Five Things About the Dubrovnik Symphony

I heard the Harrisburg performance of the Dubrovnik Symphony's US tour Wednesday night at the Whitaker Center.

1. The program opened with Pero Šiša's Konvale Svita (Konavoska Suite), written for the DSO. Its a charming overture, a single movement of impressions from the area in Croatia where Pero grew up. It is masterfully orchestrated.

2. Boris Papandopulo's Xylophone Concerto was next, featuring Jan Lotko and the strings of the DSO. It is exciting and brilliant! Again, tailor made for this soloist and orchestra, the work was well balanced and filled with skill and wit, from both the composer and the soloist. The waltz movement allowed concertmaster Elvira Galioulline to shine as well.

3. The second half was Mozart's final Symphony, Number 41 "Jupiter." Tempos were crisp and clean - outstanding ensemble and pitch throughout this classical era masterpiece. Especially touching was the second movement, with a very poetic and stirring interpretation from Maestro Zlatan Srzic.

4. The group brought one more work for an encore, Mozart's Overture to the Marriage of Figaro. Again, it was a perfect upbeat, crisp interpretation, and I heard new colors I hadn't before in this score - kudos to the winds!

5. It was a real treat to hear this group, and I'll be adding Dubrovnik to my destinations in Europe to visit after hearing and meeting these charming musicians. The only black mark on this concert was the horrendous lighting the Whitaker Center provided. I was embarassed as a Harrisburg resident that a more professional presentation of this splendid group couldn't have allowed them to clearly see the soloist, musicians on the fringe and front of the stage!

Best wishes and safe travel for the group as they go to New York Thursday and back home to Croatia. Let's hope its not another 30 years before they come back!

You can hear an interview with the concertmaster, maestro and composer here. Also enjoy them from the Millenium Stage at the Kennedy Center on tour, here.

Tables turned

Usually I'm the one interviewing, but I recently answered a bunch of questions for WITF's Spotlight, read about me here.

Anna Anna fo fanna

ANNA NETREBKO NAMED “MUSICIAN OF THE YEAR” 2008 BY MUSICAL AMERICA

Anna Netrebko has been named “Musician of the Year 2008” by the editors of the Musical America International Directory of the Performing Arts. Only a few short years after her Metropolitan Opera debut in Prokofiev’s War and Peace, the Russian soprano – now an international critical and audience favorite – graces the cover of the 2008 Musical America, the bible of the classical music business.
Ms. Netrebko, who is currently performing Pergolesi’s Stabat Mater at the Musikverein in Vienna, commented: “I am honored and humbled to be chosen as Musical America’s ‘Musician of the Year’ for 2008. It is such a great privilege to join the list of amazing artists who have received this award.
On a personal level, this award has a very special meaning to me as the United States has long been an artistic home for me. I spent many wonderful seasons with the San Francisco Opera, beginning there when I was only 24 years old. I have sung many of my roles for the first time with American opera companies, including the Washington National Opera, Los Angeles Opera, and the Opera Company of Philadelphia. Now, of course, the Metropolitan Opera has become an artistic home for me in particular [and I am proud to call myself a New Yorker since I now have an apartment here!].
To be recognized now with such a prestigious award in an artistic environment where standards are of the highest quality allows me a special moment to reflect on the work I have done in America, and reminds me how fortunate I am to be working in this country for many years to come.”
Anna Netrebko will accept the award in a ceremony at the Kaplan Penthouse in Lincoln Center's Rose Building on December 13, 2007.
Anna Netrebko, born in the southern city of Krasnodar, not far from the Black Sea, studied at the St. Petersburg Conservatory and soon came to the attention of Valery Gergiev, Artistic Director of St. Petersburg’s Mariinsky Theater and Kirov Opera. Maestro Gergiev became her mentor and introduced her to audiences in Russia, Europe and the United States. She made her international breakthrough appearances at the Salzburg Festival, and has sung in most of the world’s best-known opera houses. Netrebko’s being named “Musician of the Year” follows on the heels of several noteworthy successes in the US and abroad. Her latest recording, Duets, with tenor Rolando Villazón, claimed the top spot on the Billboard classical chart shortly after its release in the US; and in Europe Duets set a record for the best debut ever for a classical album, climbing to the top of the pop charts in several countries. Anna Netrebko was also recently named to the TIME 100 list—Time magazine’s list of the 100 most influential people in the world. Later this month, Netrebko makes her Deutsche Oper Berlin debut as Violetta Valery in Verdi’s La Traviata – a role that she will reprise at Covent Garden in January. This December she returns to New York for more performances of Gounod’s Roméo et Juliette at the Metropolitan Opera, including a live high-definition broadcast in movie theaters around the world on December 15. During the remainder of her season Netrebko sings Massenet’s Manon in Vienna; she makes her debut in May at the Opéra national de Paris in Vincenzo Bellini’s version of Romeo and Juliet, I Capuleti e i Montecchi, with Joyce DiDonato as Romeo; and she returns to the Salzburg Festival in summer 2008 to sing Gounod’s Juliette.

Catch them

Check out my interview and report on these fab musicians coming to Harrisburg Wednesday night!

Camping

This may indeed be the way to go camping. Recommended by a potter of course!

Prepare for excitement

Well, Bernard Holland has got my goat again. (No, I'm not talking about my parent's farm either!) In his latest article in the NY Times, Holland bellyaches about new music, specifically world premieres.

