The subscription series in Toledo is starting back up this week and I thought I'd try and post about various rehearsals/series that I'm part of throughout the season.
For those who don't know, I split my time between 2 orchestras the Toledo Symphony Orchestra (http://www.toledosymphony.com/) and the Akron Symphony Orchestra (http://www.akronsymphony.org/). I also try and fit in anything I get called for in Cleveland, mostly pit work for ballet.
Perhaps I'll also post about any audition experiences I take as well.
So there you have it. This week in Toledo we will be playing this program:
Rogers Agatha Overture
Tchaikovsky Rococo Variations
Mahler Symphony No. 1
Stefan Sanderling, conductor
Julie Albers, cello
Rehearsals start tomorrow!!!!!!
Allan
Good luck and have fun, Allan.
Crack a frog, Allan! 8)
Do please blog us, sounds like you will have lots of interesting things to tell us.
Mike
The conductor in Toledo is Stefan Sanderling, and he has pushed to improve the orchestra in recent years, and one can hear the difference, especially with "big works" like a Bruckner symphony.
So, yes, tell us more about the Mahler rehearsals especially!
I've always loved the start of the season. It's always fun to see people after the summer vacation and catch up on how it was spent. Of course the conversation will somewhere always include the seeming mandatory response of 'not practicing' followed by guilty laughter.
We started rehearsals yesterday with a double service day all dedicated to Mahler. It always takes me by surprise when I haven't played in the Peristyle for a while. It's visually very appealing. In that way it offers something unique to the concert going experience. This picture is way too small but hopefully you get the idea:
(http://www.utoledo.edu/campus/toledo/images/symphony.jpg)
The surprise is when we actually start playing. The hall is so dead. It takes a lot of adjustments to get the music supported and phrase endings sounding like they aren't being snapped off.
We're a little rusty ensemble wise and I feel like we could have nailed this coming toward the end of last season. Perfectly normal though, these loose ends will be tied up with no problem.
About rehearsals:
Perhaps the only repertoire that I haven't found Stefan entirely convincing in is Mahler. Generally, I've found it to be a mixed bag. Sometimes intenestly emotional and musical (his 9th) and other times a tad stiff and forced (5th). The 1st is going well and I like what is going on and what I'm hearing. Some of his pacing and shaping of phrases is breathtaking. He's continuing to work on intesity.
Another double today, more Mahler this afternoon. Evening reahearsals will include our soloist Julie Albers in the Rococco Variations as well as rehearsal of the Toledo premier of Rogers' Agatha Overture.
Peace,
Allan
Quote from: toledobass on September 24, 2007, 09:43:41 AM
So there you have it. This week in Toledo we will be playing this program:
Rogers Agatha Overture
Tchaikovsky Rococo Variations
Mahler Symphony No. 1
Stefan Sanderling, conductor
Julie Albers, cello
Rehearsals start tomorrow!!!!!!
Allan
That's a really fun-sounding program, Allan! I don't know the Rogers at all, and I'm impressed that Sanderling programmed it. Just browsed the Toledo website and the next concert, with
both Shostakovich Piano Concertos, also looks very interesting!
--Bruce
Quote from: bhodges on September 26, 2007, 05:49:34 AM
That's a really fun-sounding program, Allan! I don't know the Rogers at all, and I'm impressed that Sanderling programmed it. Just browsed the Toledo website and the next concert, with both Shostakovich Piano Concertos, also looks very interesting!
--Bruce
Bruce,
It's a nice program to get back to work with. I'll have more info on the Overture later tonight or tomorrow. There is some info in the program booklet that I left at the hall.
The next program should be fantastic. It'll be interesting to hear Goodyear in that rep. DSCH and Haydn are Sanderling's best stuff IMO. In much of the DSCH we do, we play from Kurt Sanderling's parts. I find the K. Sanderling recordings to be deeply thought out and intesely moving so it always adds weight to my experience seeing that name in the corner of the front page.
Allan
And thanks to Allan, Toledobass, for the picture of the Peristyle at the Toledo Museum of Art. The Peristyle is designed to resemble an ancient Greek theater, complete with a ceiling that resembles an open sky.
I believe Leopold Stokowski conducted the first concert there in the 1930's.
Some some info on the Agatha overture by David Rodgers: It was written for the Florida Orchestra, where Stefan is also Music Director. From what I understood from him telling us before rehearsing the piece, it was written as part of a Florida Orchestra's program called Strings Attatched. Pieces were written as companion pieces to more famous overtures and had to have the same orchestration. Agatha is the companion piece to the Der Freishutz overture.
Talking about Mahler's struggles in life, Stefan recounted some things from growing up in East Berlin.
Allan
So who's Agatha? (Not, I am guessing, the "pre-cog" in Minority Report?) 8)
Quote from: karlhenning on September 27, 2007, 11:46:38 AM
So who's Agatha? (Not, I am guessing, the "pre-cog" in Minority Report?) 8)
Everyone knows what happens to Max. This piece is what happens to Agatha - from Stefan last night.
Agatha is Max's love interest.
Allan
Rehearsed Higdon's Blue Cathedral tonight with the Akron Symphony. Interesting piece. I've been wanting to look into her music for a while now and this is intriguing me even more.
Allan
This weekend with Stefan conducting in Toledo:
Beethoven Overture to Egmont
Shostakovich Piano Concerto No. 1 in C Minor
Intermission
Shostakovich Piano Concerto No. 2 in F Major
Haydn Symphony No. 104 in D Major "London"
I'm excited for this concert. Shostakovich and Haydn are my favorite things to play with Stefan and it's been a few years since I last heard Stuart Goodyear.
Rehearsals start tomorrow.
Allan
Wonderful, Allan! The First Concerto is tricky, doesn't seem particularly demanding of the trumpeter, and yet not exactly an easy part to play well.
Quote from: karlhenning on October 22, 2007, 02:29:29 PM
Wonderful, Allan! The First Concerto is tricky, doesn't seem particularly demanding of the trumpeter, and yet not exactly an easy part to play well.
Even a little more difficult if you have to play the Haydn Trumpet Concerto the week before!!!!!!!!!!!!
Allan
Hi Allan!
I was wondering...a couple years ago the Toledo Symphony played Respighi's Pines of Rome with the local drum and bugle corps called the Glassmen as the ghostly Roman army marching in at the end, complete with massive deep brass the size of howitzers.
Were you playing in that concert? Chelsea Tipton conducted. If so, how much fun was that?
Quote from: Cato on October 23, 2007, 03:59:43 AM
Hi Allan!
I was wondering...a couple years ago the Toledo Symphony played Respighi's Pines of Rome with the local drum and bugle corps called the Glassmen as the ghostly Roman army marching in at the end, complete with massive deep brass the size of howitzers.
Were you playing in that concert? Chelsea Tipton conducted. If so, how much fun was that?
Indeed I did play that concert. I thought the idea was a little gimmicky but I have to say I thought the effect really worked. I remember getting goosebumps but being a little emberassed by it at the same time. :o One of the other joyous things about that concert was seeing all of the Glassmen post concert. They were in that post concert high that reminded me of playing in orchestra the first time.
Allan
Quote from: toledobass on October 23, 2007, 09:45:11 AM
Indeed I did play that concert. I thought the idea was a little gimmicky but I have to say I thought the effect really worked. I remember getting goosebumps but being a little emberassed by it at the same time. :o One of the other joyous things about that concert was seeing all of the Glassmen post concert. They were in that post concert high that reminded me of playing in orchestra the first time.
Allan
Sure, it was a gimmick, but it worked! Will the symphony be doing anything similar in the future?
Quote from: Cato on October 23, 2007, 10:59:31 AM
Sure, it was a gimmick, but it worked! Will the symphony be doing anything similar in the future?
I'm not really sure, Cato. Though, Chelsea is always trying to find new things to bring to the concert experience.
Allan
Began rehearsals with the Akron Symphony for this weekends performance of:
Copland - Billy the Kid Suite
Barber - Knoxville: Summer of 1915
Sung - Rockwell Reflections+
Copland - Appalachian Spring
At first glance it looks like a cake week, but it's turning out to be a little more difficult than I thought. Not so much in the individual playing, but it's not been so easy to get everyone on the same page rhytmically as well as everyone fitting together balance wise.
Allan
Outstanding thread Allan. Keep the reports coming. The Barber piece sounds fascinating. Wil have to look into that one.
Quote from: Bogey on November 13, 2007, 08:20:48 PM
Outstanding thread Allan. Keep the reports coming. The Barber piece sounds fascinating. Wil have to look into that one.
Shit Bogey.....you don't know it? It's freaking beautiful. You should also try and get the Barber songs double CD with Studer and Hampson accompanied by John browning as well as, I believe, the Emerson 4tet. You'll love it.
Allan
Exquisite program, Allan! Shatter a bow! 8)
Quote from: toledobass on November 13, 2007, 09:07:44 PM
.....you don't know it? It's freaking beautiful. You should also try and get the Barber songs double CD with Studer and Hampson accompanied by John browning as well as, I believe, the Emerson 4tet. You'll love it.
Allan
That's why I'm here Allan, that's why I'm here. :)
The Sung is a premier. Here is some more info about the whole program:
ASO American Relections (http://www.akronsymphony.org/general/generalnews-release-american-reflections-november17/)
We will rehearse the Sung tonight so I'll try to provide comments on my first impressions later.
Allan
You anticipated my query, thank you 0:)
I don't know. The Sung is pleasing enough to listen to but I feel it's way too predictable and cliched. I hope it fits well with the accompanying projections. (which I don't think I'm gonna be able to see)
Allan
It will be interesting to see if it recovers . . . but predictable and cliched is not the impression a composer hopes that his piece makes on an initial rehearsal.
Quote from: karlhenning on November 15, 2007, 07:35:37 AM
It will be interesting to see if it recovers . . . but predictable and cliched is not the impression a composer hopes that his piece makes on an initial rehearsal.
And so, as I asked in a topic carrying this same question: Why would a conductor play this with his orchestra?
Cato,
If you check out the link provided above you'll see the reasoning and how it all fits in. I'm exhausted and won't explin it well.
2nd take on the music:
I saw the images with the music tonight and have to say it works. It's strange to me though that I don't think the music works alone, and I don't think the Rockwell images chosen for the piece actually benefit greatly from the addition of the music. I started questioning the act of superimposing one art form over another when the initial art form never had the second in mind in it's creation. Of course ballet then came to mind to screw up my little theory I was trying to get going....then of course, I missed my entrance....
Allan
Quote from: toledobass on November 15, 2007, 07:36:51 PM
Cato,
If you check out the link provided above you'll see the reasoning and how it all fits in. I'm exhausted and won't explin it well.
2nd take on the music:
I saw the images with the music tonight and have to say it works. It's strange to me though that I don't think the music works alone, and I don't think the Rockwell images chosen for the piece actually benefit greatly from the addition of the music. I started questioning the act of superimposing one art form over another when the initial art form never had the second in mind in it's creation. Of course ballet then came to mind to screw up my little theory I was trying to get going....then of course, I missed my entrance....
Allan
Okay, that's why! You will have to tell us what the reaction is: does the coughing stop or does it increase during
Rockwell Reflections ? :D
Looking forward to this coming week. I'll be working with a group called CityMusic Cleveland (http://www.citymusiccleveland.org/). It's a chamber orchestra and it's been a long, long time since I played in a more intimate group setting so I'm looking forward to that very much. Also, I find the whole idea of the group to be pretty cool. Free concerts all around the area and an interesting program to boot. Here's some more program info:
CityMusic Cleveland December program (http://www.citymusiccleveland.org/Concerts/details.php?id=150)
Allan
And this footnote jumped out at me Allan, almost as much as the Haydn piece being performed:
*Free childcare available -- phone the venue to make a reservation for your child.
All concerts & exhibits are FREE FOR ALL & everyone is welcome.
Programs, artists & venues subject to change.
Wow. For a parent of two (9 and 5) this would work wonderfully. Our littlest one could take in 30 minutes or so and then she could go play, while our oldest would hang for the duration. Almost worth hopping in the car and driving out to Ohio.
Very cool musically and otherwise, Allan!
Last nights rehearsal was great fun. I think these will be some excellent concerts and it will be nice to be able to play many of them rather than the usuall one or two that I'm used to doing. The group sounds good together and I think the communication level will rise dramatically in the next rehearsal. There were glimpses of great ensemble playing that I'm sure will come out more and more. The stylistic changes from the varied program were handled nicely. Haydn to Debussy is quite a shift in gears, but not a problem last night.
Allan
Haydn to Debussy in 4.79
Quote from: karlhenning on December 10, 2007, 05:55:29 AM
Haydn to Debussy in 4.79
Kinda fitting. You shoulda heard the Haydn last night. Total rock and roll. The conductor was nearly air guitar wind milling some of the chords the orchestra plays together.
So much fun.
Allan
Two CityMusic Cleveland concerts finished. 4 more to go. Tonights venue was the acoustic opposite of oppening night but proper adjustments were made in a preconcert soundcheck.
Here's a review of sorts:
Plain Dealer Review (http://blog.cleveland.com/reviews/2007/12/citymusic_cleveland_delivers_f.html)
Allan
Excellent, Allan! The 'prayer from Tchaikovsky's "Mozartiana"' must be the Ave verum corpus, right?
Bravo!
That's the one Karl.
Allan
Quote from: toledobass on December 12, 2007, 06:14:24 PM
Two CityMusic Cleveland concerts finished. 4 more to go. Tonights venue was the acoustic opposite of oppening night but proper adjustments were made in a preconcert soundcheck.
Here's a review of sorts:
Plain Dealer Review (http://blog.cleveland.com/reviews/2007/12/citymusic_cleveland_delivers_f.html)
Allan
So
Anton Kuerti's son is now a conductor!
I had a vinyl record decades ago with
Anton Kuerti slam-dunking some Scriabin piano sonatas! I had no idea Kuerti is a "former Clevelander"! I thought he was born in Vienna or in Central Europe.
Or does that simply mean he lived in Cleveland, maybe as a visiting professor at e.g. Oberlin?
Well my winter vacation is quickly coming to a close. I jump right back in next week over in Toledo with a program I'm looking forward to. I can already hear the grumbling from some of the orchestra..."what's with this program"....."great....waltzes and " etc...but I think it will be a good challenge to see what we can do in this repertoire. I've wanted to play the Von Suppe with Toledo and Stefan ever since seeing the Cleveland O play the hell out of it a few years ago. I like the program with it's mutiple intermissions and variety of works.
I haven't played my bass since the day before Xmas as it's been in Albequerque, NM having some work done. Mainly just a tune up but I'm also getting a C extension put on and I'll try to put up some pics once the bass gets sent back to me and I get it back home.
Here's the program (scroll down):
Toledo New Year Begins concert (http://toledosymphony.com/performances/classic/bluedanube.html)
A lot of cool stuff will be coming up in the near future: some work with James Gaffigan leading CityMusic Cleveland and Ben Zander conducting Mahler 2 in what is being called 'Zander Week' with the Akron Symhony. That week will also feature a performance in Severence Hall, the premier of the ensemble in that venue.
Allan
Zanderphanalia?
palooza
Quote from: toledobass on January 03, 2008, 11:55:47 AM
I've wanted to play the Von Suppe with Toledo and Stefan ever since seeing the Cleveland O play the hell out of it a few years ago.
I heard Cleveland do that piece here, and enjoyed it tremendously. It's one of those works that you think, "Oh this has been played to death, and is sort of kitschy," but then you realize that you actually
haven't heard it live in decades, and that there is a reason it's popular. I thought it was great fun.
--Bruce
Exactly what we were talking about at lunch. If you play it well enough there's no reason for them not to like it.
Allan
Well, looks like I'll be showing up to work pretty rusty. My bass was supposed to be shipped back to me yesterday and somehow it didn't get shipped out untill today. My bass got to Cleveland at 5:45 but that desn't help me at all seeing as air cargo here closes for the weekend at 5:00 and doesn't open till Monday morning.
Nothing I can do, but I'm a little pissed,
Allan
This is turning out to be a cake week for me. The Haydn and Mozart are reduced string sections so I haven't had double rehearsals and when I'm actually at rehearsal the longest I've been there is an hour and a half. I don't know what to do with all this free time I didn't know I'd have!!!!
The rehearsals have been fine. I had hoped for some sort of insight into the waltz style but he only made a passing comment on a compressed second beat and hanging third beat......I don't think anyone heard it because things sound more or less strictly in time and more or less stiff.
Allan
Quote from: toledobass on January 03, 2008, 11:55:47 AM
Well my winter vacation is quickly coming to a close. I jump right back in next week over in Toledo with a program I'm looking forward to. I can already hear the grumbling from some of the orchestra..."what's with this program"....."great....waltzes and " etc...but I think it will be a good challenge to see what we can do in this repertoire. I've wanted to play the Von Suppe with Toledo and Stefan ever since seeing the Cleveland O play the hell out of it a few years ago. I like the program with it's mutiple intermissions and variety of works.
Once again I wish I could get "home" to see one of your concerts, Allan. The Light Cavalry Overture was a piece I loved in my youth, and still do. I was a cavalry trooper, at least for part of my military career, and the music still gives me a rush.
Quote from: bhodges on January 03, 2008, 11:59:51 AM
I heard Cleveland do that piece here, and enjoyed it tremendously. It's one of those works that you think, "Oh this has been played to death, and is sort of kitschy," but then you realize that you actually haven't heard it live in decades, and that there is a reason it's popular. I thought it was great fun.
