What concerts are you looking forward to? (Part II)

[DavidRoss]

Yesterday's performance of The People United Will Never Be Defeated! by Rzewski was my introduction to the piece.  Rather than improvising, he played from a copy of the score he wrote out for Ursula Oppen, deconstructing and reconstructing the song and associated melodies through 36 variations in 6 sets of 6, from extremely sparse notes spread on a blank sonic canvas, to an overwhelming wall of sound that was hard to believe came from just one piano, together with assorted whistles, stomps, slaps, and scratches.  Parts of it were very beautiful, parts of it reminded me of Cecil Taylor, and parts seemed a bit tedious, but after about 40 minutes or so I kept thinking that this is what is meant by a tour de force.

The performance was in the small studio at the Mondavi Center and afterwards Rzewski pulled up a chair and chatted with the audience for nearly an hour, which was nearly as interesting as the performance itself.  Subjects ranged from reminiscences of stopping off to listen to new LPs at a record store by the stop where he changed buses en route to his piano lessons as a kid in the late '40s, hanging out in jazz clubs to hear Monk, and his friendship with John Cage, to loose descriptions of the structural framework for improvisation underlying some of his work and laments about the inability of classically trained musicians to improvise.

Later this week we have what promises to be a highlight of the season:  MTT/SFS playing a new commission by Mason Bates, The B-Sides; Sibelius's 4th Symphony; and Prokofiev's 2nd Piano Cto with Yuja Wang.  Hot damn! 

[karlhenning]

Yesterday's performance of The People United Will Never Be Defeated! by Rzewski was my introduction to the piece.  Rather than improvising, he played from a copy of the score he wrote out for Ursula Oppen, deconstructing and reconstructing the song and associated melodies through 36 variations in 6 sets of 6, from extremely sparse notes spread on a blank sonic canvas, to an overwhelming wall of sound that was hard to believe came from just one piano, together with assorted whistles, stomps, slaps, and scratches.  Parts of it were very beautiful, parts of it reminded me of Cecil Taylor, and parts seemed a bit tedious, but after about 40 minutes or so I kept thinking that this is what is meant by a tour de force.

The performance was in the small studio at the Mondavi Center and afterwards Rzewski pulled up a chair and chatted with the audience for nearly an hour, which was nearly as interesting as the performance itself.  Subjects ranged from reminiscences of stopping off to listen to new LPs at a record store by the stop where he changed buses en route to his piano lessons as a kid in the late '40s, hanging out in jazz clubs to hear Monk, and his friendship with John Cage, to loose descriptions of the structural framework for improvisation underlying some of his work and laments about the inability of classically trained musicians to improvise.

Gosh, I have yet to hear the Rzewski, Dave.

Later this week we have what promises to be a highlight of the season:  MTT/SFS playing a new commission by Mason Bates, The B-Sides; Sibelius's 4th Symphony; and Prokofiev's 2nd Piano Cto with Yuja Wang.  Hot damn! 

Always glad to hear of a commission by a major orchestra.

The title B-Sides gives me pause, though 

[DavidRoss]

The title B-Sides gives me pause, though 

Per Mason Bates:

It was between Tchaikovsky and Brahms that Michael Tilson Thomas, surprisingly mellow in his dressing room during one intermission, broached the idea of a new work. Fresh off the podium after the concerto, and apparently undistracted by the looming symphony in the second half, he suggested a collection of five pieces focusing on texture and sonority—perhaps like Schoenberg's Five Pieces for Orchestra. Since my music had largely gone in the other direction—large works that bathed the listener in immersive experiences—the idea intrigued me. I had often imagined a suite of concise, off-kilter symphonic pieces that would incorporate the grooves and theatrics of electronica in a highly focused manner.  So, like the forgotten bands from the flipside of an old piece of vinyl, The B-Sides offers brief landings on a variety of peculiar planets, unified by a focus on fluorescent orchestral sonorities and the morphing rhythms of electronica.