I wonder what prompted this topic with Holland...was an assignment not taken well at work? Colleagues ribbing him about new pieces?

One of the most offending sentences comes midway, calling Haydn and Mozart "purveyors of the most profound and original music ever written." Evidently Holland has never heard Steven Stucky's music, more or less composers like Ellen Zwilich, John Harbison, or Augusta Read Thomas. These modern masters are incredibly original AND profound. Again, why are you calling them (composers over 200 years ago) out Mr Holland? Is it a comfort zone?

As someone who hears alot of those premieres, I have this advice, for any audience member (or idiotic critic):

1. Come with an open mind. If you say I won't like this new piece, you probably won't.
2. Be honest with yourself and your ears - you may or may not like the piece. Take the performance in the moment - the musicians may be as excited or as fearful as you are - the beauty of hearing a piece for the first time is special, especially live.
3. If you liked it, tell the composer; if you didn't like it, also let the composer know that. In each case give them something specific. 9 times out of 10 the composer is at the premiere.
4. Prepare for a premiere the same way you would for attending any other concert - if you normally go get 3 recordings of Hilary Hahn out to hear before hearing her, go get 3 recordings of Chris Rouse before hearing his new work. If you read every sentence about a work in the program for a Mahler Symphony, make sure you read everything about Jennifer Higdon's new work. But if you go out to dinner, have a drink with friends normally before a concert - do the same before a premiere!

5. Take the new piece of music as a piece on the program, not as a tablet from Mt Sinai. I can point you to thousands of examples in the Lexicon of Musical Invective that Haydn, Mozart and all of the standard repertoire works were panned by someone (like you Mr. Holland!) in the past. There is no good reason to think that a work by John Corigliano has to be compared to the Schubert Symphony on the second half of the work - although that Corigliano will stand just fine thank you. Its like comparing the steak you have at dinner to the cigar and scotch afterwards - its fine to do so but why? Live in the moment, whether its steak tartar or filet mignon, we all have different tastes and you could go for days comparing them, in the end it boils down in opinion and trust.

I know as a "Critic" one judges, makes these comparisons...but this article serves no good service. Ultimately asking help finding a good restaurant, I want to know when I ask someone, if they have been there and liked it. In this article you basically say, I haven't been to a good restaurant in 20 years and you should only go to those old closed down places who used to have good service - forget any pan asian or new restaurant.

In fact Mr. Holland, I think you should limit yourself to read only books from the 1700-1800, and see only plays from 1650-1800, and no more movies (so modern and so many world premieres!) they might be too modern and certainly they don't consult you.

Trust is what you continue to threaten me and your readers Mr. Holland. I trust writing for the Times that you can do a reasonably decent article or review of music, old or new. This latest article is as awful and immoral as your colleagues plagarizing, or revealing confidential sources. Shame on you Bernard.

5 x 5

Five questions from Steve Hicken:
1) What five operas would you most like to see performed?
Moran's Night Passage
Penderecki's Paradise Lost
Messiaen's St Francis of Assisi
Hindemith's Harmonie die Welt
Hindemith's Mathis der Maler

2) What five pieces would you most like to hear performed?
Panufnik's Violin Concerto
Lutoslawski's Symphony #4
Walter Mays' Rhapsody
Dan Welcher's Violin Concerto
Steven Stucky's Son et Lumiere

3) What five living performers would you most like to meet?
Anne-Sophie Mutter
Helene Grimaud
Gabriela Montero
Martha Argerich
Anna Netrebko

4) What five living composers would you most like to meet?
Elliott Carter
Margaret Brouwer
Chen Yi
Carter Pann
Oliver Knussen

5) What five living musicians (composers, performers, writers, scholars, etc) would you most like to play three-on-three basketball with/against?
My team: Chris Rouse and Mark Adamo
Versus
Them: George Walker, Dick Strawser and Joan Tower

Winter Journey

The Old-Man's Head
The frost has spread a white sheen
All over my hair;
I thought I had become an old man
And was very pleased about it.
But soon it melted away,
And now I have black hair again
So that I am horrified by my youth -
How long still to the grave!
From the sunset to the dawn
Many a head turns white.
Who can believe it? And mine
Has not on this whole journey!

Bring a Friend for Bach and Save

J.S. Bach’s complete sonatas and partitas for solo violin are among the most glorious and virtuosic works ever penned for the instrument. On November 17th, Adele Anthony, wife of the great Gil Shaham and a world class fiddler in her own right, pays her first of two visits to Elizabethtown College’s Leffler Chapel, during which she’ll tackle all six of these epic and demanding pieces.
You can share the experience with a friend and save by presenting a pre-purchased ticket at the box office on November 17th and purchasing tickets for up to two friends at 50% off the regular price...
Tell them John sent you!
Bring a Friend tickets are available only at the box office on the day of the event. The Bring a Friend offer is available only to current ticket holders, and a pre-purchased ticket must be presented in-hand to take advantage of the offer. Will-call tickets and full-price tickets purchased at the box office on the day of the event are not eligible for Bring a Friend discounts. The last day to order qualified, pre-purchased tickets for Adele Anthony’s November 17th concert and have them mailed to you is Friday, November 9th. For tickets, call 717-361-1508. Qualifying, pre-purchased tickets can also be purchased in person at the Gretna Music offices in Leffler Performance Center through Friday, November 16th. The Bring a Friend offer cannot be combined with other discounts or offers.