I've never heard the piece live...or any Suppé for that matter. Those once popular overtures were already out-of-fashion by the time I was old enough to begin attending concerts. Occasionally a Rossini overture will be programmed and when it is, I'm always stunned by how inventive, and yes, fun, it is.
Sarge
Free time! Embrace it! :-)
The TSO concerts were quite fun. I don't think we fully 'got' the pacing of how these waltzes go. There can be tremendous pushing forward in just a few measures and I felt like we were constantly a few clicks slower than the target tempo. Sanderling mentioned this to us, commenting that the style of a Viennese waltz is a fast dance. The Haydn and Mozart were nice performances though. Very vibrant music making.
This week in Akron, the music director Christopher Wilkins is conducting this program:
Barber - Music for a Scene From Shelley
Dukas - The Sorcerer's Apprentice
Berlioz - Symphonie fantastique
Rehearsals begin tomorrow:
Tuesday: Dukas, Berlioz 4 and 5
Wed: Berlioz 1,2,3 Dukas Barber
Thursday Dukas, Berlioz, Barber
Friday: Dress rehearsal Barber, Dukas, Berlioz
Allan
What a good program, Allan! At least, while I don't yet know the Barber, I am guessing it will repay the trust. Both the Dukas and Berlioz have held up very well by me over the years, and I am sure they must be fun pieces to play, too.
Keep on keepin' on, and report!
A little rough going last night but good work was accomplished. Rhythimcally things were not lining up well at first reading. Dukas is full of little traps and odd phrase structures and Berlioz just has some tricky rhythmic things that are layered over other tricky rhythmic things. Listening closely is needed and while we are struggling to get our ensemble chops back on the same page after the holiday break, we also have a new riser set up that we're getting used to. Things shaped up though and while not crystal clear we're headed in a good direction. I hope he touches on some dynamic and color ideas in the upcoming rehearsals, especially in the Berlioz.
Karl, you never got to play the Berlioz? That's too bad. It is a fun piece. Great times to play your part and realize all the craziness happening throughout the orchestra. I will admit over the few times I've played it, it never made much sense to me. More because I didn't quite understand what Berlioz' language was about. Playing the Requiem, a few years ago, has helped 'scratch the surface' and I'm understanding a little more.
Allan
Strange to say, the only bit from the Fantastique that I've played, was a symphonic band transcription of the Marche au supplice.
Are you guys using the cornet in the Bal, Allan?
The bass players usually don't double except for maybe one of us playing electric bass in pops shows ;D ;).
All dumb jokes aside, we rehearse that mvmt tonight. I'll check.
Allan
Quote from: karlhenning on January 16, 2008, 05:47:43 AM
Are you guys using the cornet in the Bal, Allan?
OK what am I missing here?
Allan
Quote from: karlhenning on January 16, 2008, 05:47:43 AM
Strange to say, the only bit from the Fantastique that I've played, was a symphonic band transcription of the Marche au supplice.
Are you guys using the cornet in the Bal, Allan?
I am not sure if my Dutoit recording has this, but it seems that this Gardiner one may Karl:
(http://ecx.images-amazon.com/images/I/51JX9%2BQsa1L._AA240_.jpg)
http://www.amazon.com/Berlioz-Symphonie-fantastique-ORR-Gardiner/dp/B00000414P
Just
Find on this page "cornet" Allan. One of the reviewers refer to it. This interests me being an huge Louis Armstrong fan.
It's a while since I read the accompanying text, so I cannot forward the explanation, Allan; however, in the Norton Critical Edition of the Symphonie fantastique score, there is a slightly reduced line in the Bal for an obbligato cornet.
So if this remains a mystery to you, your conductor has either chosen to omit it, or may possibly not be aware of it.
Offhand, of the various recordings I have of the Fantastique, the only recording which in memory I am certain includes the cornet, is Davis/LSO.
Thanks Guys. That sounds interesting. I'll have to check it out, I'd like to hear that.
Allan
I forgot to comment on the Barber rehearsal last night. I wasn't really sold on the piece last night and another go at it tonight leaves the same taste lingering. I'm not finding the material that makes up the piece to be of very much interest. The harmonic language almost sounds 'Danny Elfmanish'. Who knows though, maybe I need another go at it.
Allan
Quote from: toledobass on January 17, 2008, 07:27:10 PM
I forgot to comment on the Barber rehearsal last night. I wasn't really sold on the piece last night and another go at it tonight leaves the same taste lingering. I'm not finding the material that makes up the piece to be of very much interest. The harmonic language almost sounds 'Danny Elfmanish'. Who knows though, maybe I need another go at it.
Allan
Hi Allan!
(I have always preferred Jenna Elfman.)
Anyway, can you give us a comparison between the Akron and Toledo orchestras, style, competence, programming, etc?
And have you ever played with the big kids up in Cleveland? :o
There's so much strong music in the Barber catalogue. As with many another composer, there are stretches of unknown output, and the question hangs in the balance: Are these Forgotten Gems, or are they more-or-less rightly neglected? . . .
Quote from: karlhenning on January 18, 2008, 04:00:29 AM
There's so much strong music in the Barber catalogue. As with many another composer, there are stretches of unknown output, and the question hangs in the balance: Are these Forgotten Gems, or are they more-or-less rightly neglected? . . .
Many of the same thoughts come to my mind, Karl. I thought perhaps that it may be the the early nature of the work (op 7) that contributes to my feelings about it, but seeing that the School for Scandal overture was written 2 years prior, makes me lean more toward this being a 'dud'. I do think there is some good stuff in it. A lot of the orchestration is nice, but again it's the actual harmonic and melodic material that I'm questioning.
Allan
Quote from: Cato on January 18, 2008, 03:30:12 AM
Hi Allan!
(I have always preferred Jenna Elfman.)
Anyway, can you give us a comparison between the Akron and Toledo orchestras, style, competence, programming, etc?
And have you ever played with the big kids up in Cleveland? :o
Hey Cato!!!
Jenna is cute.
I hope you had a nice holiday!!! Happy New Year.
As for the differences between the 2 orchestras I play in, they are quite different.
Toledo is a full time orchestra that has a 42 week season and has an annual budget hovering around the 6 million mark. The orchestra has 2 different contracts though and there are those that are full time and part of the orchestra (like me) who only plays in certain series where a full orchestra is needed or sometimes when someone in the core of the orchestra takes time off. Those shows are the big series classics, pops, any special 'gala' type performance (subscriber shows etc), the Bruckner concert, sometimes opera, kids shows. I play very few runouts (where the orchestra plays in venues 45min to 3 hours away from home base). That is a lot of the work the core performs outside of the big series.
Akron is what is called a per service orchestra. The operating budget there is somewhere between 2 and 3 million, from the figure I remember. Unlike Toledo, where we are salaried, in Akron we get payed as we complete services. The orchestra doesn't play together on daily basis.
Because of these differences, when auditions happen Toledo is obviously able to draw a higher caliber of musician due to the fact that the symphony can be the only job they have. It draws a national talent pool. Akron auditions are mainly local players since it isn't a job that can support a person without some other supplemental income. It does have proximity to the fine music schools of Oberlin and Cleveland Institute which helps the over all ability, but it can also hurt in that the turn over is quite high year to year which doesn't help develop an overall group sound or cohesiveness.
I hope this answers some questions about the groups. If there are any more, fire away.
Allan
Interesting: I would have thought the Akron group would be somewhat more parallel with Toledo, but then when you have that gorilla playing up there in Cleveland, the competition is obvious!
Have you ever been asked to substitute or augment a big work with the Cleveland Orchestra?
Cato,
No, I've never been asked to play with the Cleveland O. I don't really know how it works but string subs are seldom used there.
Allan
Akron Symphony concert review here (http://www.ohio.com/entertainment/guregian/13940557.html).
This week at the Toledo Symphony, Joshua Bell comes in for a subscriber special event. Our resident conductor Chelsea Tipton II will be conducting. Here's the program:
Corigliano: Promendade Overture
Sibelius: Kerelia Suite
Liszt: Les Preludes
Intermission
Rachmaninoff: Vocalise
Bruch: Violin Concerto
Rehearsals:
Wed 7:30
Thursday 10:00 with the concert later that evening at 8.
Allan
With the exception of the second movement, during the Karelia suite I was scratching my head wondering if it could really be that the same Sibelius that wrote those damn cool symphonies I love also wrote this.
The Corigliano seems like there should have been an easier way to notate the score and parts. A lot of confusion trying to put it together.
Allan
Quote from: toledobass on January 23, 2008, 06:44:27 PM
With the exception of the second movement, during the Karelia suite I was scratching my head wondering if it could really be that the same Sibelius that wrote those damn cool symphonies I love also wrote this.
Yes it is. Sibelius had a very wide spectrum as a composer. He wrote a lot of miniatures and incidental music like this, and while those pieces may not have the "depth" of his symphonies and tone poems, they are also meticulously crafted. But they don't pretend to be very "deep" either. The way he builds the first movement of the Karelia suite from just a few motivic ideas and elements has a lot in common with how he built his symphonies. Only that he wants to "say" more in the symphonies. So the argument is more complex. Not every piece of music has to be a very "profound" statement.
Quote from: M forever on January 23, 2008, 11:54:03 PM
Yes it is. Sibelius had a very wide spectrum as a composer. He wrote a lot of miniatures and incidental music like this, and while those pieces may not have the "depth" of his symphonies and tone poems, they are also meticulously crafted. But they don't pretend to be very "deep" either. The way he builds the first movement of the Karelia suite from just a few motivic ideas and elements has a lot in common with how he built his symphonies. Only that he wants to "say" more in the symphonies. So the argument is more complex. Not every piece of music has to be a very "profound" statement.
Good points there, M. My expectations got the better of me in this case.
Allan
Bell sounded terrific this morning. His color pallete especially in the lower end of dynamics is really special.
Allan
Excellent concert last night. Bell played well. A jaw dropping excerpt from the Red Violin was played as an encore. Amazing stuff.
A runout today 45 minutes or so away in Findlay, Ohio. Some music from last nights performance and some from the upcoming Mozart series concert.
Next week I'll still be in Toledo. Our resident conductor Chelsea Tipton II will be conducting and our principal second violinist Mewin Siu is the soloist in this program:
Dvorak: Carnival Overture
Hartmann: Concerto Funebre
Orff: Carmina Burana
Allan
Even under tempo, the last movement of the Hartmann was pretty rough last night. I'm sure it'll shape up by this afternoon's rehearsal. Amazing what a day can do for a group. The chorus is in tonight.
Allan
Quote from: toledobass on January 30, 2008, 05:24:18 AM
Even under tempo, the last movement of the Hartmann was pretty rough last night.
A little more
funèbre than
comme il faut, eh,
Allan? 8)
Dress reheasal last night went well. The Orff sounds fine and the performance will be good. The soloists sound good, especially the soprano. I could use a little more volume from the baritone but he may just be marking the whole time.
The Hartmann is a heck of a piece to play. In talking to musicians during rehearsal breaks, it seems as though it's been a little difficult to wrap ears around the thing, with concentrating on the parts and all. I joked with people that it was so catchy and got some chuckles from that. I thought it came together quite well last night. Aside from a few missteps it felt like we were working as a group too. I'm looking forward to playing it tonight.
Allan
Be sure to tell us about the audience reaction to the Hartmann! (Polite, or enthusastic?) I sure do regret not being able to attend, but Life has thrown me some unpleasant surprises in the past year or two.
Quote from: Cato on February 01, 2008, 10:34:43 AM
Be sure to tell us about the audience reaction to the Hartmann! (Polite, or enthusastic?) I sure do regret not being able to attend, but Life has thrown me some unpleasant surprises in the past year or two.
I'll be interested in that too. Sorry you can't make it too. Keep your head high....
Allan
Here's the Blade Review (http://www.toledoblade.com/apps/pbcs.dll/article?AID=/20080202/ART10/802020456).
All in all a very good concert last night. I was especially pleased with the Hartmann which felt good to play. Not very much in the review about it. It sort of looks like that review was edited quite a bit....not even a mention of the Dvorak. I guess our baritone wasn't marking after all.
As for Cato's inquiry as to what the audience response would be, I'm happy to report that it was very well, almost surprisingly well recieved by the audience. (but maybe I'm underestimating how much the audience has grown along with us) Much more than just a polite applause for the performance but not over the top either. There was enough to understand that the overwhelming majority genuinely enjoyed the piece/performance. It definetly wasn't a luke warm polite reaction. Merwin, the soloist, also got a standing ovation for one of his curtain calls.
Looking forward to it again tonight.
Allan
Quote from: toledobass on January 17, 2008, 07:27:10 PM
I forgot to comment on the Barber rehearsal last night. I wasn't really sold on the piece last night and another go at it tonight leaves the same taste lingering. I'm not finding the material that makes up the piece to be of very much interest. The harmonic language almost sounds 'Danny Elfmanish'. Who knows though, maybe I need another go at it.
Allan
This just sold me on exploring Barber more Allan. I enjoy most of Danny's music.
Quote from: Bogey on February 02, 2008, 05:12:10 AM
This just sold me on exploring Barber more Allan. I enjoy most of Danny's music.
Not that I know all of the canon, but that seems to be a little unique to that particular piece, Bogey. Don't let that stop you though. Lots of good stuff to hear.
Allan
Quote from: toledobass on February 02, 2008, 05:05:29 AM
Here's the Blade Review (http://www.toledoblade.com/apps/pbcs.dll/article?AID=/20080202/ART10/802020456).
All in all a very good concert last night. I was especially pleased with the Hartmann which felt good to play. Not very much in the review about it. It sort of looks like that review was edited quite a bit....not even a mention of the Dvorak. I guess our baritone wasn't marking after all.
As for Cato's inquiry as to what the audience response would be, I'm happy to report that it was very well, almost surprisingly well recieved by the audience. (but maybe I'm underestimating how much the audience has grown along with us) Much more than just a polite applause for the performance but not over the top either. There was enough to understand that the overwhelming majority genuinely enjoyed the piece/performance. It definetly wasn't a luke warm polite reaction. Merwin, the soloist, also got a standing ovation for one of his curtain calls.
Looking forward to it again tonight.
Allan
Okay, yay team! Yes, the intellectual growth of the patrons throughout the years can be a factor: I recall an Andrew Massey concert of
Schoenberg's Five Pieces for Orchestra where Massey stopped and "explained" each piece in an apologetic "please-don't-throw-rotten-tomatoes" tone. In fact, after it was over, an old lady next to us whispered "Glad that's over! Now let's get to that Mozart piece."
Split a bow, Allan! 8)
Whew, finally done with the 3 performances of Carmina. Sat night was an excellent concert again and the response to the Hartmann was equally as gracious as the Friday night concert. So I guess they really liked it and it Friday wasn't a one off audience full of Hartmann fans.......then again maybe they all came again on Sat. ;D ;)
Sat. I had some problems with my concentration during Carmina. The first half was fine. During carmina though, I fell in a big hole, whacking a ff F a half a measure(!!!) early. I joked with my collegues afterward, asking if they could hear it. There's no doubt everyone in the hall heard it. So after that I kicked myself and told myself to get back in the game. That lasted for a movement or 2 and while nothing as embarassing as my initial flub happened, I never could get myself completely back on board. After I realized my focus wasn't 100% I looked at what movement we were on, to maybe come with a game plan to try and reserve energy and think ahead as to what was coming up. We were 9 out of 25.........sigh.......great.
Today was fine though.
Allan
I also once placed a very audible solo note in a performance of Carmina Burana in which I was principal bass, in the "Dance" ("Uff dem Anger" which doesn't mean anger, but the central meeting place in a village) after the few introductory chords, the conductor spontaneously decided to insert an unusually long pause before the actual dance music. Apparently, I was the only one who didn't get that...It was actually pretty funny because the conductor stood there with his arms up in the air dramatically, he gave me a shocked look when I played the first C wooomp!, and then the dance really started after what seemed like a very long moment.
Yeah that's a big note, if it's the one I'm thinking of. I like that at the Met bass section they have a 'clam can' that you donate money to each time you goof and play a solo. They use those funds to help buy them all a dinner or something liek that at the end of the season.
Allan
This week with the Akron Symphony finds performances of Mahlers second. Saturday in our normal hall and a Sunday matinee in Severence hall. Ben Zander will be conducting. It's a huge week for the orchestra and organization. Lots of publicity (http://www.akronsymphony.org/) accordingly.
I have no idea what to expect from Zander. I'm excited for the week though, especially the Severence performance.
Allan
I forgot, do you play French or German bow?
French bow.
Allan
For a while there, they were calling it Freedom bow.
Quote from: karlhenning on February 05, 2008, 05:52:55 AM
For a while there, they were calling it Freedom bow.
Word.....no love for my yurt joke?
Allan
I enjoyed it! Didn't have an apt riposte, and then stuff crossed my desk . . . and the yurt moment was gone.
Quote from: toledobass on February 05, 2008, 05:52:15 AM
French bow.
Allan
Sorry to hear that! That must really totally suck when you have to play stuff like Mahler 2. Well, you can play all the notes, but you can't really play the music with that thing. That's just not what it was made for. There is more bass action on any single page of the part of Mahler 2 then in the entire French or Italian orchestral literature combined.