The first stop is the dusky, circuit-board landscape of 'Broom of the System.' To the ticking of a future clock, our broom—brought to life by sandpaper blocks and, at one point, an actual broom—quietly and anonymously keeps everything running, like a chimney-sweep in a huge machine. The title is from a short-story collection by David Foster Wallace, though one could place the fairy-like broom in Borges' Anthology of Fantastic Zoology.

The ensuing 'Aerosol Melody (Hanalei)' blooms on the north shore of Kauai, where a gentle, bending melody evaporates at cadence points. Djembe and springy pizzicati populate the strange fauna of this purely acoustic movement, inspired by several trips with the Fleishhacker family. The lazy string glissandi ultimately put the movement, beachside, to sleep.

Gemini in the Solar Wind' is a re-imagination of the first American spacewalk, using actual communication samples from the 1965 Gemini IV voyage provided by NASA. In this re-telling, clips of words, phrases, and static from the original are rearranged to show Ed White, seduced by the vastness and mystery of space, deliriously unhooking from the spacecraft to drift away blissfully.

His final vision of the coast of northern California drops us down close to home. The initial grit of 'Temescal Noir,' like the Oakland neighborhood of the title, eventually shows its subtle charm in hazy, jazz-tinged hues. Unbothered by electronics, this movement receives some industrious help in the rhythm department by a typewriter and oil drum. At its end, the broom returns in a cameo, again altering the tempo, and this propels us into 'Warehouse Medicine.' An homage to techno's birthplace—the empty warehouses of Detroit—the final stop on The B-Sides gives no quarter. Huge brass swells and out-of-tune pizzicati emulate some of the visceral sonorities of techno, and on this pounding note The B-Sides bows out.

The work is dedicated to Michael Tilson Thomas, whose impromptu composition lessons informed the work to an enormous degree, in addition to the countless concerts I have experienced while living in the Bay Area. Many thanks, as well, to the wonderful musicians who have brought this to life.

[karlhenning]

Many thanks!  Sounds like a spicy addition to an already-good program, Dave.

Tangentially, and I don't remember the author . . . but I once read a quirky novel of the title The Broom of the System.

[karlhenning]

Yes, it's David Foster Wallace . . . I thought it was a novel, and not a short-story collection . . . .

[ All right, the blurb on the back does confirm this as a debut novel ]

[bhodges]

Yesterday's performance of The People United Will Never Be Defeated! by Rzewski was my introduction to the piece.  Rather than improvising, he played from a copy of the score he wrote out for Ursula Oppen, deconstructing and reconstructing the song and associated melodies through 36 variations in 6 sets of 6, from extremely sparse notes spread on a blank sonic canvas, to an overwhelming wall of sound that was hard to believe came from just one piano, together with assorted whistles, stomps, slaps, and scratches.  Parts of it were very beautiful, parts of it reminded me of Cecil Taylor, and parts seemed a bit tedious, but after about 40 minutes or so I kept thinking that this is what is meant by a tour de force.

The performance was in the small studio at the Mondavi Center and afterwards Rzewski pulled up a chair and chatted with the audience for nearly an hour, which was nearly as interesting as the performance itself.  Subjects ranged from reminiscences of stopping off to listen to new LPs at a record store by the stop where he changed buses en route to his piano lessons as a kid in the late '40s, hanging out in jazz clubs to hear Monk, and his friendship with John Cage, to loose descriptions of the structural framework for improvisation underlying some of his work and laments about the inability of classically trained musicians to improvise.

Later this week we have what promises to be a highlight of the season:  MTT/SFS playing a new commission by Mason Bates, The B-Sides; Sibelius's 4th Symphony; and Prokofiev's 2nd Piano Cto with Yuja Wang.  Hot damn! 

Great that you got to hear this for the first time live, and with Rzewski playing.  I heard him play at the Mannes College of Music here a few years ago (his works, but not that one), and thought he was quite a good pianist. 

And wow, that MTT/SFS concert looks fantastic.  I've heard a few pieces by Bates in the last year or so...interesting composer. 