On Broadway

Communting several times back and forth to NYC, weekend I heard an ad for a show I really want to go see, Jennifer Garner in Cyrano De Bergerac @ the Richard Rodgers Theater (it was the only saving grace of dealing with really awful traffic , hearing an ad for this production!) Here are the times for November, and click on DEC for next month. Who's up for joining me?

Runnicle through my mind

Congrats to Maestro Runnicles!

In Berlin! In Scotland!

You might remember my brief review of him in Philly, and my interview with him.

Happy Halloween

I'll do anything for a laugh, including wearing my friend Joann's hat/wig combo for an entire shift at WITF. We had lots of laughs - and now I know if I wanted to dye my hair...

Classical SCARE?

Genius!

Composer Philip Glass a genius (tied for #9) in a new poll!
Also on the list: Brian Eno, Henryk Gorecki, Hans Zimmer, John Williams, and Robin Escovado. There are also musicians listed like Daniel Barenboim, Paul McCartney, etc.

Rejoice!

Carmen online

Enjoy Bizet's masterpiece online:
Saturday November 3rd, 6:30pm
Newsstory from Gramaphone

Five Things about Orchestra of St. Luke's

I heard the Orchestra of St. Luke's with Roberto Abbado and violinist Joshua Bell Sunday afternoon at Carnegie Hall.

1. The program began with a new reworking of Joan Tower's String Quartet, In Memory for string orchestra. It certainly plays on the strengths of St. Luke's, with plenty of delicate passages along with powerful lines, all played musically in this new setting. If history repeats itself, Joan will win the Pulitzer Prize for Music with it, ala John Corigliano's Second Symphony/String Quartet. In Memory is certainly deserving!

2. Josh Bell then played a rousing Barber Violin Concerto. It was just right, not too fast, not too slow, nice balances and beautifully phrased.

3. After intermission came the world premiere of Jay Greenberg's Violin Concerto. It's a one movement work that has brilliant orchestra colors. In fact, the orchestral part is far more engaging than the violin part. Greenberg, a fifteen year old composer, has made great levels of improvement from his Fifth Symphony and String Quintet. The Violin Concerto is much more of an individual voice and has much promise, I've heard rumors of more orchestral and concerti commissions - hear hear!

4. The program finished on a high note, Haydn's Symphony #93. This "London" Symphony also showed off the OSL to it's musical strengths: long, well crafted phrases, spot on ensemble and good humor (kudos to the bassoons and timpani!) Hearing Haydn with the Orchestra of St. Luke's is a hallmark of Western Civilization. In a word, divine.

5. I must point out what a joy Roberto Abbado is on the podium. He gives his all for the music. And it was evident in every piece, how much he loved the music, and the result was wonderful. As the World Series names an MVP, Sunday afternoon would have surely named Abbado for OSL.

OSL will be back @ Carnegie with Helene Grimaud with music by Beethoven and Ades - don't miss it!

Five Things about the NY Pops

I heard the New York Pops Friday evening with Pip Clarke, Michael Feinstein and maestro Stuart Malina at Carnegie Hall.

1. The night began with a patron leading the National Anthem. Stuart Malina joked it was his first student to conduct at Carnegie Hall. It set the mood for a great evening of music and fun.

2. Next up a stirring tribute to the chairman of the NY Pops board, who passed away recently. They played his favorite piece, the Roumanian Rhapsody #1 by Georges Enescu. Bravo!

3. The program continued with the evening's theme, movie music. Tempos were bright and also included some arrangements by Skitch Henderson.

4. Pip Clarke played Korngold's Violin Concerto, which uses themes from movie scores like Anthony Adverse and Captains Courageous. Things didn't gel well, with the oddest interpretation I think I've heard - especially puzzling was Clarke's over the top spiccato which neither worked musically or sonically. I wish more care had been taken with transitions.

5. After intermission, Michael Feinstein entertained, dazzled and tickled the ivories, and sang his heart out. Especially touching a song by Henry Mancini dedicated to Mrs. Mancini who was there, and great banter to introduce the songs. Malina and the Pops were always spot on with Feinstein and by the end of the night you wanted more.

The audience was electric Friday night, with high school students, Harrisburg supporters for Malina and a wide range of ages.

In the Maestro Suite

At Carnegie Hall with Stuart Malina, and a bust of Toscanini.

Around the room are photos and autographs of Szell, Bernstein, maestros galore!

A Five Things coming soon (when I get back to Hburg!)

Sad

I've heard news of the passing of master cellist, teacher, musician and cigar smoker Harvey Shapiro.

Rest in peace

Soothing Tea

You might remember I talked with Karl Jenkins about the latest album on EMI, Kiri Sings Karl, found here.
But you may not have known this, from back in 1993, when I was stage manager of the Wichita Symphony:
The Wichita Eagle
11-18-1993
HE BREWED THE TEA THAT SOOTHED KIRI
by Jon Roe/The Wichita Eagle
Those were two great performances Sunday night in the Century II Concert Hall. Kiri Te Kanawa sang the classics in a smashing Wichita Symphony Celebrity Series recital, and John Clare brewed the chamomile in a demonstration of how versatile a good stage manager must be. Dame Kiri, the soprano from New Zealand, drinks chamomile tea backstage. And, since she generally has to grab quick sips between numbers, it has to be perfect . . . brewed in boiling water, but then mixed with tap water to ensure that it's hot, but not so hot that it burns her vocal cords when she comes off stage and takes a sip.
It was John who brewed the tea and stood in the wings with a cup for Dame Kiri. And she pronounced it done to perfection.
Century II's caterer, Volume Services, excelled as well, providing just about all the exotic fruit she requested for her dressing room apples, grapes, pomegranates, kiwi and star fruit. The only thing they couldn't find was mangoes, and she didn't complain.
Matter of fact, Dame Kiri was constantly warm and gracious, charming everyone who met her, signing autographs for about 50 people backstage and, when she received two dozen apricot roses from her management company, giving them to her driver to take home to his wife.