M,
I know I know. I hated to tell you.
As for last night's rehearsal, I had a good time. Everyone was a little more prepared and attentive than usual just due to the nature of the concert. We began working right away rather than reading through then working. A lot of time focused on the first movement, then in the last hour the third and second. Zander is giving a lot of attention to specific weight of notes and how how to color the dynamics. I hope people remember what he's talking about and play accordingly, because I'd like to get a few more layers on top of what we have. I hate when the conductor simply has to keep repeating him/herself only because the ensemble fails to forget to do what is asked for. I also don't think we as a group are agreeing with what the pulse is. Every section seems to be pushing or laying back in their own way with a disregard to what is happening elsewhere. Maybe it's because it was the first rehearsal though. I'm interested to see what he has to say on top of the more or less fundamental work he did last night.
Allan
Quote from: toledobass on February 06, 2008, 05:00:19 AM
M,
I know I know. I hated to tell you.
That yurt him more than it did you,
Allan.
Quote from: karlhenning on February 06, 2008, 05:08:23 AM
That yurt him more than it did you, Allan.
One should always be "tentative" in making a pun on "yurt." :o
What does "yurt" mean?
"A circular, domed portable tent used by the nomadic Mongols of Siberia."
(Just to show that I'm a man of my yurt!)
OK, I actually knew that - but I still don't get the pun.
It's only a play on sound. Not grandly funny, and in that class of humor where the more one explains, the less the humor seems.
So the chorus was in last night. Some pitch sagging scares me a little. We also worked on the first movement again and also spent a great deal of time on the second. He's working towards a freedom in the music that goes over two measures, but people don't seem to understand where things are pointing as every down beat is heavy and each measure is note to note. For what he's asking for it's better to think of the pizzicatto as legato but people are confused because they are trying to be with the conductor every single beat rather than actually understand what is happening musically. Am I frustrated? Yeah more than just a little.......
Allan
Oof!
Overtime the past 2 nights is making this a tiring week. Last night we had the 2 soloists in. Both sound excellent with the mezzo soloists giving a very moving reading of the 4th mvmnt. Both have ideal voices for the piece and complement one another as well. We covered a lot of the piece last night, especially focusing on big tutti passages. The brass were really taxed by the end of the rehearsal, hopefully they can recover. Today is an early dress beginning at 1:30 and he mentioned that we wouldn't be running from beginning to end so I think that's good, and not just for the brass.
Allan
Zander week is now over. It was quite a thrill to be playing in Severence yesterday and the orchestra sounded excellent. Everyone really stepped up as the chance to perform this piece in Severence is not only a highlight of the season but can probably be marked as a highlight of many of the musicians careers. I thought to myself as I was leaving my house to drive to the hall that it could very well be the last time I ever play Mahler 2 in Severence.
The hall is so easy to play in, especially in comparison to our regular hall EJ Thomas Hall. It took constant mental energy to remember to just relax and let the sound bloom naturally rather than having to push it out like we have to in EJ. It was also fun to explore just how much the hall would support what you tried to do. The softest pppp took some work getting to, but it was always a firm supported sound...very magical to experience the section sounding like that.
There was some stuff that I really worried about all during rehearsals like the opening stuff out of the last movement never being together because of pulse problems, but somehow in both concerts it just happened. Very surprising stuff. Some intonation things here and there were a little bothersome, but all in all it was a huge success.
Rosenberg Plain Dealer Review (http://www.cleveland.com/arts/index.ssf/2008/02/akron_symphony_offers_majestic.html)
Akron Beakon Journal article on the Severence concert (http://www.ohio.com/entertainment/15500931.html)
Now a few days off and next week I'll return to work with Citymusic Cleveland which I am really looking forward to. A lot of life to the music making in this group. It'll be the first time I get to work with the MD James Gaffigan and we're doing 6 concerts of this program:
Edvard Grieg: Erotik from Lyric Pieces, Op.43
Arnold Schoenberg: Verklärte Nacht (Transfigured Night)
Franz Schreker: Intermezzo for string orchestra
Wolfgang Amadeus Mozart: Eine kleine Nachtmusik (A Little Night Music)
Till then,
Allan
Quote from: toledobass on February 11, 2008, 02:49:56 PM
Zander week is now over. It was quite a thrill to be playing in Severence yesterday and the orchestra sounded excellent. Everyone really stepped up as the chance to perform this piece in Severence is not only a highlight of the season but can probably be marked as a highlight of many of the musicians careers. I thought to myself as I was leaving my house to drive to the hall that it could very well be the last time I ever play Mahler 2 in Severence.
The hall is so easy to play in, especially in comparison to our regular hall EJ Thomas Hall. It took constant mental energy to remember to just relax and let the sound bloom naturally rather than having to push it out like we have to in EJ. It was also fun to explore just how much the hall would support what you tried to do. The softest pppp took some work getting to, but it was always a firm supported sound...very magical to experience the section sounding like that.
There was some stuff that I really worried about all during rehearsals like the opening stuff out of the last movement never being together because of pulse problems, but somehow in both concerts it just happened. Very surprising stuff. Some intonation things here and there were a little bothersome, but all in all it was a huge success.
Excellent! Bravo,
Allan!
QuoteEdvard Grieg: Erotik from Lyric Pieces, Op.43
Arnold Schoenberg: Verklärte Nacht (Transfigured Night)
Franz Schreker: Intermezzo for string orchestra
Wolfgang Amadeus Mozart: Eine kleine Nachtmusik (A Little Night Music)
What a cool string program! I know a Henning piece you could fit in between the
Schoenberg and
Schreker . . . .
Quote from: toledobass on February 11, 2008, 02:49:56 PM
Now a few days off and next week I'll return to work with Citymusic Cleveland which I am really looking forward to. A lot of life to the music making in this group. It'll be the first time I get to work with the MD James Gaffigan and we're doing 6 concerts of this program:
Edvard Grieg: Erotik from Lyric Pieces, Op.43
Arnold Schoenberg: Verklärte Nacht (Transfigured Night)
Franz Schreker: Intermezzo for string orchestra
Wolfgang Amadeus Mozart: Eine kleine Nachtmusik (A Little Night Music)
Till then,
Allan
OMG I can't believe you are playing the
Schreker! I just discovered it last year and have been playing it
to death! It's an unknown gem, and although it may be more popular than I realize, your concert is the first time I've ever even seen it on a program.
--Bruce
That's the first time I have heard such positive comments about the acoustics in Severance Hall. I have never been to it myself, so I don't know, but I often hear it's rather dryish in sound and it certainly sounds like that on many recordings.
Really great to hear it went well, Allan. I was a little apprehensive after your descriptions of the rehearsal difficulties but the reviews are glowing (thanks for the links). Bravo!
Sarge
Quote from: M forever on February 11, 2008, 03:03:15 PM
That's the first time I have heard such positive comments about the acoustics in Severance Hall. I have never been to it myself, so I don't know, but I often hear it's rather dryish in sound and it certainly sounds like that on many recordings.
I've not played in many great halls in my life. My impression is that it is dry in that you don't have a lot that comes back to you and note decay that is fast, but like I said everything is very well supported and you feel any note you play filling the space without having to push your sound to the back of the hall. There is life to the sound of the hall. Most of the places I play are black holes. You can also hear everything and everyone on stage.
Allan
Quote from: Sergeant Rock on February 11, 2008, 03:08:14 PM
Really great to hear it went well, Allan. I was a little apprehensive after your descriptions of the rehearsal difficulties but the reviews are glowing (thanks for the links). Bravo!
Sarge
While some stuff did go much better than I anticipated, I think perhaps a lot of my frustration is just a normal part of the rehearsal process of a group that doesn't play together on a daily basis. In Akron it takes a little while to figure out where our pulse and sound as a group are. So because of that there are always ensemble problems early on and it takes those a rehearsals or 2 to tidy up that stuff before it seems like we get into any real musical/stylistic detail.
Allan
Guregian Akron Beakon Journal Review (http://www.ohio.com/entertainment/guregian/15577252.html)
Allan
Congratulations,
Allan, splendid reviews!
Quote from: Ben'You know what I think — no wonder the Cleveland Orchestra sounds so good. It's none of my business, but I think you should play here all the time.
Yes, the acoustics
are rather better than in Sanders Theatre 8)
CityMusic begins this evening. It can be a taxing week to get through because of the way they rehearsals are stacked into 2 days. One of the rehearsals was cancelled this afternoon so we only have a single 3 hour service tonight that makes it a little less intense. Here's the schedule for the week:
Monday, February 18 6pm to 9pm
Tuesday, February 19 1pm to 4pm
Tuesday, February 19 6pm to 9pm
Wednesday, February 20 10pm to 1pm Dress rehearsal in concert order
Concerts:
Wed.,February 20 touch up 6.00pm - concert 7pm St.Vitus Church
Thurs.,February 21 touch up 6.30pm - concert 7.30pm Elyria First United Methodist Church
Fri. February 22 touch up 7pm - concert at 8pm Willoughby United Methodist Church
Sat. February 23 touch up 7pm - concert at 8pm Shrine Church of St. Stanislaus
Sun. February 24 touch up 1pm - concert at 2pm Fairmount Presbyterian Church
Sun. February 24 touch up 7.15pm – concert at 8pm Westlake Schools Performing Arts
More later,
Allan
Much work to accomplish today. Gaffigan's flight into Cleveland was delayed yesterday and he didn't make it to rehearsal until the second half. Not a complete disaster as the Grieg will be performed without conductor, so we used our time to work on that. We are all able to contribute comments to the overall interpretation of the piece. With all the time we had, we rehearsed it thouroughly and shaped it into something...I think. With some remaining time we read through some of the Mozart. The second half was all Schoenberg, with Gaffigan. It's a difficult piece but in the short time we spent on it we made a lot of progress. Particular attention was paid to not overplaying the dynamics and making sure that we not take so many liberties with the line (the underlying rhythmic pulse was being pulled too many ways).
Allan
That is some schedule: hooray for you and the group!
Make sure to relate the reaction to the Schreker and the Schoenberg!
Are these concerts gratis or do you pass the hat? $:)
Your modesty prevented you from pasting this Allan, and rather you just gave us just a link. So allow me to do the honors:
Akron Symphony hits the big league
Orchestra, chorus marvel at acoustics of Cleveland's Severance Hall
Akron Symphony offers majestic Mahler in Severance Hall debut
Symphony rises to demands of hectic pace, different sites
Players respond to guest Zander, make weekend a triumph at E.J. Thomas and Severance debut
Well done!
Any recordings come out these performances Allan? I went back a few pages and did not catch if there were plans for this or not.
Allan,
Did you leave feedback for Zander?:
Wherever he conducts, Benjamin Zander places a sheet of white paper on the music stand of each player. The paper gives orchestra musicians the chance to do something largely unheard of in this most undemocratic of institutions: Send comments back to the conductor.
And Zander actually listens to what the players have to say.
http://www.cleveland.com/arts/index.ssf/2008/02/boston_conductor_zander_to_lea.html
Quote from: Cato on February 19, 2008, 01:56:24 PM
That is some schedule: hooray for you and the group!
Make sure to relate the reaction to the Schreker and the Schoenberg!
Are these concerts gratis or do you pass the hat? $:)
They are free, I think there is a donation box but there's no "suggested donation" or anything like that.
Allan
Bogey,
Many people left comments but I wasn't one of them. It did seem like he gave them all thought and some he incorporated and some he just said thanks for the comment but he didn't agree. Having that dialogue is important to him.
As for any recordings. I think all of the concerts I post about get recorded for in house archives as well as for radio play. I usually only end up getting the recordings from Toledo, though. CityMusic puts out some concert cd's for purchase (I wouldn't mind hearing these)
CityMusic Recordings (http://www.citymusiccleveland.org/Recordings/)
Allan
Quote from: toledobass on February 19, 2008, 07:15:30 PM
As for any recordings. I think all of the concerts I post about get recorded for in house archives as well as for radio play. I usually only end up getting the recordings from Toledo, though. CityMusic puts out some concert cd's for purchase (I wouldn't mind hearing these)
CityMusic Recordings (http://www.citymusiccleveland.org/Recordings/)
Allan
Thanks for that link to CityMusic. As a fan of live recordings, I might investigate some of these, too.
--Bruce
Very taxing day yesterday but the first concert went well. James was so jet lagged on Tuesday evening that he sent us home after only an hour of rehearsal. So dress yesterday not only found us running through the program but also working a lot of aspects of it pretty hard. Intonation work and tempi work, two things that take a lot of mental effort. The concert was in one ov the more reverberant of spaces so we found proper adjustments during sound check. Lower strings added a sharpness to the front of the note while releasing the back of the note much sooner. No surprise to see how in the faster tempi this helped keep the rhythmic energy alive, but I was also a little surprised how important it can be in very slow things too.
This venue is one that has a reception afterwards the concert rather than intermission. I talked to a few patrons during the dinner afterwards and mostly answered the usual questions: where we come from, how much rehearsal before the concert, do we get the music before hand, do we actually get paid for this or the other variation of that...what do you do for your day job? etc. The overall comments regarding the Schoenberg were positive. The audience response during the concert reflected this. Many were surprised that they enjoyed it so thoroughly and were taken by the story and performance. One couple said that they thought it was a shame that a lot of people probably stayed away due to the fact that the name alone was on the program.
One man came up to a few of us and apologized for clapping between movements of the Mozart, stating that he really enjoyed the concert and that the hardcore ethnic (slovinian) members of that parish don't regularly get to see classical music like that. We told him that it was not a problem at all as long as he enjoyed the concert. He smiled walked away and came back a few moments later and said he'd never heard any of that music before except the first part of the Mozart. He told us upon hearing the first two measures he turned to his nephew and chuckled as he realized they hear that music everyday as his one of his nephew's cell ring tones. ;D
Allan
Quote from: toledobass on February 21, 2008, 05:28:25 AM
. . . The overall comments regarding the Schoenberg were positive. The audience response during the concert reflected this. Many were surprised that they enjoyed it so thoroughly and were taken by the story and performance. One couple said that they thought it was a shame that a lot of people probably stayed away due to the fact that the name alone was on the program.
First: congratulations,
Allan!
Second: yes, merely speaking the name
Schoenberg still strikes terror deep in the heartland ::)
Quote from: toledobass on February 21, 2008, 05:28:25 AM
James was so jet lagged on Tuesday evening that he sent us home after only an hour of rehearsal.
Who is that unprofessional idiot?
No, but I am a former professional musician who never went home early even when I was dead tired or seriously sick. Professional musicians don't just go home early because they are jetlagged. Especially not when dozens of other musicians have come to rehearse with him. That guy should never be re-invited.
We're half way through the series of concerts and everything is going well. It's nice to have the change of venue as it makes us play differently in each one according to the acoustic. Everything comes into consideration again: Tempi, note lengths, attacks, vibrato. It keeps me from going on auto pilot and that's a really good thing for a program being performed 6 times.
Still getting more of the same response about Verklarte Nacht. Positive comments about the piece as well as the performance. I'm really enjoying the Schreker too, and the Mozart is a perfect palate cleanser after the richness of rest of the program.
Allan
Here's a few things. First a Rosenberg review (http://www.cleveland.com/entertainment/plaindealer/index.ssf?/base/entertainment-0/1203759242297860.xml&coll=2) and then a few pics of tonight's performance space.
Shrine Church of St Stanislaus:
(http://i186.photobucket.com/albums/x295/toledobass/ststan.jpg)
Some of the audience at intermission:
(http://i186.photobucket.com/albums/x295/toledobass/citymusicaudience.jpg)
The shrine behind us:
(http://i186.photobucket.com/albums/x295/toledobass/shrine.jpg)
Allan
Very beautiful setting Allan.
This past month or so has been making me, once again, realize how vital and alive this art can be. Talking to concert goers over this past week has been interesting and informative and stirs up lots of thoughts about what this music means to people. Some of the people I talk to have attended their first classical music concert through CityMusic. The look on their faces and lack of being able to express what has just happened to them is really something that stays with me. There are some who end up returning to another concert later in the week to experience the whole thing again, with a different companion who, too, has never been.
A friend of mine from Pittsburgh came to the Mahler concert at Severence. Although he'd been to ballet and opera performances, he'd never been to a symphony performance. Afterwards, over dinner, as we talked about the performance he was speechless for a while but eventually got his thoughts together. Completely overwhelmed by the power of a sound he'd never really experienced before, he couldn't believe that classical music could be like that. He now wants me to suggest a bunch of classical CD's and pieces that he'd enjoy.
Lastly here is something (http://www.toledofreepress.com/?id=7246) from Toledo. When I first saw the chairs set up where they were, I thought to myself, OK what rocket surgeon put the donors in front of the brass. Little did I know what was really going on. It's a fun little story.
While I work at refining my craft for what amounts to peanuts, I am nourished by what people take away from their experiences. It makes me realize all the hard work and dealing with the difficulties of never living up to my ever increasing standards of playing worth something. My big hope through all of this is that, somehow, what they get through these first experiences stays with them and fuels their own motivation to return to the hall.
Allan
Quote from: toledobass on February 24, 2008, 06:15:46 AM
This past month or so has been making me, once again, realize how vital and alive this art can be. Talking to concert goers over this past week has been interesting and informative and stirs up lots of thoughts about what this music means to people. Some of the people I talk to have attended their first classical music concert through CityMusic. The look on their faces and lack of being able to express what has just happened to them is really something that stays with me. There are some who end up returning to another concert later in the week to experience the whole thing again, with a different companion who, too, has never been.