So for my own concert listening, we finished up the big Mahler cycle yesterday with the Staatskapelle Berlin, and I'm delighted to report that the last three concerts (Nos. 8 and 9, with the Adagio from No. 10 and Das Lied von der Erde in between) were just terrific.  Boulez did the Eighth with patience and beautiful control, and if the singers were a bit of a mixed lot, the Westminster Choir made up for it with some fantastic singing.

Barenboim conducted the final two concerts.  The Adagio from the Tenth was sublime.  And of the two singers in Das Lied, Klaus Florian Vogt was very good, but Michelle DeYoung was "f****** amazing" (to quote my eager concert companion that night  ). 

And then they saved what might have been the best until the very end, with a superbly played Ninth.  No missed entrances, no confusion, no flubs, just a lot of highly committed, world-class musicianship.  It was a great way to end what has been a fascinating two weeks. 

--Bruce

[DavidRoss]

So for my own concert listening, we finished up the big Mahler cycle yesterday with the Staatskapelle Berlin, and I'm delighted to report that the last three concerts (Nos. 8 and 9, with the Adagio from No. 10 and Das Lied von der Erde in between) were just terrific.  Boulez did the Eighth with patience and beautiful control, and if the singers were a bit of a mixed lot, the Westminster Choir made up for it with some fantastic singing.

Barenboim conducted the final two concerts.  The Adagio from the Tenth was sublime.  And of the two singers in Das Lied, Klaus Florian Vogt was very good, but Michelle DeYoung was "f****** amazing" (to quote my eager concert companion that night  ). 

And then they saved what might have been the best until the very end, with a superbly played Ninth.  No missed entrances, no confusion, no flubs, just a lot of highly committed, world-class musicianship.  It was a great way to end what has been a fascinating two weeks. 

That sounds terrific, Bruce.  Your companion is right about Ms DeYoung is usually effing aMAzing, so I've no doubt your companion was right.  I'd love to hear her in Das Lied (good as Thomas Hampson was in the MTT/SFS recording, I still think I'd've preferred her).  That's wonderful that you were able to be there for the Mahler cycle, Bruce.  Remind me to be good, please, so I might have a chance of coming back in the next life as you.

--Dave

[bhodges]

That sounds terrific, Bruce.  Your companion is right about Ms DeYoung is usually effing aMAzing, so I've no doubt your companion was right.  I'd love to hear her in Das Lied (good as Thomas Hampson was in the MTT/SFS recording, I still think I'd've preferred her).  That's wonderful that you were able to be there for the Mahler cycle, Bruce.  Remind me to be good, please, so I might have a chance of coming back in the next life as you.

--Dave

[Charming compliment humbly accepted!]   Although you may want to reconsider since at the moment, being me means living in a small NYC apartment and putting up with a lot of city things that many people would never tolerate, not to mention lately, having a trimmed down social life.  A critic I know said that lately he's so busy, he catches up with people during concert intermissions, because that's the only time he can.  I can identify!

--Bruce

[karlhenning]

It's the Mahler Overload which has me most concerned for you, at present, Bruce. My Maria was in New York yesterday, and she durstn't call you, for fear of what might answer the phone 

[bhodges]

It's the Mahler Overload which has me most concerned for you, at present, Bruce. My Maria was in New York yesterday, and she durstn't call you, for fear of what might answer the phone 

"Hello, Maria?  No, Bruce is...is...'away' at the moment...mwah-ha-ha-ha-ha...." 

I have to say, it's going to be a pleasure to go to a concert of solo piano music tonight...  0:)

--Bruce

[bhodges]

Keys to the Future
Concert 1 of 3
Greenwich House
Tuesday, May 19, 2009, 8PM
Marina Lomazov, Blair McMillen, Lisa Moore, Tatjana Rankovich, Joseph Rubenstein, pianists

Joseph Rubenstein: Romance No. 3 (labyrinth)* (2007) Rubenstein
Aaron Kernis: Before Sleep and Dreams (1990) Rankovich
Bruce Stark: Fanfare (2003) Rankovich
Radiohead (arr. O'Riley): Knives Out (1997) Moore
John Adams: American Beserk (2001) Moore
Karen Tanaka: Crystalline II (1996) McMillen
Chester Biscardi: Piano Sonata (1986) McMillen
Carter Pann: Three Strokes (2000) Lomazov
William Bolcom: The Serpent's Kiss (1969) Lomazov

*World premiere

--Bruce

[karlhenning]

Radiohead (arr. O'Riley): Knives Out (1997) Moore

I wonder how negotiation for rights went for that, Bruce.  Unless Radiohead (or those holding the rights to "Knives Out") licenses it out, the rights to even an arrangement belong to them . . . .