Five Things about Kiri Te Kanawa

I heard the "Farewell Recital" of Kiri Te Kanawa at the Kimmel Center Wednesday night in Philadelphia.

1. The crowd was pretty boring and not very excited at the outset - a medium house couldn't be blamed on the rain - it was too bad because what followed for the night was exquisite. After intermission the energy was higher in the crowd. Everyone also applauded after every song, even when it was only a few minutes long - so while that wouldn't normally bother me - it was musically interuptive in the song sets. Dame Kiri would smile occassionally and nod, but all too often someone had to clap over the sublime sounds of Warren Jones at the keyboard. While their love for Kiri's artistry was great, there wasn't much respect for the music.

2. Having Kiri sing a set of Richard Strauss songs, including some of my favorites: Die Nacht and Morgen, was heavenly. One felt she was singing to just you, despite being in a large concert hall.

3. If something better could follow Strauss, it was the nasally and sumptous Duparc songs, with breathy and irresistible singing. Again, Warren Jones outdid himself as a collaborative pianist.

4. The second half was filled with more energy, and showed a lighter side to Dame Kiri, from her speaking about Jake Heggie and the everyday man (common if you will) humor of Copland's "Why do they shut me out of Heaven?". Several times Kiri checked notes or words placed slyly on the piano lid - who cares, it was magnificent!

5. The encores, Ginastera's "Song of the Olive Tree" was vibrant and sexy; Richard Rodney Bennett's "Goodbye For Now" was charming and sweet. You wanted more and knew unlike some artists who have performed well past their prime, that Dame Kiri is finishing at the top of her game - we'll look forward to her teaching and more intimate performances.

Catch Dame Kiri on this tour if you can, and while you're at it, buy her Traviata or Capriccio or Four Last Songs - you'll be glad you did.

Also see this post about Kiri, tea and me.

Kansas Sunflowers

I spent a nice day with my parents in Omaha on Saturday, then went to their home in Augusta, KS to pick up a car. Here are a few shots from a nearby sunflower field near their home:It's off a fun road to drive, called Thunder Road.

Chris in York

I interviewed the host of From the Top, Christopher O'Riley who is playing with the York Symphony Orchestra this weekend at the Strand Capitol. We had a good talk which will be posted soon - keep an eye out for his Columbia University concerts at Miller Theater with classical composers and rock music transcriptions!

Radical Light

Steven Stucky has a world premiere Thursday in LA, Radical Light. It's dedicated to Elinor Frey, pictured here with Steve this last July in western NY.

Hear Steven talk about composition and works here.

Here's a portion of the interview, about Gustavo Dudamel and the LA Phil.

Elinor gave the world premiere of Stucky's Dialoghi, which you can hear here.

Happy Halloween!

Enjoy this charming and spooky edition of Danse Macabre from my friend Adam:
http://thedansemacabre.blogspot.com/

Nice news in Utah

Gusty Thomas has a new piece in Utah this week!
Read more here.

20 year reunion

Wow, it is coming up, and I got this:

My name is Valerie and I'm a Casting Producer for season 5 of the hit TV show "High School Reunion" on TV Land network. We are currently casting season five of our show and are considering Derby High School class of 88'!!! If you are not familiar with our show, "High School Reunion" is an exciting reality series for TV Land Network (seasons 1-3 were on The WB Network) that reunites a group of high school classmates for the first time in 20 years and sends them to an exotic location for an extended reunion.
Please check out my site and contact me if you'd like more information or would like to apply for the show. Time is of the essence, so if you want Derby High School Class of '88 to be castmates on season 5 of "High School Reunion" please help us spread the word to your class.
Lastly, if you know anyone who can help me locate the Class of 1988's Reunion Coordinator please let me know. I'd love to get their contact information. Thank you in advance for your help.
With sincere regards,
Valerie
Casting Producer High School Reunion 5

Five Things about the Cypress Quartet

I went to Annville to hear the Cypress String Quartet at Lebanon Valley College last night.

1. The quartet played almost immediately after taking the stage, there was no tuning, retuning and rigamaroll of technical adjustments - it was all about the music with the Cypress.

2. The program began with Mozart's Quartet K 575, complete with tasteful tempi and amazing balances. Melodic lines were supported with the greatest of care and with the right amount of flippant fun. It's the way Mozart should be played.

3. Samuel Barber was next and his only String Quartet - yes - the origin of his famous Adagio. Violinist Tom Stone spoke briefly before the quartet, talking about Barber and this music. What followed was fresh music making and some of the most idosyncratic stylistic playing that made Barber more Barber than he might have ever imagined. It was clear, gorgeous and in a word, sumptuous. I heard talk afterwards that audience members wanted more time between the 2nd and final movement, which I imagine if it wasn't marked attacca by Barber himself, was a choice the Cypresses made to keep from early applause. In any case the transition Barber makes between the Adagio and last movement is spot on, not needing any space in my opinion.