A friend of mine from Pittsburgh came to the Mahler concert at Severence. Although he'd been to ballet and opera performances, he'd never been to a symphony performance. Afterwards, over dinner, as we talked about the performance he was speechless for a while but eventually got his thoughts together. Completely overwhelmed by the power of a sound he'd never really experienced before, he couldn't believe that classical music could be like that. He now wants me to suggest a bunch of classical CD's and pieces that he'd enjoy.
Lastly here is something (http://www.toledofreepress.com/?id=7246) from Toledo. When I first saw the chairs set up where they were, I thought to myself, OK what rocket surgeon put the donors in front of the brass. Little did I know what was really going on. It's a fun little story.
While I work at refining my craft for what amounts to peanuts, I am nourished by what people take away from their experiences. It makes me realize all the hard work and dealing with the difficulties of never living up to my ever increasing standards of playing worth something. My big hope through all of this is that, somehow, what they get through these first experiences stays with them and fuels their own motivation to return to the hall.
Allan
Great post, Allan, and among other things, a very good reminder of why we all like this music so much (and what it means for someone new to be turned on to it).
Great story from the
Toledo Free Press, too. I do think that getting people into the concert hall is the trick: live music is very persuasive. Just the other night, I met a woman who was experiencing her very first classical concert: David Robertson and the Saint Louis Symphony Orchestra in Messiaen's
Turangalîla-Symphonie. She was waxing pretty ecstatic, so I think the "trial run" was a success.
--Bruce
Just Experience It
Howdy Folks,
After leaving California on Friday night, somehow I finally made it home to Cleveland yesterday evening. It's too bad my luggage didn't. I'm basically gonna be hurting this week as I gotta get this weekends program under my fingers quickly:
Barber The School for Scandal: Overture
Rouse Concerto for Trombone and Orchestra
Movement I
Movement II
Movement III
Intermission
Strauss Also sprach Zarathustra
I've got the Strauss going, but I only laid eyes on the Rouse for the first time last night and it has a lot of challenges. A week and a half off and my fingers feel like sausages.
Our Principal trombone Garth Simmons is playing the concerto and we have a guest conductor, Giordano Bellincampi. He currently is the General Music Director of the Royal Danish National Opera. He came to Toledo for his first US concerts 2 years ago and it was a great pleasure to have him lead the orchestra. Berlioz Te Deum was the major piece on that program and I remember really enjoying his musicianship. I'm sure we'll have another great week with him.
I also heard a rumor that Schoenberg's Incidental Music to a Motion Picture Scene will be added but I'm not sure what's going on with that as I haven't seen music for it or heard anything else about it. I'd love to play, It'd be a nice cap to all the Schoenberg in my life recently..(hearing Pelleas at the Cleveland O and playing Verklarte with CityMusic.)
And this (http://www.redanorchestra.org/season.cfm?Section=Season&Page=red&SID=32) for Bogey, I know it's over and you prolly couldn't make it anyway, but thought you'd enjoy seeing the program of the Cleveland group Red.
Allan
Quote from: toledobass on March 10, 2008, 06:30:14 AM
And this (http://www.redanorchestra.org/season.cfm?Section=Season&Page=red&SID=32) for Bogey, I know it's over and you prolly couldn't make it anyway, but thought you'd enjoy seeing the program of the Cleveland group Red.
Allan
(Goes Doby the House Elf on self) *bangs head on the table* *wife finds tucked in a fetal position in a dark corner of the basement mumbling, "No, no, no, no ,no, no,....." ;D
Quote from: toledobass on March 10, 2008, 06:30:14 AM
Strauss Also sprach Zarathustra
Man, it's so sad you have to play that with the French bow! Especially those stormy complicated upward runs in "Freuden und Leidenschaften"... Sad, sad... ;D Do you at least have 5-string basses?
5-string banjos?
Quote from: M forever on March 10, 2008, 11:43:22 PM
Man, it's so sad you have to play that with the French bow! Especially those stormy complicated upward runs in "Freuden und Leidenschaften"... Sad, sad... ;D Do you at least have 5-string basses?
In the shape I'm in right now, it's sad I have to play it at all. ;) No one has a five string but almost all of us have an extensions or machine of some sort, including one with a low B.
How is Boston treating you?
Allan
Allan, when are you going to break it to M that your bass has a whammy bar? 8)
And it goes to 11.
The Rouse is terribly difficult. Our entire rehearsal tonight was dedicated to the piece. A little scary to have only one rehearsal for it. The conductor is doing a great job at holding it all together, but still I don't think we're going to get the second movement to the printed metronome marking of quarter=140. I was dreading this because even when listening to a recording I was having trouble following along. Trying to practice it alone is difficult because it just takes a while to figure out the rhythm. Very tricky stuff basically every permutation of odd meter there is 5-11/16. Along with tricky unfamiliar rythmic groupings you don't see everyday, the note patterns are not common either. It turns out to be a little easier with everyone playing since everything fits together and bounces off one another so it's easier to feel the groove of the piece rather than trying to hammer it out yourself alone in your practice room. I've never been so happy to see a conductor giving solid downbeats.
Zarathustra is coming along quite nicely. He's been working a lot on just developing a good lush romantic sound and a nice flexible way with the phrasing.
Dress tomorrow evening,
Allan
Sometimes, even apparently negotiable modern scores need more rehearsal than at first one may suppose.
The guest conductors always seem to get shorted a rehearsal too Karl. So we only have 4 rehearsals including the dress for this concert, which is probably the most technically difficult we'll play this season. When Stefan is in we get 5 rehearsals including the dress, for programs not nearly as demanding as this one. While I believe in this conductor and think he's doing an amazing job in every way, my only complaint thus far is that we should have touched on the Rouse a little earlier in the week. Difficult things have an easier time of settling when touched on a little earlier and more often throughout the week rather than one intense rehearsal. It doesn't neccesarily need to take up any more time, but I find it to be a lot much more effective with this group.
I don't think anyone looked at their part and thought apparently negotiable in one rehearsal.
Allan
Last night came off with a surprisingly settled feel to it. The rehearsals, especially the dress, were physically taxing and mentally draining to an extreme. I thought my fatigue may be because of having my time off in California but everyone was wiped out. So much so that dress reharsal run throughs were a little shakey due to not only running the pieces but spot working some spots pretty intensly directly afterwards. Keeping up concentration in rehearsal like that is demanding and it becomes a challenge trying to figure out how to pace yourself for the actual concert. We pulled it together pretty well for the performance though. Difficult sections in the Rouse went well, with bass section ensemble unified. The fugue entrance in Zarathustra went well last night too!!!!! (I'm on the stand that starts it and there was some intonation trouble with it in dress.)
Unfortunalty there were a lot of empty seats last night. The reception seemed not overly enthusiastic but gracious, but perhaps there just weren't enough people in the hall for me to understand what they thought. Here's a review from the Toledo Blade. (http://toledoblade.com/apps/pbcs.dll/article?AID=/20080315/ART10/803150447)
One last thing regarding our guest conductor Giordani Bellincampi: as I was reading the program booklet last night, I came upon this part of his bio that made me chuckle.
In 2005/2006 he appeared with the Toledo Symphony, Royal Scottish National Orchestra and Lahti Orchestra.
I'm sure the bio is doctored for our program booklets but it's still kind of funny for the 'little symphony that could' to be amongst those household names.
Repeats tonight then Sunday matinee without the Rouse.
Allan
I do like these Sunday matinees; this is the first year we've done these. It does make for a longer week, but it is nice to have another performance of the same rep. I've long thought that many repeat performances of the same repertoire can get tedious, but my recent experience with CityMusic and these added matinees in Toledo is making me rethink my views. I find the matinee performances to be rather good performances and in no way phoned in like I originally thought they'd be. I believe part of the quality being high is due to the programs being shortened to about an hour. This usually means no concerto, which in turn means we get another shot at the major piece with less playing before it. Saturday nights tend to be a lower energy than Friday, but many times more solid in technical matters. Sunday is turning out performances where lots of great things are happening without having to be forced, and that's a major reason I'm becoming a big fan of them.
Allan
Allan! How are you doing?
Howdy Karl, things are fine here. Easter vacation all around here so no work this week. Chilling out and trying to catch up on stuff I avoided while extending the trip out in Ca.
Allan
Allan,
Is your orchestra doing something with an Elvis theme in the near future?
I don't think so. Last Elvis sighting was during a Halloween concert a few years ago where the conductor dressed up as Elvis.
Allan
Quote from: toledobass on March 19, 2008, 07:31:08 PM
I don't think so. Last Elvis sighting was during a Halloween concert a few years ago where the conductor dressed up as Elvis.
Allan
:D
Howdy folks,
This week brings one of my favorite weeks of the season and one that I've been looking forward to since it was programmed last year. That's right, it's Bruckner week at the Toledo Symphony. For those of you who've never heard of our Bruckner week, Stefan began programming a Bruckner symphony each year since he took over as music director. We've tackled the 7th, 3rd and 8th so far. This week brings the 9th and next year the 5th.
In past seasons, we were in fabulous shape since the weeks prior to Bruckner week found us led by Stefan in a Mozart week, then a classics week, then Bruckner. Usually we see him a week here and a week there, so I've always looked forward to the orchestra having that much time under our music director. This year is a little different though. We get him for a couple of weeks but starting rather than ending with Bruckner. The guest conductor, Giordani Bellencampi was with us for the Mozart and Classics weeks prior to Bruckner week. We get Stefan for the Bruckner week then immediately after, another Classics week, which I will post about later.
The concert is a subscriber give away for our Mozart series subscribers and of course tickets to the general public are available. The concerts are given in the visually appealing Rosary Cathedral (http://www.rosarycathedral.org/) in Toledo. The acoustics are also benefical to the music. The house is always packed.
Our understanding of this music has grown each year and I believe with each new symphony that we've undertaken has been more and more musically rich. It's a wierd thing for me to think that we can grow in this litereature only seeing it once a year, but somehow that's what's happening. The concerts have always been extremely well received, which somehow surprised me at first (the whole is Toledo ready for Bruckner....silly me). The audience support and enthusiasm for these concerts is palpable and in that way I feel we're obligated to really play them well.
It's not all good though. Bruckner has that way of dividing not only listeners, but also orchestra musicians. So for some it's torturous. Too bad for them that we're not even half way through symphonies. Mwahahahaha >:D
Schedule:
Tues 3-5:30 7:30-9:30 rehearsals at the Peristyle
Wed 3-5:30 7:30-9:30 rehearsal and dress at Rosary Cathedral
Thurs 7 concert
Allan
Quote from: toledobass on March 23, 2008, 02:48:30 PM
The concerts have always been extremely well received, which somehow surprised me at first (the whole is Toledo ready for Bruckner....silly me). The audience support and enthusiasm for these concerts is palpable and in that way I feel we're obligated to really play them well.
I hope that continues with the Ninth. But it's been my experience that audience enthusiasm seems damped when it's Bruckner 9. I recall thunderous ovations in 1972 and 1973 at Severance for Bruckner 7 and 3, but a quite muted response for the Ninth. It probably has something to do, or everything to do, with the symphony ending with a slow movement, and quietly. Anyway, don't be surprised or disappointed if the audience seems less responsive. And once again, this year as last, I'm disappointed I won't be there to hear you. Good luck, and good playing!
Sarge
Quote from: Sergeant Rock on March 23, 2008, 03:33:15 PM
I hope that continues with the Ninth. But it's been my experience that audience enthusiasm seems damped when it's Bruckner 9. I recall thunderous ovations in 1972 and 1973 at Severance for Bruckner 7 and 3, but a quite muted response for the Ninth. It probably has something to do, or everything to do, with the symphony ending with a slow movement, and quietly. Anyway, don't be surprised or disappointed if the audience seems less responsive. And once again, this year as last, I'm disappointed I won't be there to hear you. Good luck, and good playing!
Sarge
That's interesting Sarge and something I'll keep have to keep in mind. Also, I'm sorry I haven't gotten around to sending you stuff I've been wanting to send you. One day I'll hang up my headphones and make it to the post office.
Thanks for the good wishes,
Allan
Quote from: Sergeant Rock on March 23, 2008, 03:33:15 PM
. . . I recall thunderous ovations in 1972 and 1973 at Severance for Bruckner 7 and 3, but a quite muted response for the Ninth. It probably has something to do, or everything to do, with the symphony ending with a slow movement, and quietly.
Audiences are slow to accept changes in convention, and it's
only been 112 years, after all,
Sarge . . . .
Quote from: karlhenning on March 24, 2008, 04:23:23 AM
Audiences are slow to accept changes in convention, and it's only been 112 years, after all, Sarge . . . .
True, Karl...we need to give them time to adapt. Evolution is a slow process afterall :D But mabe I'm being needlessly pessimistic. Maybe the Toledo audience will surprise us.
Sarge
Quote from: toledobass on March 23, 2008, 04:12:08 PM
Also, I'm sorry I haven't gotten around to sending you stuff I've been wanting to send you. One day I'll hang up my headphones and make it to the post office.
I understand, Allan...I really do. I'm the surpreme procrastinator. I have many testimonials confirming that fact. Getting to a post office sometimes seems to be the most difficult thing in world.
Sarge
Quote from: toledobass on March 23, 2008, 04:12:08 PM
That's interesting Sarge and something I'll keep have to keep in mind. Also, I'm sorry I haven't gotten around to sending you stuff I've been wanting to send you. One day I'll hang up my headphones and make it to the post office.
Thanks for the good wishes,
Allan
Even if you wait a couple more months Allan, you will still look like lightning compared to my last mailing to a GMG'r. $:)
Where to start.....
Lots of work over the last couple of days. The amount of detail going into this performance is incredible. There's 2.5 hours or so for each movement and the rehearsal process can be extremelly tedious. It's rare to actually get through an entire phrase without stopping and really being asked if we think our part is as important as we are playing it, or if the sound is really the sound we want, or if we understand where the pulse is coming from and why that pulse might be important to maintain or not. Too many things to list, really. He's sculpting every single note of every phrase. This type of micro managing usually shuts an orchestra down, as generally orchestras like to be able to play a phrase now and then. It does get to be mentally fatiguing trying to take in everything he's saying, and there is just so much, but it's hard to argue with the results he's getting. The thing I feel I'm lacking a little of, is a better understanding of the overall phrase construction or big picture.
In trying to get us to relate to the music in as human way as possible, he's given us a context of how these were Bruckner's last pages that he saw. Tyhe very last stuff he worked on. Also how this the last of this kind of language of music. He's insistant that those things be taken into account, or at least something be put accross. He doesn't really care if it's his story but he's is adamant that your playing conveys some sense of you and your story of the music.
On a bass note, it's challenging to keep everything as smooth as I want it to. The parts aren't necessarily the most idomatic stuff written, lots of multiple string crossings and difficult note patterns and bowing distribution. Mostly I hear from the section various notes popping out here and there, only in order to get to a part of the bow that's more comfortable to be in, but I'm trying to go against that instinct and really get past the technique in order to shape this stuff as musically as possible.
I think the concert will be a good one tomorrow. I'm certainly looking forward to it, but I'm also glad we have the day free till then....we all need it.
Now it's time for a beer,
Allan
Wow. I'll stand you another beer, Allan.
Keg stands with Doc Henning!!!! Woot!!!!
New avatar Allan...I'm going to miss that last one. Maybe there are some left-overs in the fridge. At least you did not go with that sausage casing you posted a bit back, ;D
I like the new one.
How do you like that Gruenert bass? I only tried a few of those, various models, and while they are very well made from the craftsmanship point of view, I found their sound not really very special. They look like nice old instruments, but they don't sound like those. You don't play that in the orchestra though, do you?
I know what you mean about Gruenert basses. When I was looking at this one I almost passed up the trip to take a look at it just because of the name. At that point I hadn't heard any of his basses that I liked. I played a few when I was looking at this one, most of them sounded just as you say, nothing special. Mostly sounding like a good student bass. This one is very different from the others I've experienced though. It has a very powerful sound with a deep full low end. It can really move some air and provide that cusion of sound for everyone to build upon. One of my favorite things about the bass is the amount of fundamental it still gives when playing in the quietest dynamics. A drawback is the top end can be a little brittle sounding and lacks the warmth and robust quality that the rest of the bass has, but it doesn't bug me all that much. It requires some attention to make sure bow pressure isn't too much for bow speed. It has a small limit of what it'll take up top. He does do a very nice job as far as cosmetics are concerned. He did a sort of antiqued look on the varnish so it doesn't look like a modern instrument. Many people are surpised when I tell them it's a Gruenert. It doesn't look like a modern instrument and it doesn't have a generic sound like a lot of the modern instruments do these days.
Allan
Quote from: Bogey on March 27, 2008, 04:30:31 PM
New avatar Allan...I'm going to miss that last one. Maybe there are some left-overs in the fridge. At least you did not go with that sausage casing you posted a bit back, ;D
I may have to post my pig heart pics just for you.
Allan
I also knew that the one with real pull on this thread was Bill ;)
I was a little more than dissapointed in the Bruckner performance last night. It really felt uncomfortable from the first note till the last. Although there were some memorable moments, the overall cohesion of the orchestra was severely lacking. The whole time felt like gasping for breath. Not a pleasent feeling, especially in this music. Some intonation problems in the fiddles, some botched entrances and miscounting didn't help me feel like we were giving our best.