[Bunny]

So for my own concert listening, we finished up the big Mahler cycle yesterday with the Staatskapelle Berlin, and I'm delighted to report that the last three concerts (Nos. 8 and 9, with the Adagio from No. 10 and Das Lied von der Erde in between) were just terrific.  Boulez did the Eighth with patience and beautiful control, and if the singers were a bit of a mixed lot, the Westminster Choir made up for it with some fantastic singing.

Barenboim conducted the final two concerts.  The Adagio from the Tenth was sublime.  And of the two singers in Das Lied, Klaus Florian Vogt was very good, but Michelle DeYoung was "f****** amazing" (to quote my eager concert companion that night  ). 

And then they saved what might have been the best until the very end, with a superbly played Ninth.  No missed entrances, no confusion, no flubs, just a lot of highly committed, world-class musicianship.  It was a great way to end what has been a fascinating two weeks. 

--Bruce

Yes, the last 3 symphonies really gave us the orchestra that we had expected from the beginning.  Finally, all the problems with ragged play, brass, ensemble, etc. were ironed out.  I am just surprised that you didn't notice that by the 7th the first trumpet duties had been taken over by the musician sitting stage right of Christian Batzdorf!  I suppose that biffing on the trumpet entrance in the 6th was the final straw.  In the 7th the new soloist was slightly tentative in places, but his self-assurance grew steadily that evening so that by the 8th he was fully in command of his instrument, and very comfortable in the solos.

That 8th was excellent, but painful.  Unfortunately my luck with the seats was out for that concert because we found ourselves in the 9th row Parquet left with only partial view (couldn't see chorus or Mater Gloriosa), although we could hear everything.  In fact, we heard too much of everything!  It was so loud I was wishing for my musician's earplugs which were sitting in my drawer at home.   But what terrific soloists we had!  I don't think you will hear voices that compliment each other as well if we see it another 10 times, and the soloists really make or break the piece.  We are also lucky that the nature of the music is GRAND, so that Boulez was comfortable pulling out all the stops.  If you read the pamphlet with remarks by Boulez and Barenboim, it becomes apparent just how uncomfortable Boulez is with the nostalgic, sentimental and emotional aspects of Mahler's works.  He has a bit of trouble understanding how Mahler could be both sarcastic and sentimental at the same time.  I think the 8th appeals to to him intellectually in much the same way some producers and directors get obsessed with staging Dylan Thomas's play Under the Milkwoods (which is virtually unstageable. hehe)  Boulez is so cerebral that he always shines when there are problems to solve. 

After the 8th ended I had a headache for hours, but it was such a happy headache.  Couldn't even have a glass of wine afterwards because I knew that would make it an unhappy headache... but if one must suffer for beauty, so too must one suffer for art.  My only quibble with Boulez is that he masses the violins.  I have really gotten to appreciate the subtle difference in the sound when the fiddles are split antiphonally, as Barenboim, Ivan Fischer, and many others now do for Mahler.  I think that splitting those violins really adds transparency to the sound which is decreased when the violins are massed. 