4. After intermission, the quartet played Dvorak's charming G major Quartet, Opus 106. It's a late work and you certainly get the idea that Dvorak had already mastered this form. In the hands of the Cypress Quartet, the ideas flowed spaciously and with ease. Again, balances and contrasts were handled with grace and charm. It was appreciated by the full hall with a standing ovation. Unfortunately a student photographer was clicking pictures during the first three movements, adding unpleasant percussion to those around her.

5. The night ended with an encore with Josef Suk's Barcarolle. The quiet lyrical piece served as a musical dessert following the main course of the concert, and the audience went home full and pleased.

It was such a delightful evening and the Quartet's programs are always interesting, check their schedule out here! This program isn't demonstrative of their commitment to new music, which you should purchase their Jennifer Higdon recording on Naxos, or cds of Jeffery Cotton or Schulhoff.

Wha?

I'm totally groovying on In Rainbows, the new Radiohead album - but I'm really confused, it sounds nothing like Chris O'Riley! hehehe

New Music Research

I've decided to embark on a new study for new music and kissing, after reading these facts/study. Females wishing to participate should contact me directly: by email, phone or simply blowing softly in my ear.*
(I'll be seeking funding for a follow-up study of eskimo kissing and new music.)

From the Albany Times Union:
-The science of kissing is called philematology.
-Researchers theorize that human kissing started as a way for mothers to feed their infants, by chewing food and transferring it to their babies' mouths.
-16 muscles converge at the lip area, but a passionate kiss activates all 34 facial muscles.
-Freud believed kissing was the subconscious return to infancy and suckling a mother's breast.
-Ninety percent of the world practices kissing, but some cultures do not, including the Papuans of New Guinea and the San of southwest Africa.
-While the number varies, the Kinsey Institute says 6.4 calories are burned during a one-minute kiss.
-The Kama Sutra describes 20 different types of kissing, including the Throbbing Kiss, in which the lower lip trembles.
-Bonobo apes engage in deep tongue kissing, and chimpanzees frequently kiss to make up after a fight. Snails rub their antennae together, and great blue herons clap their bills.
-A 2006 British study found that people who lean left while kissing tend to be emotionally less available than those who lean to the right.
-A 2007 British study that compared brain scans of men and women while eating chocolate and kissing, found that chocolate was twice as stimulating as kissing for women.

*Results may not be posted because we all know I don't kiss and tell.

Scores may include Stravinsky's Fairy's Kiss, and I'll remind participants I live less than 15 miles from Hershey, PA - the sweetest place on earth!

BPO release

We at the Buffalo Philharmonic Orchestra congratulate Marin Alsop on the beginning of her tenure as Music Director of the Baltimore Symphony Orchestra. We wish her the best of success. However, we have to take exception to the statement in the New York Times and from the BSO's press materials that “Marin Alsop is the first woman to be the music director of a major American orchestra.”

This would mean that JoAnn Falletta , who has led the Buffalo Philharmonic since 1999, does not conduct a major American orchestra and this simply is not the case. The Buffalo Philharmonic Orchestra has been considered a major American orchestra for decades with a rich tradition of renowned music directors including Michael Tilson Thomas, William Steinberg, and Joseph Krips to name a few. Under Ms. Falletta’s leadership, BPO concerts are heard regularly in over 200 US cities via radio broadcasts as well as in Canada and Europe. The Orchestra has an active recording schedule with NAXOS , made a triumphant return to Carnegie Hall in 2004 and performs more than 130 concerts annually over a 39 week season, with a budget in excess of $10 million.

To us, these are some of the qualities that define "major" status. While we cannot blame the BSO for touting Ms. Alsop's appointment for all the good press it is worth, we think there must be a better way to describe her achievement. The orchestra industry has in fact abandoned the use of such labels as major, regional, metropolitan, etc.On behalf of our audiences and all Buffalo residents, we would like to set the record straight that the BPO is a major American orchestra led by JoAnn Falletta, a major American conductor.

Hear my interview with JoAnn Falletta here. And read my review of Falletta in Philly here.

Burma Meditation

This Saturday, October 6, at noon at the House of Meditation, Blue Mountain Lotus Society will hold a meditation and Metta Sutra reading in support of the monks and people of Burma in their struggle for democracy. Sanghas throughout the world will be joining with us and the Campaign for Burma. If the weather is good, they will all gather indoors, have the introduction to the event, light incense, process to the Jizo altar outdoors, read the Metta sutra together, and do silent walking meditation. The event should be finished by 12:45. It will be publicized, and please invite friends and family to come.

There will also be a silent vigil on Saturday October 6 @ noon in front of Old West on High street, Dickinson Campus. They will offer incense and give people information to sign petitions on line, as well as copies of the Metta Sutra.

No smokin'

I have a goofy sense of humor.

[photo by Jeff Lynch]

Talkin'

While others are talkin', I'm Bachin'!


From the preconcert talk at H.A.C.C. for Concertante Saturday night.

[photo by Jeff Lynch]

Five Things about the Claremont Trio

I saw the Claremont Trio at Paul Recital Hall Sunday afternoon as part of the Sunderman Chamber Music Series at Gettysburg College.