Audience reaction was gracious, but at the same time hesitant. I didn't know what to chalk it up to, our performance or Sarge's Bruckner 9 theory. Patrons to who I spoke afterwards thought the concert was excellent, though. One person thought it was equall to any of the best perfromances we've given. While I won't agree with him I'm hoping that there's a little of the 'what it feels like and what it sounds like' difference is huge. I'll get thge concert recordings and find out for myself next week.
Here's a Blade review of sorts: Vallongo Bruckner review (http://toledoblade.com/apps/pbcs.dll/article?AID=/20080328/ART10/803280406).
Allan
Howdy,
This week in Toledo:
Schoenberg: Begleitungmusik zu Einer Lichtspielscene
Beethoven: Symphony 1
intermission
Brahms Piano Concerto no.2
Conducted by Stefan and our guest soloist is Marc-Andre Hamelin. Never worked with Hamelin so looking forward to hearing him play. Anyone ever hear him in this rep?
Tues: 7:30 Beethoven
Wed: 3 Schoenberg
7:30 Beethoven/Schoenberg
Thurs: 3 Brahms
7:30 dress rehearsal Brahms/Schoenberg/Beethoven
Friday and Saturday performances at 8.
Allan
The Schoenberg is a lovely (though brief) piece. How do you like it, Allan? Does it prepare moderately easy? Is it A Bear?
I've listened to the piece here and there Karl, but not really with the technical 'how difficult is the piece gonna be to put together' ear. I like the piece, but of course most everyone else I talk to is keeping the piece at arms distance only because of the composer attached to the music. Some haven't even heard the piece yet!!!!! The individual part doesn't look too bad, but looking at the rehearsal schedule for the week we see an entire rehearsal dedicated to the piece plus some time in another rehearsals. So at least 3 hour not including dress for a piece that is about 10 minutes or so. So either it's gonna be rough going ensemble wise or he's gonna be as detailed as he was in the Bruckner. I'll let you know how things lie tomorrow.
Allan
Quote from: toledobass on March 31, 2008, 05:41:10 PM
Brahms Piano Concerto no.2
Conducted by Stefan and our guest soloist is Marc-Andre Hamelin. Never worked with Hamelin so looking forward to hearing him play. Anyone ever hear him in this rep?
Wow, do report back! I would be fascinated to hear Hamelin do that piece. (He is again playing a recital here in July, as the final concert of the International Keyboard Institute and Festival, doing the Ives Concord Sonata.)
--Bruce
Quote from: toledobass on March 31, 2008, 05:41:10 PM
Beethoven: Symphony 1
Underrated, even for Beethoven. :D
It's a fun piece, Bill. I'd sure play it; wouldn't necessarily pay to hear it at Symphony 8)
The Schoenberg turns out to be difficult in basically, every way. The big thing is ensemble rhythm/pulse is paramount. You have to execute your part with authority and precision or else it is very clear that something is not correct and the piece becomes muddied, other sections can easily get lost by your tiny bit late rhythmic figure. I also think just dealing with this language so infrequently is part of why it takes a little longer to put together. Granted, the piece is not something that is sight readable, but even after a little familiarity with what is happening when and who you are playing off of, it is still a different way of thinking and sculpting a phrase than, say, accompaniment for 4 measures then melody for 4 etc etc. The importance of your part can change extremely rapidly, and those may only be a few notes. We went through it section by section and under tempo in order to just understand the construction and that certainly helped a lot. After the sort of nuts and bolts of getting everyone on the same page, I find myself asking how to shape the notes I've been given in the context that they've been assigned. There's not a whole lot of instinctual things to rely on, or I should say, when I rely on that line of though, it generally turns out not to be the most desirable way to approach the material. I find it refreshing and rewarding to be dealing with these kinds of questions. I wish I had just a bit more clear thinking on why the piece is difficult to put together. I'll continue to think about it and post more if I gain anything more lucid.
Stefan gave some brief comments regarding the piece and more importantly to me, his belief in Schoenberg. He also gave parallels to Bach and Bruckner in that the music's construction requires it to be played meticulously, as failing that, the emotional aspect of the music will also fail to get across to those listening.
Another interesting thing is hearing a few musicians who have come to enjoy and appreciate the piece when they were fully prepared to hate it in the first place.
Allan
Quote from: karlhenning on April 02, 2008, 03:19:27 AM
It's a fun piece, Bill. I'd sure play it; wouldn't necessarily pay to hear it at Symphony 8)
Now that would be cool. We all arrange a road trip to see Allan perform and then hit The Pulse for some live Henning music.
Quote from: toledobass on April 02, 2008, 07:43:38 PM
The Schoenberg turns out to be difficult in basically, every way. The big thing is ensemble rhythm/pulse is paramount. You have to execute your part with authority and precision or else it is very clear that something is not correct and the piece becomes muddied, other sections can easily get lost by your tiny bit late rhythmic figure. I also think just dealing with this language so infrequently is part of why it takes a little longer to put together. Granted, the piece is not something that is sight readable, but even after a little familiarity with what is happening when and who you are playing off of, it is still a different way of thinking and sculpting a phrase than, say, accompaniment for 4 measures then melody for 4 etc etc. The importance of your part can change extremely rapidly, and those may only be a few notes. We went through it section by section and under tempo in order to just understand the construction and that certainly helped a lot. After the sort of nuts and bolts of getting everyone on the same page, I find myself asking how to shape the notes I've been given in the context that they've been assigned. There's not a whole lot of instinctual things to rely on, or I should say, when I rely on that line of though, it generally turns out not to be the most desirable way to approach the material. I find it refreshing and rewarding to be dealing with these kinds of questions. I wish I had just a bit more clear thinking on why the piece is difficult to put together. I'll continue to think about it and post more if I gain anything more lucid.
Very interesting, thank you,
Allan! The texture of sort of 'seething counterpoint', where every entrance no matter how brief is one strand of melody in the weave, is much less susceptible to casual 'adoption' by an ensemble than (say) your basic tune underlaid by an Alberti bass. I'm inclined to agree that it must get more naturalized with time spent in a series of pieces in that sound-world.
Quote from: AllanAnother interesting thing is hearing a few musicians who have come to enjoy and appreciate the piece when they were fully prepared to hate it in the first place.
Excellent!
Quote from: Bogey on April 02, 2008, 07:50:07 PM
Now that would be cool. We all arrange a road trip to see Allan perform and then hit The Pulse for some live Henning music.
Come on over!
This afternoon was Brahms rehearsal with Hamelin. His view of the piece is not quite as elastic and weighty as those I've encountered before, but his interpretation and playing has a clarity that is refreshing. It goes without saying that his technique is simply remarkable. He gets through this concerto and it just sounds easy. I'm particularly impressed with his voicing of big chord passages. I don't think I've ever really heard every note of the chord audible in a huge sound like that. He is also masterful at seperating the many things that happen at once. I love that everything is presented logically and clearly, no matter how many things might be going on for him. I will say that one thing I miss is a real singing quality, especially in the slow movement. That is easily countered by the complete ease and and joyous quality he brings to his figures in the last movement though. He's giving a great reading and I hope concert goers are able to understand the kind of interpretation he is giving.
Dress rehearsal this evening was good. This afternoon we worked almost a full 2.5 hrs on the Brahms so Hamelin took the night off and we didn't run through the piece for dress. We did review some of the tutti sections though. Schoenberg went well and it's feeling very settled. It has a wierd way of exposing more and more in a sort of exponential way every time we play it. The note patterns become more and more familiar and you begin to understand who picks up where you left off or that you have the same stuff that someone else may have had much earlier. The other thing I'm finding is that I'm thinking more and more highly of the piece as I slowly discover it's inner workings. It's so highly detailed and everything just seems to make sense. Like most good pieces it's as if not a single thing could be changed to make the piece better.
Beethoven was a bit tedious. We didn't run the piece per se but rather run/worked through it. While I value everything he gives us and so much of it makes an immediately better result, I wish he'd let us get through a movement before returning to things he'd like to add. It's hard to apply everything and get a feeling for the pace of the movement and things like overall dynamic contour....how loud is that FF in the context of the entire movement? He did the same thing with the Bruckner and I wasn't a big fan.
That's about it for now, below is a not so great picture of Hamelin as orchestra musicians make their way to the stage to begin rehearsal.
(http://i186.photobucket.com/albums/x295/toledobass/0403081459.jpg)
Allan
Neat stuff Allan. I am watching your LvB reports with heightened interest....
(moves off into sidebar tirade) ....damn I love that No. 1. Now where is the HvK '84? That's right. '84! I did not stutter. '84! Did it sound like I said '62/'63 or '77....nope. '84! ;D
(regains composure) Will they be recording No. 1 Allan? 0:)
Quote from: toledobass on April 03, 2008, 06:51:54 PM
This afternoon was Brahms rehearsal with Hamelin. His view of the piece is not quite as elastic and weighty as those I've encountered before, but his interpretation and playing has a clarity that is refreshing. It goes without saying that his technique is simply remarkable. He gets through this concerto and it just sounds easy.
That, all of itself, is a fine accomplishment, of course.
Quote from: toledobass on April 03, 2008, 06:51:54 PM
Schoenberg went well and it's feeling very settled. It has a wierd way of exposing more and more in a sort of exponential way every time we play it. The note patterns become more and more familiar and you begin to understand who picks up where you left off or that you have the same stuff that someone else may have had much earlier. The other thing I'm finding is that I'm thinking more and more highly of the piece as I slowly discover it's inner workings. It's so highly detailed and everything just seems to make sense. Like most good pieces it's as if not a single thing could be changed to make the piece better.
Très, très bien!
Quote from: karlhenning on April 04, 2008, 03:31:56 AM
That, all of itself, is a fine accomplishment, of course.
Like I said, Karl, it is refreshing to hear it not as the pianist vs piano battle royale that it can be.
Also I forgot to add re: Schoenberg. There is a chance we will play it twice. Stefan remarked something to the effect that even as musicians who read music we need more than once to try to understand it.
Allan
We did in fact play the Schoenberg twice. There were some rowdy coughers making their statement the first go. The second was a little more fiery of a performance. The audience had a good time with the double performances and offered up bravos at the end....all in good fun.
Spirited playing in Beethoven and Brahms went rather well considering no dress rehearsal. A bit of limpness in overall shape. I think we underestimated it's symphonic proportions.
Hamelin played a Weissenberg arrangement of En Avril a Paris as an encore, sweet, sentimental playing.
Allan
Another set of good performances down. Last night Schoenberg also had back to back readings. After stating our intentions of a second performance, the audience accepted with pleasing laughter and applause. I was glad to play it twice, the first was somewhat shabby and a little bit of a dissapointing reading to me. The second was much better and I had the added benefit of noticing some things that the bassi play in the beginning of the piece in retrograde and compacted to a few beats at the end....something akin to a harmonic epiphany, a 'holy shit!' moment for me. The audience again accepted the second performance much more favorably than the first.
I think the Brahms also was better in some ways. The first night the pizzicato in the 3rd movement were just impossible to unify. It was just one of those nights where it doesn't happen no matter how much leading is going on and how much you are trying to play together. Last night was beautifully together though. The piece as a whole felt more unified too...not so section to section.
The evening ended with Hamelin playing Gearge Antheil's Jazz Sonata....funny and wild stuff.
Allan
Splendid, Allan.
2 lighter concerts this week. A concert for our 65th anniversary where the audience was able to vote on specific pieces for the program and a pops show with America!!!!
Allan
A totally nasty week in Akron: Kids shows in the morning and our final classics concert of the season with Haydn's The Creation this weekend. Assistant conductor Chris Lees is conducting the YP concerts and MD Chris Wilkins is conducting the Haydn.
Monday 7:30p Kids Show rehearsal
Tues: 5:30-6 Continuo rehearsal for me
7:30 rehearsal Haydn
Wed: 9:45a Kids Performance
12:30p Kids Performance
7:30p Haydn Rehearsal
Thursday 9:45a Kids Performance
12:30p Kids Performance
7:30p Haydn Rehearsal
Friday 7:30p Haydn Dress rehearsal
Sat: 8p Haydn performance
I'm tired just looking at this schedule. The hall is gonna feel like my home this week.
Allan
woof
Well, one set of kids shows down. More or less, the standard fare....this is the string section- perform string piece, this is the percussion section-perform percussion piece etc etc till we end with the Britten. A highlight though, are two pieces that were winners of the Children's Concert Society composition contest. The winners are siblings, one 7 and the other 9. While both are very nice pieces, I'm particularly impressed with the older's. They play their composition on piano then we play a version that's been orchestrated by our conductor. It's a short 25 measure piece that is very well balanced. A high melody is later countered by something in the lower register. Excellent accompaniment figures and inner voice stuff. Most interesting to me is the use of a 6 measure phrase structure. Remarkable to see such a young composer getting away from the 2 and 4 measure phrases that dominates the music they encounter in school.
Allan
Quote from: toledobass on April 14, 2008, 07:15:07 AM
A totally nasty week in Akron: Kids shows in the morning and our final classics concert of the season with Haydn's The Creation this weekend. Assistant conductor Chris Lees is conducting the YP concerts and MD Chris Wilkins is conducting the Haydn.
Monday 7:30p Kids Show rehearsal
Tues: 5:30-6 Continuo rehearsal for me
7:30 rehearsal Haydn
Wed: 9:45a Kids Performance
12:30p Kids Performance
7:30p Haydn Rehearsal
Thursday 9:45a Kids Performance
12:30p Kids Performance
7:30p Haydn Rehearsal
Friday 7:30p Haydn Dress rehearsal
Sat: 8p Haydn performance
I'm tired just looking at this schedule. The hall is gonna feel like my home this week.
Allan
I hope you can hear my applause for your above efforts here Allan. http://www.csysa.com/performance_calendar.php?time=2008-05-04 Maria Mandico was the flower girl in our wedding. We plan on attending this performance. :)
Wow, I feel like a zombie....finished my completely nasty triple days. That gives me a career record of 6 services in 26 hours, one that I don't think will be broken.
One major mishap though. The first concert of the second day, I was trying as hard as I could to be present and focused and very nearly made it to the end of the concert unscathed. In the Fugue in the Britten, I was seeing the light at the end of the tunnel and saw our enrance coming up. I started playing while thinking it odd that our principal had missed the entrance. Then 4 measures or so later I realize the something just doesn't sound right. Yup....I came in a whole statement early. So I was playing the bass part with the cello part, a cool half step off from one another!!! No wonder it sounded odd. I looked up and everyone in my section was laughing. I had to chuckle too.
Allan
Quote from: toledobass on April 18, 2008, 05:10:39 AM
Wow, I feel like a zombie....finished my completely nasty triple days. That gives me a career record of 6 services in 26 hours, one that I don't think will be broken.
Brutal,
Allan! Congratulations on survival! :D
oops...that should read 36 hours not 26.
Allan
A typo is certainly understandable under the circs, lad.
much obliged pardner.
Odd schedule over the next little bit here. We begin our time with Toledo Opera's production of Cavelleria Rusticana. The operas can be a little trying sometimes so at least this one is short in both actual opera length and work schedule.
Fri 25th 7:30p-10 Reading
Sat 26th 1p-4 Orch tech
Wed 30th Dress 7-10
Performances
Friday May 2 7:30p
Sat May 3 7:30p
Sunday May 4 2:00p
Allan
Opera rehearsals are going fine. The cast is superb, some very good voices overall. We'll see if any of them can act.
Here is a brochure for the upcoming season in Toledo. Lots of great stuff and many TSO premiers. I think it looks like a great year for the orchestra. Please let me know what you think of the programs.
TSO 2008-2009 (http://www.toledosymphony.com/export/sites/default/performances/docs/TSOmailer_0809.pdf)
Allan
Some great programs there! Nice seeing Takemitsu, Adler, Kikta and Stucky mixed in there, plus the Mahler 2 and Bruckner 5. Reminds me, too, that I need to see Bobby McFerrin do his improvisations live at some point. He's amazing.
--Bruce
Allan! How are things going with the Rachmaninov Symphonic Dances and the Second Piano Concerto?
In contrast to the Toledo Symphony, the Columbus Symphony down here is on the edge of bankruptcy and almost cancelled its remaining concerts because the bank accounts were empty. A millionaire angel rode to the rescue last week, but said don't expect a second miracle for next season. There is talk of downsizing the orchestra to a chamber group of about 22: the musicians turned down a contract, so...
The contrast could not be starker: Toledo economically is in worse shape than the state capitol, the latter added 20,000 people to its population last year, while Toledo lost 2,000.
Of course, down here you have to compete with the juggernaut of OHIO STATE FOOTBALL!!! 110,000 people will spend hundreds for one football game, while the symphony orchestra plays to the crickets.
The opera was somewhat uninteresting so I didn't really follow up much about it. It suffered from that slapped together feel, at least musically on our end.
Cato,
Nice to hear from you. You sort of beat me to my next post. Our final classics week involving the repertoire you ask about begins this Wed.
