depressed and may want to seek help, I'm prepared to offer some new music therapy.

If you are a supermodel, and considering having a child, I am also positive I can help, let's talk. No legal battles necessary for paternity tests.

References available.

Five Things about the St Lawrence String Quartet

I caught the Penn State performance of the St. Lawrence String Quartet (pictured below left) with soprano Heidi Grant Murphy (seen right) and pianist Kevin Murphy (below right) last night in State College.

1. The program was re-arranged, and as violinist Geoff Nuttall explained on the second half - despite their manager's insistance - that "the best was saved for last", even though it was the "modern piece." Nuttall said his dad used to complain in Canada that he'd go to concerts and have to sit through the modern piece before he could get to the romantic stuff.
In this case, it was the world premiere of Roberto Sierra's Songs of the Diaspora (Sierra pictured very bottom left). Geoff also joked (with the help of an usher?) that the doors were barred, and a clunk was heard! No one left after the announcement either.
So the line up was Chausson, Shostakovich, intermission, Debussy and Sierra. (Originally and printed in the program were the Shostakovich, Chausson, Sierra, Debussy.)

2. Ernest Chausson’s Chanson Perpétuelle, or Song without End, was a delightful way to begin the program, and in the capable hands of Heidi Grant Murphy, Kevin Murphy and the St. Lawrence Quartet (hereafter referred as SLSQ), you really didn't want the song to end. Especially charming was the ease of Murphy's voice changing from silky smooth melodic lines to nasal French inflections.

3. The SLSQ were like cartoon caricatures, in the best possible sense. In a way, they reminded me of the Guarneri Quartet circa 1980s: a virtuosic, flashy First Violinist, and steady and reliable Second Violinist, and mellow yet astounding Violist, and a energetic and well grounded Cellist.
Really the lineup for the SLSQ is just right, they ineract superbly and with the same musical and physical motion. Their Shostakovich Third Quartet, out on EMI Classics with the 7th and 8th Quartets, is dead on. And live, it was superb.

4. After intermission, I was thoughly disappointed by the Debussy performance. It wasn't that the flippant and carefree reading wasn't without excitement or depth. At times, it was breathtaking and gorgeous, but too many times the tempos were overdone, ridiculously slow and predictable accelerations - which could have been effective if it were annoying and for no apparent musical reason. There were also some humorous missed notes, such as glissandi that never made it to the actual note. I should say it was all done in the SLSQ character and with a good unison ensemble approach. It just wasn't enjoyable for myself. Ol' Claude might have done a little spinning himself in the grave along with me in my seat.

5. Roberto Sierra's Songs of the Diaspora was the reason I was at this concert, and I wasn't disappointed. Again, Murphy & Murphy joined the SLSQ for perhaps what was the biggest workout of the night. Sure, there were some ensemble issues (Scott St. John taking the 1st Violinist spot wasn't together with Violist Lesley Robertson on the opening Ocean/Klezmerish run - although when it returned, they were spot on) but overall it was a dynamic and interesting piece. The mostly lyric and traditional songs are of a moderate tempo and let each member make some music - lots of harmonics, pizzicati and wonderful interaction for the quartet and piano.
Of the seven, two are at a faster tempo: the fourth, "My mother-in-law, the evil one" and the final "The siren" are engaging and dramatic. They help shape the cycle from the idyllic trance Sierra weaves. Besides the rhythmic uniformity, I thought there might have been more ensemble variety, but then again, if you're writing for a piano quintet and soprano, why NOT have them busy all the time?
While the director of the arts center mentioned to be quiet while following the texts (they had an insert of all the songs with translations) the performers still had to wait for all of the noise to stop as the audience turned pages quite loudly (at least it wasn't typically during the music, but between movements!)
All-in-all, the Songs are well crafted and suit the strengths of the ensemble in an imaginative way.

The Songs of the Diaspora will be played across the country by these artists, catch it if you can!

Afterthought, or Post-Script: I hate mentioning what the performer wore, but yes, Heidi made a wardrobe change (no manfunctions, hahaha) - from a gorgeous springlike ensemble for the Chausson to a elegant black outfit for the Sierra.

You can read another account of this evening here.