1. It was the first time I have seen the Claremonts play live - I have both of their cds and have played them on the radio, and despite interviewing them earlier this year in Gettysburg, this was the first chance for me to hear them. It was stunning!

2. The program opened with a deep and serious work by one of the most romantic of composers, Robert Schumann's Trio in d minor, Opus 63. Phrases were handled with care, much thought and with equal passion from each player. I am uberimpressed with Emily Bruskin's vibrato - its well varied, gorgeous and used with the right amount of emphasis.

3. While I am a fan of Frank Martin (especially his concerti for Violin, Harpsichord and for 7 wind instruments) I had never heard his Piano Trio on Irish Folk Tunes. I am grateful the Claremonts have it in the repertoire - it is a real gem. Especially nice were comments to the audience from Julia Bruskin on the levels on melodies in the second movement - equalled by her lush tone of the gregorianesque line. Whoever wrote the program notes also did a nice job setting up this work.

4. The second half was Beethoven's Archduke Trio, one of the true masterpieces of chamber music - ah heck, of all music! Donna Kwong struck great balance with her trio partners (with the lid at full nonetheless!) and yet was the star of the performance. The energy was always high and the interpretation inspired.

5. The trio gives a masterclass tomorrow at the college and will be at WITF in the morning for an in-studio interview and performance. They are also performing all of the Brahms and Schumann piano trios in Boston, something to look forward to! There are also several more concerts in the Sunderman Series to check out.

Five Things about Concertante

I went to the opening of Concertante's season at the Rose Lehrman Arts Center in Harrisburg Saturday night.

1. The evening began with Beethoven's Opus 9 #1, a charming trio with Ittai, Ara and Zvi of the group. Tempos were spot on, from the seriousness of the first movement (a glimmer of later Beethoven) to the sparkle of the scherzo, and brilliance of the finale!

2. Next the women of Concertante, Rachel and Alexis, played Lutoslawski's Bucolics. Speaking beforehand, Rachel made a humorous and apt comparison with the new folk melodies with finding the right tattoo. Again, the right amount of tempi, dynamics and flair made this short work highly enjoyable.

3. John Novacek is well known as a pianist, often the recital partner of Leila Josefowitz (blogged about on their visit to Harrisburg here) - but you may not know he also composes rags! (Novacek & Josefowitz have recorded four of them on her Americana Album.) Concertante asked Novacek to write a few rags for them, and what rags they are! The first is sweet, sappy and that typical fun syncopated ragtime sound. The second is a slow drag that lets the lower end of Concertante show off - awesome solos from Alexis and Ara. The final rag is fast and frentic, definitely a more modern take of the genre and is virtuosic for every part.

4. The second half of the program was Dvorak's String Quintet opus 97. The work is well crafted Dvorak, at the heighth of his powers, and Concertante connected fully in this performance. Again, just the right tempos and panache had the audience on its feet.

5. The evening started with a pre-concert talk with yours truly, ended with a short talkback with the musicians, and a reception in the rose garden. It was a perfect fall night, and with new seats, a young vibrant audience, a well varied program played capably, I was pleased as punch (although I had cabernet!)

The sextet returns in November, January, March and May. They give this exact program Tuesday at Weill Recital Hall in NYC's Carnegie Hall. It was also recorded by WITF and will be broadcast later on WITF Presents, Monday nights @ 7 pm.

*Full disclosure, I am on the board of Concertante and work for WITF-FM.

Good clicking

Thanks to the Blue Mountain Lotus Society for the heads up on these links:

With the current events in Myanmar continuing to escalate, many people are asking if there is anything that we can offer here and now? I would like to suggest two opportunities to participate in a show of solidarity for the Buddhist monks and nuns as well as the people of Myanmar in support of their freedoms.

1. Sign the petition online here and follow the instructions given. This page also includes address information for the Myanmar (Burmese) Embassy in a number of countries.

2. Sign the US Campaign for Burma's petition

Five Things about the Baltimore Symphony

I went to the opening concert of the Baltimore Symphony Orchestra at Strathmore Thursday night.
1. The crowd was excited and a pretty good size Thursday night. Outside the hall was a beacon of swirling spotlights, inside audience members talked of the new conductor and enjoyed cocktails and some, dinner.
2. Martin Goldsmith introduced the concert and interviewed composer John Adams, as the concert was broadcast live on XM*. Goldsmith was either nervous or stressed as he introduced the concert, microphone shaking visibly - it's an odd thing to see a radio host work - but then asked good questions of the composer. Afterwards, Martin was showing patrons a BSO program from the 40s when his father played in the orchestra - the old program a gift from the orchestra.
3. Adams called his Fearful Symmetries a 25 minute boogie, a jam for orchestra with a saxophone section that is the "lounge lizards." It certainly seemed to put the audience in the right frame of mind, and they indeed loved Marin Alsop in this opener. Alsop danced, coaxed, shook and led the orchestra in great stride and energy. The only detraction was a photographer on the second level whose camera made audible disruptions in the music. Musically the orchestra and conductor were spot on, with the right amount of energy and passion, precision and phrases.
4. Mahler's 5th Symphony was the other work on the program. If one thought Alsop was energetic in the Adams, she was even more animated for the Mahler! The comparisons of Alsop and her mentor Leonard Bernstein are quite apt. Alsop drew visions of Vienna with the performance, and in the first movement, somehow elongated the first beat as the funeral march went along - tempos were quite extreme, but not too much to be awkward, but with the right contrast. Each movement was treated with care, the dramatic second movement attaca, the third with the right amount of motion, and the fourth charming without sappiness. I was quite surprise at the volume of the harp, never heard quite such a balance - almost too much at the start - but by the high points, was heavenly. The finale brought the house down - Marin actually jumped several times - with the results paying off with the orchestra responding more and more.
5. The post concert reception was champagne and dessert filled, and included the proclamation of "Marin Alsop Day" on September 27th, Alsop's proud parents attending, as well as Adams and Goldsmith. Several orchestra members came, besides orchestra management (I was amused one manager got his copy of Fearful Symmetries cd signed and another got Martin to autograph his copy of the Inextinguishable Symphony, an excellently written story of Martin's parents). I have to say I so loved experiencing all of this energy and excitement, and certainly the idea of 11 living composers on the programs is such a great concept! There is a small part of me that wants to chide management that there was a scandal when the original announcement of Alsop's appointment was made - there should have been no worries!