Here is the schedule:
Wednesday, May 7
3:00-5:30 rehearsal: Rachmaninoff
7:30-10:00 rehearsal: Rachmaninoff
Thursday, May 8
3:00-5:00 rehearsal: Tchaikovsky
7:30-10:00 rehearsal: Tchaikovsky / Rachmaninoff
Friday and Saturday concerts @ 8pm
Stefan will be conducting and our guest soloist in the Tchaikovsky PC2 is William Wolfrom. He gave a memorable performance of the Strauss Burlesque a few years ago so it will be nice to have another chance to hear his playing. Stefan does particularly well with Russian repertoire. That, coupled with the excitement of this being the final subscription concert, should lead to some vital and exciting performances.
The whole situation in Columbus is a mess. I haven't followed it very closely, but even if they survive this year I still fear they have a long way to go in order to become a stable organization again.
Allan
Allan, the Toledo discs arrived today. Thanks!
Sarge
Quote from: Sergeant Rock on May 06, 2008, 07:00:27 AM
Allan, the Toledo discs arrived today. Thanks!
Sarge
Great Sarge!!!! That was quick. Lemme know what you think. If you find the performances good and need more incentive to hang in Ohio a bit longer in the fall, the 5th will be played on Nov 2nd.
Allan
Rachmaninoff's Symphonic Dances - a great piece, and a very fun piece to play with some nice bass action - although it's probably not so much fun if you have to try to play that with the French bow ;) :-X ;D 0:)
I just heard that 2 weeks ago with the NY Philharmonic conducted by Charles Dutoit, it was great. And the basses led by Eugene Levinson produced a lot of steam despite the muted acoustics of Avery Fisher Hall. I noticed that when I saw them last in Berlin (maybe 15 years ago), there were only 1 or 2 German bow players except for him, now almost the entire section is German bow. And he leads the section very well, very animated and with a lot of verve but elegant. I was told he played and taught 4 finger technique, but it didn't look to me like he or any of the other section members played that way.
Hey M,
I don't really know too much about Levinson's technical approach, but in the scale books and few pieces I have which he edited, I've found him to use the 3rd finger in a lot of places. He also uses the thumb quite liberally and all ranges of the bass, like thumb position on the E string. He teaches his students to play the 4th movement of Mozart 35 on that area of the bass!!!
Allan
The Symphonic Dances turn out to be deceptively tricky to put together, mostly just the 3rd movement, but still makes me feel silly when I look at my part and think no problem, then get to rehearsal and find otherwise. Stefan also made, what I thought, an interesting point: the Symphonic Dances being proof that Rachmoninoff was a great orchestrator despite the many who feel otherwise.
Allan
Quote from: toledobass on May 08, 2008, 09:44:51 AM
Stefan also made, what I thought, an interesting point: the Symphonic Dances being proof that Rachmoninoff was a great orchestrator despite the many who feel otherwise.
(* pounds the table *)
There should be no doubt that Rachamninoff was a great orchestrator - he created his very own, very unique sound world. His color palette can be very rich and hard to balance and make transparent, but that doesn't make him a bad orchestrator. It just makes his music a little more difficult to realize well - which I guess applies to more or less any "great" composer in one way or another. The Symphonic Dances in particular do indeed sound fabulous and make great use of the colors of the orchestra. I also find the musical invention very rich and free, Rachmaninoff developed all this from a few basic musical ideas and there is plenty of interesting and original detail.
Quote from: karlhenning on May 08, 2008, 11:16:18 AM
(* pounds the table *)
(http://tbn0.google.com/images?q=tbn:TlI9ckLi15bnVM:http://furniture-hire.southwesteventhire.co.uk/front-images/broken_table.jpg)
Quote from: M forever on May 08, 2008, 11:33:10 AM
There should be no doubt that Rachamninoff was a great orchestrator - he created his very own, very unique sound world. His color palette can be very rich and hard to balance and make transparent, but that doesn't make him a bad orchestrator. It just makes his music a little more difficult to realize well - which I guess applies to more or less any "great" composer in one way or another.
This is similar to George Szell's estimation of
Schumann's symphonies.
So, Allan, tell us about the concerts!
Well the reheasals seemed a little nit picky. Very tedious work measure by measure without much playing of a phrase or two let alone a section. That seems to be an approach Stefan is using more and more with us. I don't doubt the good performances he's putting together, but everything feels micro mangaed and sometimes I would just like to know how the piece is going to feel with everything he's throwing at us. Even in dress rehearsal he's working through and giving more musical comments without alowing us to get through the piece or movement first. So that process combined with a serious case of orchestra senioritis saw some pretty miserable faces amongst the group this week.
The concerts went well though, with Saturday being more inspired and more musical overall. Friday was a little too adrenaline driven. A frantic feel to the overall pulse took it's toll on the overall sweep of things and just sounded a little brutal at times, at least to my ear....Symphonic Slam Dances. Wolfram kicked ass both nights. That man has some serious skill. Saturday was a lot more relaxed and the music was able to unfold much more naturally. People were able to listen to one another more intently and the cohesion of the group and music came across much better IMO. The 2nd movement of the Tchaik was particularly nice to play and listen to and the Symphonic Dances were just a lot of fun to play on Sat. It had some of those moments where everyone seems to be engaged and involved and tapped into one another and everything is effortless.
Here's the Blade Review (http://toledoblade.com/apps/pbcs.dll/article?AID=/20080510/ART10/805100438)
Allan
All right!!!!!!
One more rehearsal this morning and two kids concert tomorrow morning and I'm finished with the regular season!!!!!
Allan
Coraggio!
Sweet Jeezus, I made it through another season!!!!!
This morning's concerts were a great time actually. I enjoyed playing a piece by Russell Peck called The Thrill of the Orchestra. It's a piece designed for learning about the orchestra much like Britten's Young Persons Guide. It's the second piece of his that I've encountered and I really enjoy his language, especially his orchestration.
I would be drinking heavily if it weren't for an upcoming audition in a little more than a week.
Allan
Quote from: toledobass on May 15, 2008, 09:25:19 AM
I would be drinking heavily if it weren't for an upcoming audition in a little more than a week.
Allan
Are you thinking of jumping ship to another orchestra? :o
It's all about the Benjamins, Cato. (Musically, it'd be better to though :P)
Allan
Quote from: toledobass on May 15, 2008, 09:25:19 AM
I would be drinking heavily if it weren't for an upcoming audition in a little more than a week.
Allan
When does your plane arrive in Berlin Allan? (http://www.smileyhut.com/excited/punk.gif)
Quote from: Bogey on May 15, 2008, 04:48:52 PM
When does your plane arrive in Berlin Allan? (http://www.smileyhut.com/excited/punk.gif)
Beating M to the punch, I play the wrong bow to be in that orchestra, Bogey (nevermind that I'm not that class of player either).
Allan
And your luck, Allan, your bow is probably strung with the wrong hair . . . . 8)
Quote from: toledobass on May 15, 2008, 05:01:56 PM
Beating M to the punch, I play the wrong bow to be in that orchestra, Bogey (nevermind that I'm not that class of player either).
Allan
In all seriousness, best of luck.
Quote from: Bogey on May 16, 2008, 04:51:58 AM
In all seriousness, best of luck.
Best of luck, whether of the serious variety or other!
Speaking of "classes" of musicians, I have wondered recently if world-class musicians, like athletes, do not possess that special type of muscle, which has been reported on recently. Its called either fast-twitch or quick-twitch muscle, and apparently a very small percentage of the population has this, which is what makes "world-class" a rare group.
And this frightfully unearthed a long-buried memory . . . an Elvis-like character on The Flintstones whose dance specialty was The Twitch . . . .
Quote from: karlhenning on May 16, 2008, 05:13:17 AM
And this frightfully unearthed a long-buried memory . . . an Elvis-like character on The Flintstones whose dance specialty was The Twitch . . . .
Nooooo :o
Well, at least you didn't bring up The Great Gazoo! ::)
Anyway, to be more specific, everyone has "fast-twitch" muscle to some degree: the top athletes - and maybe musicians I would think - have more of it than ordinary mortals.
Quote from: karlhenning on May 16, 2008, 05:13:17 AM
And this frightfully unearthed a long-buried memory . . . an Elvis-like character on The Flintstones whose dance specialty was The Twitch . . . .
(http://www.fakebands.com/graphics/rockroll.gif)
Quote from: toledobass on May 15, 2008, 05:01:56 PM
Beating M to the punch, I play the wrong bow to be in that orchestra, Bogey (nevermind that I'm not that class of player either).
Allan
You are auditioning in Berlin? Which orchestra (there are 8 in total)? Seriously now, without picking on you, you have to be aware that if you walk onstage with the French bow in Germany, your audition is over, no matter what somebody may have told you. This is not to discourage you, it's just a cold hard fact of life. It is just not possible to make the kind of sound they want with the French bow. Plus you have to be aware that if you audition for any German orchestra, you *have* to play on a 5-string bass. Not during the audition, but it is generally required when you play in the orchestra and some may actually make you play orchestral excerpts on a 5-string bass during the last round in auditions. That doesn't happen too often, but sometimes they do that spontaneously, especially when there are several very good candidates and they can't make up their minds, they just give them a 5-string bass and have them play the usual suspects like Beethoven 9 - finale, Beethoven 5 - scherzo (this is where your audition with a French bow would end in any case even if they let you play because they typically want that martellato with the bow hammering on the string from 2-3 inches above the string), Mozart 40, Heldenleben, Zarathustra etcetc, if it's an opera orchestra they often like to hear some of the typical opera excerpts like Figaro, Zauberflöte, Bartered Bride, Otello, a lot from Wagner and Strauss operas (esp. some of those nasty high passages from Salomé), and you typically get no more than a few minutes to familiarize yourself with the instrument.
Again, all that just as information, not to discourage you!!!
Don't worry M, I do know that, that's why I told Bogey I play the wrong bow to play in Berlin. I think you'd have to be pretty clueless to show up for an audition in Berlin with a french bow.
Allan
Oh, I see. I didn't get that. A lot of Americans audition in Germany because the the pay and working conditions for musicians are much better than with most orchestras here, so that wouldn't be so unusual (although off the top of my head I can only think of one American bass player in the orchestras in Berlin). So, where are you auditioning, if you don't mind telling us. And what program and excerpts do you have to play?
Pittsburgh....here's the audition repertoire list (http://www.pittsburghsymphony.org/auditions/bassrep.pdf)
Allan
What is the "solo piece of your own choice"?
I think one of the most recent spots in Berlin is being filled by someone who did his training at Curtis. I don't think he's an American though. If I remember correctly, he's been serving as acting principal in Minnesota.
My other solo is the Koussevitzky first movement.
Allan
Quote from: toledobass on May 19, 2008, 05:07:19 AM
I think one of the most recent spots in Berlin is being filled by someone who did his training at Curtis. I don't think he's an American though. If I remember correctly, he's been serving as acting principal in Minnesota.
My other solo is the Koussevitzky first movement.
Allan
Aha! I was wondering about that! It remains dominant in the field? (by default?)
Quote from: toledobass on May 19, 2008, 05:07:19 AM
I think one of the most recent spots in Berlin is being filled by someone who did his training at Curtis. I don't think he's an American though.
Which orchestra in Berlin? I remember Slawomir Grenda, a very good Polish player who was principal in the Staatskapelle Berlin for a while and then took the same position with the Münchner Philharmoniker studied at the Peabody Conservatory (before that, in Warsaw), but I don't remember with whom.
Quote from: toledobass on May 19, 2008, 05:07:19 AM
My other solo is the Koussevitzky first movement.
Do people here also play Dittersdorf and Vanhal sometimes? Dittersdorf used to "the" classical standard piece for auditions in Germany, but more and more people now play Vanhal. More and more people also play Bottesini (b minor) instead of Koussevitzky now, mostly because it is technically more difficult, I guess. I personally like Koussevitzky much better though.
Quote from: M forever on May 19, 2008, 05:24:13 PM
Which orchestra in Berlin? I remember Slawomir Grenda, a very good Polish player who was principal in the Staatskapelle Berlin for a while and then took the same position with the Münchner Philharmoniker studied at the Peabody Conservatory (before that, in Warsaw), but I don't remember with whom.
Do people here also play Dittersdorf and Vanhal sometimes? Dittersdorf used to "the" classical standard piece for auditions in Germany, but more and more people now play Vanhal. More and more people also play Bottesini (b minor) instead of Koussevitzky now, mostly because it is technically more difficult, I guess. I personally like Koussevitzky much better though.
I thought it was Berliner Philharmoniker, but maybe I have my info wrong. Fora Baltacigil is his name....does that ring a bell for you?
I saw Slawomir Grenda play a monster recital many years ago. He played Beethoven A major op 69 Cello Sonata and The Chopin Cello sonata and a few filler pieces that I can't recall. I have the program in my storage unit. His wife was his accompanists. That was really something. I've also heard a tape of his degree recital that he gave at Peabody and that was astounding as well. He played the Bach D major Gamba sonata and I remember thinking how good it was then realizing it was also mostly being played at the original octave. He studied with Hal Robinson at Peabody while Hal was still Principal of the National Symphony. Hal's now teaching at Curtis and principal of Philly.
The same thing is happening with concerti choices here in the States. Vanhal has taken the place of Dittersdorf and people basically are choosing between that, the Bottesini and the Koussevitzky. While the Dittersdorf, and perhaps even 'Dragonetti', are still sometimes offered as choices, I can't remember the last time I heard anyone play those in an audition situation.
Allan
No, I have no idea who that is. I have been out of the "scene" for quite a while now, and I don't really follow who is playing where and what anymore. I don't think there will be a position open in the BP for a number of years now (unless somebody leaves or something happens which we don't hope of course). But, like I said, there are 8 permanent orchestras in Berlin, one of them (Berliner Symphoniker) is kind of like a smaller "regional" orchestra which plays "popular" programs and gives a lot of concerts in the suburban areas, but the other 7 (4 concert or radio, 3 opera) are all fullsize (typically 10 bass players although the BP have 11 and 2 interns at any time) and most of them are also very high level (esp. the Deutsches Symphonie-Orchester and the Staatskapelle, but the other ones can be very good, too). So he could also have landed in any of these.
A'ight folks,
I'm getting a late start on writing about the season. Sorry 'bout that, if anyone actually reads this. We just finished our second subscription in Toledo. Gunther Herbig was our guest conductor and it was an absolute pleasure to work with him. He brought a lifetime of experience with him and some deeply thought ideas that led me to repect the man at the highest level. It's not often I get to work with a conductor of his sort. He's intensely musical with none of the over the top musical theatrics so often found in the halls these days.
The program was Takamitsu's Requiem and Frank Martin's Concerto for 7 winds, percussion and strings on the first half and The Pathetique for the second half.
Here is a preview and review, both of which are very much in line with how I experienced the week.
Blade preview (http://www.toledoblade.com/apps/pbcs.dll/article?AID=/20081016/ART10/810160318)
Blade review (http://www.toledoblade.com/apps/pbcs.dll/article?AID=/20081018/ART10/810180255)
Allan
Quote from: toledobass on May 19, 2008, 07:04:09 PM
I thought it was Berliner Philharmoniker, but maybe I have my info wrong. Fora Baltacigil is his name....does that ring a bell for you?
Allan
Regarding my thinking that he was going to the BP, the info is in fact wrong.
Googling that name reveals that he is in fact playing in the Minnesota Orchestra. You may have thought of Nabhil Shehata who has a similarly "exotic" name (he is from Kuwait) and who was principal of the Staatskapelle Berlin and then for three years one of the principals of the BP. He is now a professor in Munich. But he didn't study at Curtis or indeed anywhere in the US.
Quote from: M forever on October 20, 2008, 08:33:38 PM
Googling that name reveals that he is in fact playing in the Minnesota Orchestra. You may have thought of Nabhil Shehata who has a similarly "exotic" name (he is from Kuwait) and who was principal of the Staatskapelle Berlin and then for three years one of the principals of the BP. He is now a professor in Munich. But he didn't study at Curtis or indeed anywhere in the US.
M,
Did you ever get to work with or see Gunther Herbig while you were still in Germany?
Allan
No, never. I think he mostly worked in East Germany and then took off in the 70s or 80s. I know he studied at the same music school I did (Franz Liszt Academy Weimar) and he also worked at the German National Theater there and with the Staatskapelle Weimar in which I played for a while, but that was decades before my time.
Hi Allan!
Which Bruckner symphony is being planned for the Toledo Rosary Cathedral this year?
And how is the orchestra doing so far? Since Columbus discovered it cannot competently operate a symphony orchestra, >:( I have been wanting to come up to Toledo for a concert.
Cato,
Howdy, I hope all is well. This year we will be tackling the 5th. In fact it is our next big concert, the first Sunday of November I believe. The orchestra sounds decent. We still haven't quite gotten our stride back, but there are a few key people on sabbatical so maybe it's to be expected.
Would love if you could make it up!!!!!!
Allan
Quote from: toledobass on October 22, 2008, 12:43:54 PM
Cato,
Howdy, I hope all is well. This year we will be tackling the 5th. In fact it is our next big concert, the first Sunday of November I believe. The orchestra sounds decent. We still haven't quite gotten our stride back, but there are a few key people on sabbatical so maybe it's to be expected.
Would love if you could make it up!!!!!!