The remaining concerts by Barenboim were also superb.  Das Lied was so fantastic, and I think that Vogt was excellent as well.  He is young, and he brought great energy and insight.  I found him very believable singing about how rotten life is, so let's get drunk.  It reminded me of so many kids I know who would prefer to drink away all of their problems.  And his voice is fantastic!  So strong and pure.  We heard Ben Heppner doing das Lied with Quasthoff (and that was also amazing), and I don't think that Heppner sounded better than Vogt did.   DeYoung was DeYoung, and that is saying volumes.  She has really become a superb Mahlerian.  I also can't say enough about the delicacy of the Adagio.  How skillfully Mahler blurred the melodic lines into discord and then refined them back into melodic phrases.  It was as if a master metallurgist took the gold ore, heated it over and over, each time producing metal of increasing purity.  How sad that he never was able to complete the symphony, but thanks to Barenboim I have gotten a much better insight into the direction that Mahler was traveling.  I doubt that he would ever have invented anything like Schoenberg's atonal music system.  Barenboim revealed how far Mahler had gone into dissonance while always staying grounded in tuneful melody.  How beautifully he conducted that Adagio.  It went by so quickly that when the applause began I was taken by surprise.  I just wanted it to start over.  I hadn't had enough.

Which brings us to the last concert: What a triumph!  This 9th was a very fitting valedictory for the orchestra as well as the composer.  It wasn't one of the speedy 9ths that would fit on one cd, but a longer, loving look at the composer's final work.  In DH's review of Barenboim's cd he mentioned something about tam-tams being damped too soon and triangles not being loud enough.  Well, percussion was spot on in this one; I could feel the buzz on the floor every time that tam-tam was struck.  I was fascinated watching the percussionist who had to move behind the tympanist to get to the tam-tam, and then had to slip behind him to get back to his chair where the cymbals were.  And the first violist!  Just terrific, and this symphony is really led by the violas. 

I've read that when writing the opening of this symphony, Mahler was trying to recreate the sound of his own heart murmur that presaged his final illness.  This time I could actually hear the whoosh as a murmur, but the sound also reminded me of the sound of the ocean -- a reminder of the ship that carried the composer home to Austria to die.  This really was a symphony to bring out the tears by the time those final last notes, pianissimo, died in the air.  Barenboim and the orchestra got at least 10 minutes of applause -- thunderous applause, before they left the stage. 

[bhodges]

I wonder how negotiation for rights went for that, Bruce.  Unless Radiohead (or those holding the rights to "Knives Out") licenses it out, the rights to even an arrangement belong to them . . . .

I have no idea.  But apparently Christopher O'Riley has been performing them all over the place, after recording an entire disc of his arrangements called True Love Waits (cover below).

--Bruce

[bhodges]

Yes, the last 3 symphonies really gave us the orchestra that we had expected from the beginning.  Finally, all the problems with ragged play, brass, ensemble, etc. were ironed out.  I am just surprised that you didn't notice that by the 7th the first trumpet duties had been taken over by the musician sitting stage right of Christian Batzdorf!  I suppose that biffing on the trumpet entrance in the 6th was the final straw.  In the 7th the new soloist was slightly tentative in places, but his self-assurance grew steadily that evening so that by the 8th he was fully in command of his instrument, and very comfortable in the solos.

Great comments.  (And unfortunately from my seat I couldn't see the trumpet layout, so I wasn't able to catch that a substitution had been made, which of course would explain a lot.) 

And so sorry the Eighth produced a headache (as he waits for jokes to appear  ).  I was in the front row for a performance about ten years ago, and it's just not a piece for which you want to be that close!  (Although I did get an amazing profile view of Chailly conducting.)

That "Adagio" from the Tenth was so beautiful, wasn't it!  Commenting on its harmonic invention, the friend with me offered an interesting take, "That's 'contemporary music,' and will probably remain 'contemporary music' for another hundred years."

--Bruce

[karlhenning]

I have no idea.  But apparently Christopher O'Riley has been performing them all over the place, after recording an entire disc of his arrangements called True Love Waits (cover below).

Well, it must all be agreed upon, then 

[ChamberNut]

So Bruce, are you hoping for the Haydn symphonies marathon to come to NY next? 

[bhodges]

So Bruce, are you hoping for the Haydn symphonies marathon to come to NY next? 

[drops dead from heart attack]



--Bruce

[ChamberNut]

[drops dead from heart attack]



--Bruce

But of course, there will be a few days thrown in for breaks.....and the obligatory all Carter concert.  0:)

[DavidRoss]

[drops dead from heart attack]

104 Haydn Symphonies                    10+ Mahler Symphonies
                                         ∆


Seems balanced