Needless to say, I'll be going to the BSO alot this season, and will also be talking to many of the composers, as well as Alsop. Keep an eye out here and over at Composing Thoughts.

*Access to the broadcast for those who are not subscribers to XM’s service is available through signing up for a free three-day trial. To do so: Go to http://www.xmradio.com/ and click on “Listen Now Online”, or go directly to: http://xmro.xmradio.com/xstream/index.jsp.

These guys doing magic in vegas...

PENN & TELLER
Living in Vegas, Live at the Rio

PENN & TELLER STILL DEFYING LABELS, GOOD TASTE
AFTER FIVE YEARS OF PERFORMING LIVE AT THE RIO

LAS VEGAS – Penn & Teller, the bad boys of magic, have spent most of their career playing with knives, guns, livestock and fire-eating showgirls. It’s no wonder they’re a hit in Vegas.
Now celebrating five years of performances at the Rio All-Suite Hotel & Casino, the duo’s unique blend of magic and comedy has brought them acclaim and the praises of critics. But ask them, and they’ll simply tell you they are “a couple of eccentric guys who have learned how to do a few cool things.” Those things, like catching bullets in teeth, making money appear out of thin air and swallowing 100 embroidery needles, led to David Letterman’s proclaiming the pair “evil geniuses.”
“We love performing at the Rio and in such a kick-ass theater, which coincidentally is named the Penn & Teller Theater. I want to die performing at the Rio; I mean of old age, not during the bullet trick,” joked Penn Jillette, the larger, louder half of the duo.
Performing together for over 30 years, combining Teller’s silent and occasionally creepy magic with Penn’s carnival barker zeal and juggling expertise, the pair have created an entertainment success story that went from the streets to small clubs to national theater tours and television appearances. Among others, Penn & Teller have lent their peculiar humor to “Late Night with David Letterman,” “The Tonight Show with Jay Leno,” “Late Night with Conan O’Brien,” “Today” and series such as “Friends,” “West Wing,” “Home Improvement” and “The Simpsons.”
And after three decades together, they show no signs of slowing down. Their latest project, “Penn & Teller: Bullshit!” for the Showtime network, begins its sixth season in early 2008. The controversial show, which has received 11 Emmy nominations, including two at this month’s ceremony, and the Writer’s Guild award for Outstanding Comedy/Variety Series, tackles the frauds and fakes behind such topics as talking to the dead, alien abductions and feng shui.
Penn & Teller’s live show has been called: “Pure entertainment and demented originality,” (Newsweek); “Hilarious! Mind-bending! Mind-boggling!” (New York Magazine); “One of the best evenings at the theatre one can have,” (Chicago Tribune). They perform in the Penn & Teller Theatre at the Rio All-Suite Hotel & Casino nightly (except Fridays) at 9 p.m. Tickets are available by calling (702) 777-7776.

Bow travel

Trying to play a concert and use a good bow? That can be hard these days, with new international laws with pernambuco wood. This a a great resource and actually quotes the Dept. of the Interior saying its alright to cross borders with a finished wood product:
http://www.symphony.org/govaff/what/pdf/pernambuco_outreach_letter.pdf

Thank you American Symphony Orchestra League, I mean the League of American Orchestras!

Great news for Hburg!

Maestro Stuart Malina to Conduct Harrisburg Symphony for Three More Years
Malina Contract Extension and other Major Changes Announced at News Conference

The Harrisburg Symphony announced that Maestro Stuart Malina has agreed to a three-year contract extension as conductor and music director of the orchestra. The HSO formally announced the contract extension, as well as other major changes at a news conference at the Forum in Harrisburg on Wednesday morning.

“I’m thrilled to be here for three more years with this wonderful orchestra,” Malina said. “It's hard for me to imagine many other situations which combine the extraordinary artistic level of the Harrisburg Symphony with the intensity, commitment, and joy that our players bring to every performance.”

Malina began his tenure with the HSO in June 2000. His new contract will take him through the 2009-10 season, which will be his tenth year as the orchestra’s artistic leader.

Maestro Stuart Malina is one of America’s most versatile and accomplished conductors. In a wide variety of concerts, from masterworks and grand opera to pops, Malina’s ease on the podium, engaging personality, and insightful interpretations have thrilled audiences and helped to break down the barriers between performer and listener wherever he has worked.