Allan
As I recall, the 5th has a pretty fine double bass opening... 0:)
--Bruce
Quote from: bhodges on October 22, 2008, 12:55:26 PM
As I recall, the 5th has a pretty fine double bass opening... 0:)
--Bruce
I dunno Bruce. It's quality music in the introduction but as far as bass openings go, quarter note pizz isn't exactly all that memorable for me. Maybe you had a bottle of wine with lunch though. :P I am a bit intimidated as there are a few hard ass spots in this part.
Allan
Quote from: toledobass on October 22, 2008, 01:33:26 PM
I dunno Bruce. It's quality music in the introduction but as far as bass openings go, quarter note pizz isn't exactly all that memorable for me. Maybe you had a bottle of wine with lunch though. :P I am a bit intimidated as there are a few hard ass spots in this part.
Allan
Yeah, I know it's not difficult, but from a listener's standpoint, yes, I find it memorable. The first time I ever heard it, the basses were so soft I almost didn't realize anything was happening. Magic...
--Bruce
Oh OK I see where you're coming from. I agree then...I don't really think of that as a great bass opening per se but but just some good music.
Allan
If you want to hear how great that can be as a "bass opening", listen to the Karajan recording. The basses sound like huge bells slowly swinging in the dark, very soft, but with a lot of sound and substance. For the whole string section, this introduction is technically not at all "difficult", but it is very difficult to make sound really good. The whole symphony is extremely difficult to realize well musically because it is so tightly constructed, especially the finale with the very extended fugato sections. This is not the kind of music which can just be played nicely. Every note has a meaning and function which need to put into a very complex context. I think this may be overall the most difficult Bruckner symphony to play, not just for the basses, but for the entire orchestra. The finale is extremly demanding, as it is not just long and has many difficult passages, going through lots of different keys, stuff that is not easy to just play as it comes up, these fugato passages go on just forever. And then the long and complicated legato passages with four notes in ff on each bow - and yes, that is meant to be played like that, not broken up. This is one of the instances in the repertoire where I think how can anybody in their right mind try to play this with the French bow? And no, I am not kidding in this case, I really think that can't be played with quite the verve, impulse, and full sound that it needs to be played with without the right equipment. Maybe encountering this symphony will make you change your mind. It is never too late to switch. Why make your playing life more miserable than it needs to be?
Regarding "easy" and "difficult" passages, I am always reminded of what my first bass teacher told me when I asked him what he thought was the most difficult piece he ever played in his 42 years with the BP. I expected him to say something like Ein Heldenleben or some really complicated modern piece, but he said there is a lot of very difficult repertoire, but that's all a matter of practicing; nothing is really difficult if practiced properly; what he always found most difficult and intimidating was the beginning of Beethoven's 9th - which is technically very "easy" to play - because there is always a special, solemn athmosphere when that piece is performed, and that simple, but critical opening is really difficult to get "just right".
Quote from: toledobass on October 22, 2008, 12:43:54 PM
Cato,
Howdy, I hope all is well. This year we will be tackling the 5th. In fact it is our next big concert, the first Sunday of November I believe. The orchestra sounds decent. We still haven't quite gotten our stride back, but there are a few key people on sabbatical so maybe it's to be expected.
Would love if you could make it up!!!!!!
Allan
Oy! So soon! I should have checked the website! I will have to see what my wife says! 0:)
The
Fifth Symphony live is something else: I took a group of high-school students some years ago to a Cleveland Orchestra performance, and knew it might be something of a "hard sell," but they were astounded by the work.
Fortunately von Dohnanyi kept the work moving, and did not slow things down inordinately (I am thinking of Jochum's DGG recording in the Finale), and then cranked up the volume for those last minutes! 8)
Rehearsal begins tomorrow morning for Bruckner's 5th conducted by Stefan.
Wednesday 10am
Thursday 10am 2pm
Friday 1pm dress
Sunday 4pm Performance
I love this concert series. In previous years we'd given these concerts around the end of winter or early spring. I do have a little hesitation about how we sound right now, but I think with Stefan back, things will fall together rather nicely. I'm certainly looking forward to seeing what he has to say and how deeply he will go with the piece.
Allan
OK, seriously now - I know my French bow jokes are mean, cheap, unoriginal and tedious, but, again, seriously now for a change, are you really going to attempt to play Bruckner 5 with the French bow? I mean, including the finale? You know, where it says ff and fff and marcato all the time? ;)
Anyway, good luck. 0:)
OK so today was all 4th mvmt. Tomorrow will be the 3rd and the 2nd in the morning then 1st in the afternoon.
Lots of good stuff today. He opened the rehearsal with the remark 'this is a huge undertaking'. Main points were paying close attention to articulation especially in the softer dynamics and clearing up when sections need to give room to others. His tempo seems to pulse forward more than I expected. It's on the faster side of the spectrum. Our rehearsal today was in our main hall and while the tempo seemed to work well in that dryness I kinda wonder if it's gonna get muddied in the cathedral. Also something that stuck with me was the comment to pay constant attention to what the brass are capable of giving and judge crescendi etc by that. I know that seems like a simple thing that might make you scratch your head like 'uh yeah' but for some reason it is staying with me and making me realize that while I always try to listen well to understand what is going on, there is even further I can go.
Allan
Living with the simple things is always of benefit. Pianists never grow out of doing scales.
Looking forward to the concert tomorrow. Dress rehearsal went fairly well yesterday. It felt good to play through the movements even if there was a snafu here and there that forced us to stop in order to go back and clear up confusion.
Much of the rehearsal process has been spent dealing with making sense of articulation and sound color so as to differentiate material that is important and material that is more or less harmony. I wish we could have spent more time also working on the dynamic structure as well. The dynamic range feels a little compacted to me and a bit too comfortable in execution. It's never quite getting to ppp or fff. Still I don't think it's gonna be too shabby for the little orchestra that could. There are a lot of really great things happening.
Allan
So tell us about the Bruckner 5th on Sunday!
Unfortunately we had a family situation that prevented us from attending: first one I have missed in since the series began! :-\
Bruckner 5 went well. I think it was our most consistent performance of Bruckner yet. I felt like things were relaxed and focused and the usual adrenaline filled approach of only one performance of a big piece like this was kept in check. There were a lot of great things that happened including some nice brass playing. It was nice for them to have a day off between the dress and performance but I think they also saved a little during the rehearsal process. I especially enjoyed the way the ending of the second movement unfolded....that kind of beautiful music making that seems is controlling you and making things happen rather than the other way around.
I will say that I think this is also the most difficult Bruckner we've played. The piece for me required a tremendous amount of focus. As it goes on it gets more and more difficult with a lot of accidentals to keep track of from measure to measure.
I'll get the recording of it in some time and compare my thoughts with that. There hasn't been a review posted online yet but I'll make sure I post it if/once it becomes available.
Allan
Great to hear, Allan!
Quote from: toledobass on November 03, 2008, 10:51:02 AM
Bruckner 5 went well. I think it was our most consistent performance of Bruckner yet. I felt like things were relaxed and focused and the usual adrenaline filled approach of only one performance of a big piece like this was kept in check. There were a lot of great things that happened including some nice brass playing. It was nice for them to have a day off between the dress and performance but I think they also saved a little during the rehearsal process. I especially enjoyed the way the ending of the second movement unfolded....that kind of beautiful music making that seems is controlling you and making things happen rather than the other way around.
I will say that I think this is also the most difficult Bruckner we've played. The piece for me required a tremendous amount of focus. As it goes on it gets more and more difficult with a lot of accidentals to keep track of from measure to measure.
I'll get the recording of it in some time and compare my thoughts with that. There hasn't been a review posted online yet but I'll make sure I post it if/once it becomes available.
Allan
Yay Team! Was there a fairly large crowd in the cathedral?
As far as a recording goes, beware of the "original" DGG Jochum! :o
Yes, I know! Usually Eugen Jochum is the way to go with
Bruckner, but in this version he halves the rhythm for the grand finale in the last movement, and really gums up any energy he had generated.
The later EMI has a slowdown as well, but not as much: still, not indicated in the score! $:)
Cato,
The house was packed as has been the case for all of the Bruckner we've presented in the Rosary Cathedral. Even the choir loft looked to be full. It was good to see people out, the Peristyle attendance has been off the mark even with some great programs, so I was wondering what the turnout would bring.
Allan
Quote from: toledobass on November 03, 2008, 10:51:02 AM
Bruckner 5 went well. I think it was our most consistent performance of Bruckner yet. I felt like things were relaxed and focused and the usual adrenaline filled approach of only one performance of a big piece like this was kept in check. There were a lot of great things that happened including some nice brass playing. It was nice for them to have a day off between the dress and performance but I think they also saved a little during the rehearsal process. I especially enjoyed the way the ending of the second movement unfolded....that kind of beautiful music making that seems is controlling you and making things happen rather than the other way around.
I will say that I think this is also the most difficult Bruckner we've played. The piece for me required a tremendous amount of focus. As it goes on it gets more and more difficult with a lot of accidentals to keep track of from measure to measure.
I'll get the recording of it in some time and compare my thoughts with that. There hasn't been a review posted online yet but I'll make sure I post it if/once it becomes available.
Allan
Thanks for the report, Allan, and congrats! I can imagine the Fifth would be more than a little difficult; if nothing else, the final movement is probably a bit tiring to play with all those incessant dotted rhythms. But oh, the result...
--Bruce
The orchestra members just received an email from Stefan giving us many thanks for what he considers one of the best concerts he's conducted with the orchestra. Really makes me want to get that recording now to compare heat of the moment vs actual sound coming across.
Two kiddie shows went off well this morning. Packed house, 1700 kids yelling good morning at the top of their lungs was quite a shock to all of the hardly awake musicians. Excruciatingly piercing!!!!!
Allan
Quote from: toledobass on November 06, 2008, 11:10:18 AM
The orchestra members just received an email from Stefan giving us many thanks for what he considers one of the best concerts he's conducted with the orchestra. Really makes me want to get that recording now to compare heat of the moment vs actual sound coming across.
Outstanding,
Allan!
Quote from: toledobass on November 04, 2008, 11:14:36 AM
Cato,
The house was packed as has been the case for all of the Bruckner we've presented in the Rosary Cathedral. Even the choir loft looked to be full. It was good to see people out, the Peristyle attendance has been off the mark even with some great programs, so I was wondering what the turnout would bring.
Allan
Great to hear! I wonder if the difference is that the Peristyle is still seen as an "upper-class" thing, for the "stuffed shirts" to use the old slang term from the early 20th century, while a cathedral is more inviting, more "proletarian" or "leveling" (I feel like Chris Farley)even to non-Catholics? 0:)
To clarify something: when you wrote about "hearing the recording" are you talking about a commercially available CD, or did somebody record your performance in Toledo?
I assumed you meant the former, but now I am not so sure!
Cato,
The concerts for the main series are recorded for in-house archives. These are the same recordings for the WGTE radio broadcasts. Musicians of the orchestra are able to get a copy for listening. (not the case with all orchestras)
I don't know how many musicians actually do listen to the concerts, but I've always enjoyed hearing how we sound as just a listener. I find it very interesting to compare what actually comes accross to the way it felt as the concert was being played.
Allan
Quote from: toledobass on November 10, 2008, 05:55:30 PM
Cato,
The concerts for the main series are recorded for in-house archives. These are the same recordings for the WGTE radio broadcasts. Musicians of the orchestra are able to get a copy for listening. (not the case with all orchestras)
I don't know how many musicians actually do listen to the concerts, but I've always enjoyed hearing how we sound as just a listener. I find it very interesting to compare what actually comes accross to the way it felt as the concert was being played.
Allan
Thanks for the response! I had no idea WGTE did that for the musicians: yes, you must give us a review after you have heard the CD!
What is the quality like of others you have heard? Would they be good enough to hit the general market?
(Nothing to add, but I always read with pleasure.)
Hi again Cato,
It's actually our TSO managment that is generous with the in-house archives, not WGTE. We simply give WGTE the copy of the concert we want them to broadcast and they hit play. I've heard some great things musically and I think the concert recording are satisfying for the general TSO audience as some sort of gift (which we've done before) but I certainly wouldn't want to charge or pay for a recording from the less that ideal acoustic of Peristyle . The Rosary Cathedral concerts might be ok.
An idea like that is somewhat the opposite direction of our managment's philosophy though. We are more interested in using our resources to expand our local/regional audience. We try and keep things close to home trying to enrich our local culture. That's why you won't see us doing one of those one off tours to NY to play Carnegie or whatever. The numbers don't really add up and it isn't that helpful to what we are trying to accomplish in our region.
Hope that makes sense,
Allan
Quote from: karlhenning on November 11, 2008, 04:37:32 AM
(Nothing to add, but I always read with pleasure.)
Thanks Karl,
I'm never sure if I'm the only one clicking on this post!!!!
Allan
Yes, certainly the Toledo Symphony is much better these days than some of those e.g. Eastern European orchestras one hears on the discount labels.
So it would be nice to get some exposure - and maybe some extra "Geld" for the players - e.g. through a NAXOS CD now and then.
Again, glad to hear that the cathedral was filled, including the choir loft! 0:)
Quote from: Cato on November 11, 2008, 05:21:27 AM
Yes, certainly the Toledo Symphony is much better these days than some of those e.g. Eastern European orchestras one hears on the discount labels.
So it would be nice to get some exposure - and maybe some extra "Geld" for the players - e.g. through a NAXOS CD now and then.
Again, glad to hear that the cathedral was filled, including the choir loft! 0:)
I agree, and based on what I've heard, I could easily see the Toledo group on Naxos. (Or on any number of other small, high quality labels.)
Bruce
Howdy,
This week brings Classics Concert 3. Stefan will be conducting the program. Our guest soloists are Kirill Gerstein playing piano and S. Wayne Foster playing the organ. This is something of an unusual week as we get 4 performances of this program. Thursday will be a performance in Corpus Christi church who have been friends of the orchestra for a long time. We also tag on the Sunday matinee for this concert. Very unusual for us to do both a matinee and Corpus in the same week. I think it'll be interesting see what happens to the program over those 4 performances.
Adler Lux Perpetus
Mussorgsky/Ashkenazy Pictures at an Exhibition
intermission
Rachmaninoff Piano Concerto no. 3
Schedule is as follows:
Tues 3-5:30 Mussorgsky
7:30-9:30 Alder-Mussorgsky
Wed 3-5:30 Rachmaninoff
7:30-9:30 (dress rehearsal) Adler-Mussorgsky-Rachmaninoff
Concerts: Thursday 8
Friday 8
Sat 8
Sun 3
Allan
What a blast to play the Rakhmaninov Third Concerto, Allan! The Musorgsky is fun, too, though to me it feels like, you just get cooking, and it's time to turn to another picture . . . .
Is that Adler as in Sam Adler of the Eastman School?
Yo Karl,
It seems not too long ago that we played all the piano and orchestra pieces over a subscription weekend. Still, I'm looking forward to it.
And to answer your question regarding the Lux Perpetus, yes it is Samuel Adler.
Allan
PS it's spelled Rachmaninoff ;) ;D >:D
Quote from: toledobass on November 18, 2008, 06:36:53 AM
Yo Karl,
It seems not too long ago that we played all the piano and orchestra pieces over a subscription weekend. Still, I'm looking forward to it.
And to answer your question regarding the Lux Perpetus, yes it is Samuel Adler.
Allan
PS it's spelled Rachmaninoff ;) ;D >:D
I would be very interested in your comments on the Adler, once you get going with it! Know his name, but not much of his music.
--Bruce
The Adler was commissioned by the Dallas Symphony and Andrew Litton in 1997.
Honestly, I'm not really sure what to think. Last night's rehearsal seemed like a hot mess. I think it will come across fine but there were a few problems that didn't lead to all that smooth of a rehearsal. There is an introduction which went fine then a fast part which we spent the bulk of our time on. Its a fast steady pulse but going through alot of the 8th note time signiture. 3 4 5 6 7 & 8/8. The pattern is never the same for the odd meter stuff either. So we begin the fast section and it doesn;t sound as bad as I had anticipated. I think people actually looked at it which of course always helps. We had to slow it down for rehearsal reasons but the soloist also made the comment that the overall tempo could be slower at which point Stefan replied "really? you've just made a whole orchestra worth of new friends." To which of course there was laughter.
We sort of got it together by the end of the rehearsal, but a major problem is that the organist can't hear himself and also because of the placement of the instrument, he can't see Stefan. The sight problem will be rectified with a mirror tonight so that will tidy some stuff up some.
It will come together but I'm not sure how great the interaction between soloist and orchestra is gonna get.
Adler was in attendence last night and only had a few comments of the on the string here, accent here different sound here type.
On Pictures:
I've seen a few advertisements for performances of the Ashkekenazy Pictures orchestration over the past year. Cleveland did it recently, Detroit as well and now the TSO. I wondered why all of a sudden it was being played more often and last night Stefan gave us the information that good parts have been generated and are now available and why it's getting more performances. He also said he knew of at least 23 other orchestrations of Pictures!!!!
One last funny bit:
Before our second rehearsal, our director of development asked us for help in thanking our generous donors. The voluntary task is to get one of the packets they've put together for us. In these packets contain a few addressed envelopes to donors and some blank TSO stationary in order for us to write a simple thank you for the generosity. At this point the Director of Development is explaining that you may write whatever you'd like, but then holds up a note and says "or we've crafted a sample....." and before she can finish her though Stefan starts laughing and says "oh yes I've seen this before in Germany...." then adds sarcastically while pretending to hold up a piece of paper "what we suggest...."