“The relationship with Maestro Malina has been an especially happy one for everyone here in Harrisburg—our audiences, the musicians, the Board, the staff, the volunteers,” said Jeff Woodruff, HSO executive director. “I think I speak for everyone when I say that we are thrilled to extend this partnership for three more years. Stuart is not only a great musician, but a joy to work with.

“I hope the community will come celebrate with us as we start our season on October 6.”

In addition to his success with the Harrisburg Symphony, Malina made his Carnegie Hall debut in February 2007 conducting a sold-out performance with the New York Pops in an all-Gershwin tribute including “Rhapsody in Blue,” which he conducted while also performing on the keyboard.

Malina also won a Tony Award for orchestration with Billy Joel for the musical “Movin’ Out,” which Malina helped create with director and choreographer Twyla Tharp. He is the music supervisor for both the National Tour and the London/European Tour of the show.

An accomplished concert pianist, Maestro Malina has impressive credits as a soloist, having performed throughout the United States, the Netherlands, and with the acclaimed Piccolo Spoleto Contemporary Music Festival.

Maestro Malina holds degrees from Harvard University, the Yale School of Music, and the Curtis Institute of Music, where he studied conducting with Otto-Werner Mueller.

More details about Malina are available on his website at StuartMalina.com.

GROUNDBREAKING YOUTH EDUCATION PROGRAM
The Harrisburg Symphony is kicking off a new, groundbreaking program to encourage local students to learn more about classical music. The “Sound Foundation Program” offers extremely discounted season subscriptions to students in kindergarten through 12th grade. Students, their parents, and their teachers can all get the entire season of the HSO’s Masterworks Series for just $27 each.
Sound Foundation subscriptions are offered in sections 101 and 103 in the Forum. These seats are excellent for students so they can watch Maestro Malina and orchestra musicians up close. The subscription offer is good for a Full Season subscription to either the Saturday evening or Sunday afternoon Masterworks series.
The normal subscription price for this seating area is $175 each. The $27 subscriptions work out to just $3.86 per concert per subscription.
Sound Foundation subscriptions are available for music and school teachers as long as they are accompanied by school students to concerts.
Seats are still available for the 2007-08 season. Interested parents and teachers should call the Harrisburg Symphony at 545-5527 to purchase subscriptions or to get more details.

GET HOOKED ON THE CLASSICS PROGRAM
The Harrisburg Symphony is continuing its other highly successful new subscriber program called “Get Hooked on the Classics.” The program features a 50-percent discount off the regular subscription rate for a Full Season subscription to the Masterworks series for new subscribers.
Since the program started this summer, Full Season subscriptions have tripled over previous seasons. To date, 342 new subscribers have taken advantage of the offer. The 2006-07 season had just 101 new Full Season subscribers.
This offer is open to anyone who has never subscribed to the Masterworks Full Season package before, so even current Mini-4, Mini-3, and Snowbird subscribers can take advantage of this offer to become a Full Subscriber. This offer is good for any seating area. There are seven seating areas to fit every budget.
The 50-percent discount is in addition to the already discounted price of a Masterworks Full Season package over single ticket prices. New subscribers who take advantage of the offer will renew at regular price for the following season.
Individuals interested in subscribing should call the Harrisburg Symphony office at (717) 545-5527.

2007-08 SEASON OPENER
The Harrisburg Symphony begins a season “in perfect harmony” on Oct. 6 and 7, as the orchestra performs works from three classical masters including Tchaikovsky’s “Symphony No. 2,” Dvořák’s “Violin Concerto,” and Wagner’s “Overture to Tannhäuser.”
The “Heroes of the Old World” concert will be performed on Saturday, Oct. 6 at 8 p.m. and Sunday, Oct. 7 at 3 p.m. at the Forum, located at 5th and Walnut streets in downtown Harrisburg.

Autumn in NY

My friend Elinor while strolling to Central Park.

More autumnal pictures

From the Naxos party, Monday night.

Mark Berry, publicist for Naxos North America, pictured right, introducing Marin Alsop.

William Bolcom, left, talking about Naxos and a grammy!

Founder Klaus Heymann speaking, pictured right.

Naxos - Happy Anniversary

I celebrated the 20th Anniversary of Naxos Records, in the morning I interviewed Klaus Heymann, the founder (pictured right); and in the evening joined 150 or so musicians and friends at Steinway Hall. Marin Alsop, William Bolcom and Klaus spoke; Phillipe Quint (pictured left) played some Rozsa, Ravel and Gershwin.
It was wonderful to see composers Ellen Zwilich, John Corigliano, Avner Dorman, Mark Adamo; conductors Jose Serebrier, JoAnn Falletta; and performers Mark O'Connor, Joan Morris, Carole Farley and Michael Ludwig. Industry people included Mark Berry, Frank Oteri, Trudi Chan, Sarah Baird, and Genevieve Spielberg.

New York City, je t'aime

What a wonderful day talking with young composers. The day began with a discussion of music with Avner Dorman (pictured with me, left). He is one to watch out for!

I then went to Brooklyn and had a thought provoking interview with Lukas Ligeti. Yes, he is Gyorgy's son. What a great mind and stellar view (pictured right - you don't get the full effect because the view continues even further to the left and right, but you get the idea).

Live @ Cornerstone

Three Trains Comin' at Tecport...and awesome coffee n desserts at Cornerstone Coffeehouse!

New link

Enjoy some insights to the Emerald City and the classical scene there:
http://www.classicalseattle.blogspot.com/