Not sure if that is translating well, but it was a funny moment.
Allan
Quote from: toledobass on November 19, 2008, 06:45:36 AM
One last funny bit:
Before our second rehearsal, our director of development asked us for help in thanking our generous donors. The voluntary task is to get one of the packets they've put together for us. In these packets contain a few addressed envelopes to donors and some blank TSO stationary in order for us to write a simple thank you for the generosity. At this point the Director of Development is explaining that you may write whatever you'd like, but then holds up a note and says "or we've crafted a sample....." and before she can finish her though Stefan starts laughing and says "oh yes I've seen this before in Germany...." then adds sarcastically while pretending to hold up a piece of paper "what we suggest...."
Not sure if that is translating well, but it was a funny moment.
Allan
(My emphasis)
Yes! I have seen similar moments among faculties at schools in Germany, where the principal will "suggest" that everybody write the same thing on a form.
I have read this also happens in Detroit, when the faculty of a school "checks" the answers of students on national or state tests! 8) But that is another story! 0:)
Quote from: toledobass on November 19, 2008, 06:45:36 AM
On Pictures:
I've seen a few advertisements for performances of the Ashkekenazy Pictures orchestration over the past year. Cleveland did it recently, Detroit as well and now the TSO. I wondered why all of a sudden it was being played more often and last night Stefan gave us the information that good parts have been generated and are now available and why it's getting more performances. He also said he knew of at least 23 other orchestrations of Pictures!!!!
Thanks for the Adler info, very interesting. Hope the piece comes together as time goes on.
There are quite a few versions of
Pictures; Leonard Slatkin is a champion of a number of them, and used to perform an entertaining version that uses (almost) a different orchestrator for each section. I recall especially liking those he chose from Lucien Cailliet and Sergei Gorchakov.
--Bruce
Adler came together much better on Wednesday. Many of the problems were smoothed out at the rehearsal and that mirror sure helped a lot. I commented in a previous post that I wasn't sure how much interaction would come across between organ and orchestra, but I'm now thinking that it isn't really a piece with all that much room for that kind of thing anyway. You kinda just have to stick to staying on top of the pulse and making sure your rhythm is coming across evenly over the mixed meter stuff. It's more of an interaction of rhythmic support.
Last night's program was abbreviated and included Pictures and the finale of the Rach. Before we began Pictures, a pianist played it in order to show what the material actually is for the orchestrator. Stefan also spoke about a little Mussorgsky/Pictures history. One of the things that stuck out in my mind was his statement that with the Ravel we have an intensely Russian piece with a french orchestration and with Ashkenazy we may have something more along the lines of the piece being closer to it's russian heritage.
A tad bit of a dress rehearsal feel to the concert, some things going very well and some things taking me totally off guard. Playing in a different acoustic is also a strange thing. The orchestra is set up differently so it takes a little more effort to decifer where the instruments you are relying on for cues are coming from. The overall articulation we play in the Peristyle works there but I thought things sounded a little thick and bogged down last night. Not a whole lot of adjustments by the orchestra there.
I'm looking forward to the full program tonight.
Allan
Great night of music making tonight....
more later,
Allan
Excellent!
So sorry I'm a little late with my updates here. This weekends concerts were all uniformly excellent. It's the first series that seems to have clicked as an orchestra for me. Friday night, in particular, was one of the funnest nights of playing music that I've had in possibly a few years. We have a new concert piano in the Peristyle that sounds amazing. A marked sonic difference and I'm sure a difference in playability for the artists as well. Our old piano got nothing but complaints about the action from every single artist that came to visit us. Gerstein's inspired playing recieved such an warm enthusiastic response from the audience. I kind of felt bad that they wouldn't let him get away without an encore after that beast of a concerto, but at the same time I don't think I've heard such a heartfelt applause for a soloist. He ended up giving us Earl Wild's arrangement of Gershwin's Embraceable You.
Blade Review (http://www.toledoblade.com/apps/pbcs.dll/article?AID=/20081122/ART10/811220398)
Next week is a week with CityMusic Cleveland. I'll post the program and schedule shortly.
Allan
Delighted to read this review, Allan! Take a bow!
An up or down bow? ;D :P
Either, so long as it isn't . . . French 8)
ouchie :o ;D
;)
YHM, Allan!
A CityMusic Cleveland week begins with rehearsals tonight.
James Gaffigan, Music Director will be conducting the following program:
Jean Baptiste Lully: March for the Turkish Ceremony
Giaocchino Rossini: Overture to the opera Cinderella
Charles Gounod: Finale from the Petite symphonie
Jean Sibelius: Music for the play Belshazzar's Feast
Ludwig van Beethoven: Turkish March from the play The Ruins of Athens
Arcangelo Corelli: Christmas Concerto, Op.6, no.8
Franz Schubert: Entr'acte III from music for the play Rosamunde
Engelbert Humperdinck: Knusperwaltzer (Gingerbread Waltz) from the opera Hansel and Gretel
Schedule:
Rehearsals
Tonight 5:45 - 7:15 brass/ww sectional
7:30-9 String sectional
Monday 1-4
6:30-9:30
Tues 10-1 dress
Concerts:
Tues 7:30
Thurs7:30
Fri 7:30
Sat 7:30
Sun 3
Allan
In a review of noteworthy (ha!) musical events in the Cleveland area between Rosenberg and Zach Lewis, the Akron Symphony Severence performance of Mahler 2 under Zander was one of Rosenberg's choices.
Here is my final post from that series. (http://www.good-music-guide.com/community/index.php/topic,3580.msg142220.html#msg142220)
The Zach Lewis/Don Rosenberg artice Choices for memorable classical performances in Cleveland (http://www.cleveland.com/musicdance/index.ssf/2008/12/choices_for_memorable_classica.html)
Allan
Quote from: toledobass on January 07, 2009, 03:14:02 PM
In a review of noteworthy (ha!) musical events in the Cleveland area between Rosenberg and Zach Lewis, the Akron Symphony Severence performance of Mahler 2 under Zander was one of Rosenberg's choices.
Here is my final post from that series. (http://www.good-music-guide.com/community/index.php/topic,3580.msg142220.html#msg142220)
The Zach Lewis/Don Rosenberg artice Choices for memorable classical performances in Cleveland (http://www.cleveland.com/musicdance/index.ssf/2008/12/choices_for_memorable_classica.html)
Allan
Very cool, Allan! That performance is in some pretty distinguished company. Congrats!
--Bruce
This weekend Bobby McFerrin will be conducting a program of Mozart's 29th and 40th. He'll also be doing some improvisation stuff. We had a double rehearsal yesterday which was our first back from our holiday break. A little rusty here and there ensemble wise yesterday, but things just needed a day to settle. As McFerrin said this morning, "ahhhh, it just needed to marinate!!!!' He's had some nice ideas: very easy going and just kind of puts some thoughts out without working the ensemble too hard on getting it exactly the way he hears it. I've sort of been pondering if he has the ability to get us to do what he has in his head or if he likes leaving some room for the ensemble's own identity to also come through...whatever, it's working out well and the concert will be a lot of fun if judging by this morning's dress rehearsal. Playing these two symphonies first thing in the morning is a truly glorious way to begin the day.
Allan
Quote from: toledobass on January 15, 2009, 09:17:07 AM
. . . Playing these two symphonies first thing in the morning is a truly glorious way to begin the day.
Yes, there are
much worse ways to pass a morning,
Allan! :D
I really enjoyed this weekend's concerts with McFerrin. He's a great musician and what came out were some very natural and extremely fun performances. Here and there, some tempo lagging was a little noticable on the repeats but nothing horrible. A few other details could perhaps have been tended to with a little more care but the performances had a giving and flowing quality that was just a pure pleasure to be part of. Sure it would have been nice to take care of everything, but in the end, so much good stuff happening, those minute details didn't amount to so much.
His improvisations were remarkable. The agility of his voice is mind boggling and his understanding of counterpoint and harmony left me with a great respect for his musical knowledge. The whole thing was a treat.
This week I play my first Masterworks concert with the Lansing Symphony Orchestra (http://www.lansingsymphony.org/) (I've had conflicts with all of the concerts in the fall.) This is a lower tier regional orchestra in Michigan. It is a per service orchestra meaning there are no full time musicians and we get paid for whatever services we play rather than being on a salary system with insurance, benefits, etc. The orchestra is composed of quite a few of the music students from Michigan State as well as various free lance players from the area.
This week we will be performing:
Capricio Italien Tchakovsky
Piano Concerto Grieg
Concerto for Orchestra Bartok
Timothy Muffit (http://www.lansingsymphony.org/Musicians/TheMusicDirector/tabid/105/Default.aspx) is the Music Director and he will be conducting. The soloist is Adam Golka (http://www.adamgolka.com/)
Rehearsal is as follows (all 7:30p to 10p):
Monday Bartok
Wed Tchaik, Bartok, Grieg (no soloist)
Thur Grieg (w/ soloist), Tchaik, Bartok
Fri Dress
Sat 8pm Concert
Allan
Quote from: toledobass on January 19, 2009, 05:57:29 AM
I really enjoyed this weekend's concerts with McFerrin. He's a great musician and what came out were some very natural and extremely fun performances. Here and there, some tempo lagging was a little noticable on the repeats but nothing horrible. A few other details could perhaps have been tended to with a little more care but the performances had a giving and flowing quality that was just a pure pleasure to be part of. Sure it would have been nice to take care of everything, but in the end, so much good stuff happening, those minute details didn't amount to so much.
His improvisations were remarkable. The agility of his voice is mind boggling and his understanding of counterpoint and harmony left me with a great respect for his musical knowledge. The whole thing was a treat.
This week I play my first Masterworks concert with the Lansing Symphony Orchestra (http://www.lansingsymphony.org/) (I've had conflicts with all of the concerts in the fall.) This is a lower tier regional orchestra in Michigan. It is a per service orchestra meaning there are no full time musicians and we get paid for whatever services we play rather than being on a salary system with insurance, benefits, etc. The orchestra is composed of quite a few of the music students from Michigan State as well as various free lance players from the area.
This week we will be performing:
Capricio Italien Tchakovsky
Piano Concerto Grieg
Concerto for Orchestra Bartok
Timothy Muffit (http://www.lansingsymphony.org/Musicians/TheMusicDirector/tabid/105/Default.aspx) is the Music Director and he will be conducting. The soloist is Adam Golka (http://www.adamgolka.com/)
Rehearsal is as follows (all 7:30p to 10p):
Monday Bartok
Wed Tchaik, Bartok, Grieg (no soloist)
Thur Grieg (w/ soloist), Tchaik, Bartok
Fri Dress
Sat 8pm Concert
Allan
Wow! Quite a program for a semi-pro orchestra! Tell us how everything sounds! Especially the
Bartok! 8)
The concert sounds really great, Allan. Do let us know how it goes. I am also curious if you find the Bartók (one of my favorite works) fun to play.
I've not yet heard McFerrin live, but have heard some of his improvisations on recordings. He is totally marvelous. I hear he is an excellent conductor, too, and has also conducted the New York Philharmonic.
--Bruce
Bruce,
I wouldn't go so far as to say he is an excellent conductor. He gets excellent results, but that isn't because of a gift for conducting. I'm not trying to knock him or come accross in a negative manner: I have a high respect for him and I would gladly welcome any opportunity to work with him again in any musical environment. I think his gift is in his musicality and his ability to make you feel you can create something with him. In the repertoire we played it worked extremely well. With that said, and with some fundamental ensemble things that were minor problems during the concert that I alluded to in a previous post, I can't really imagine him putting together something that is a technically challenging piece on a conductor/ensemble level...I hope to be proven wrong though, because it is a joy to work with the man.
I hope that make sense.
More on Lansing and CfO later,
Allan
Quote from: toledobass on January 22, 2009, 01:19:53 PM
I think his gift is in his musicality and his ability to make you feel you can create something with him. In the repertoire we played it worked extremely well. With that said, and with some fundamental ensemble things that were minor problems during the concert that I alluded to in a previous post, I can't really imagine him putting together something that is a technically challenging piece on a conductor/ensemble level...
Well to be fair (supporting your observation) I've not seen him tackle anything that requires above-average technical skill (e.g., a Mahler symphony or say, a difficult contemporary work). But musicality can go pretty far in smoothing out some rough spots. And when you use the word "joy" that has to count for something. 8)
--Bruce
So the Lansing symphony concert went relatively well. It was nice to see good attendance out in the hall.
So I've been thinking about the Bartok a lot ever since posting about it. I will say that I do enjoy playing the piece. Although it's not something I crave to play (if you were to ask me a list of my 10 favorite pieces to play, it wouldn't be on there.) Whenever I see it programed I do get pretty excited about another opportunity to revisit the piece.
I don't really think the piece is too technical. There are a few tricky spots and there is some mixed meter stuff, but it's not terribly difficult. I also get the feeling that the piece is very well known by the orchestra even if some may have never played it. I think that where the problems lie is playing together as a group and playing with an overall musical idea. Most of the time I was left a little cold by what was happening on our stage. While some of the individual solos shined a lot of the section soli stuff was a little blank.
I guess where I'm getting at is that the piece seems like the notes aren't the problem for most ensembles anymore. Taking it to the next level and really playing together and taking advantage of the music that was written is still still a struggle though.
Hope that makes some sort of sense,
Allan
Perfect sense, Allan.
Not too much to report lately performance wise. Some kids shows and other neighborhood kind of shows here and there. Economic things have been tightening up quite a bit. We're not only seeing program changes for pieces that require loads of performers to smaller things that don't require the hiring of extras, but also seeing program changes due to rental part expenses being taken into account. I'm scared.
Allan
Hang tight; positive vibes being sent to-you-ward.
Quote from: toledobass on February 14, 2009, 06:47:16 AM
Not too much to report lately performance wise. Some kids shows and other neighborhood kind of shows here and there. Economic things have been tightening up quite a bit. We're not only seeing program changes for pieces that require loads of performers to smaller things that don't require the hiring of extras, but also seeing program changes due to rental part expenses being taken into account. I'm scared.
Allan
Such a situation would seem to balance out eventually: would not the lack of rental fees at the publishing company lead to a reduction in fees? Something is better than nothing.
At least
Toledo still has an orchestra, as opposed to the football-crazed center of the state! >:D
Quote from: toledobass on February 14, 2009, 06:47:16 AM
Not too much to report lately performance wise. Some kids shows and other neighborhood kind of shows here and there. Economic things have been tightening up quite a bit. We're not only seeing program changes for pieces that require loads of performers to smaller things that don't require the hiring of extras, but also seeing program changes due to rental part expenses being taken into account. I'm scared.
Allan - sorry to read the above about being scared! :-\
The economy really SUCKS and is impacting on so many - will take a while but hoping the 'new' administration will make a difference? Good luck, my friend - Dave :)
Awesomeness tonight!!!! Brahms 3 and DSCH violin concerto.....super excited.
Allan
Quote from: toledobass on February 27, 2009, 01:31:00 PM
Awesomeness tonight!!!! Brahms 3 and DSCH violin concerto.....super excited.
Allan
So what happened? Did the skies open and then did
Herbert von Karajan appear and bless the proceedings? 0:)
Great program, Allan! (I'm guessing the First Concerto? Though either is quite sufficiently awesome.)
Great concert last night. The week has been good, if a little taxing at times. Lots and lots of info thrown at us with not a lot of playing sometimes, especially in the beginning half of the week. Sometimes Stefan is so detailed and he can keep keeps up a very verbal kind of rehearsing up through dress rehearsal. It can be difficult to remember what is what when you don't get to play through larger sections of a movement at a time. This week he ran through both pieces prior to dress rehearsal though. Something sorta of new to his rehearsal process that I very much appreciated.
The detail he pounded over and over really was beneficial in the end. The Brahms is so dense that it can get really murky really quickly. I didn't realize how difficult it is to really put that music across. There is so much going on, it takes some real finesse and in Stefan's words 'discipline' to make sure the transparency is there. No wonder it isn't played more often.
DSCH is being played by our concert master, Kirk Toth. Yes, Karl it is the first concerto. He's doing an excellent job and it is a great piece. I hope the audience is getting benefits from listening to our performance.
Here is the Blade review (http://toledoblade.com/apps/pbcs.dll/article?AID=/20090228/ART10/902280440) from last nights performance.
Allan
Wow, and your own concertmaster tackling the Opus 77! Excellent!
Yeah Karl, he's a bad ass....
That Shostakovich is one of my fave violin concertos, and from the review it sounds like you all did it justice. I'm also impressed that Sanderling did the Brahms first, and then the concerto. Most conductors would reverse the order, but this is more creative.
Congrats, wish I could have heard that!
--Bruce
Kind of a trying week for me up in Lansing. We're playing the following program:
ROSSINI - Overture to Semiramide
MENDELSSOHN - Symphony No. 3 "Scottish"
PAULUS - Concerto for Two Trumpets & Orchestra
Things are just really heavy and the rehearsal process seems like we haven't accomplished all that much aside from running through the pieces time and time again. There isn't a lot of insight into the style of this music. Lack of attention to dynamics is really annoying me. The group hasn't found a mp let alone a real pianissimo. Tonight is dress rehearsal so we'll see what happens tonight.
Allan
Well, good luck tonight, and I'll hope to hear that pianissimos have been sighted. (That's one of my pet peeves, too.)
--Bruce
Good luck, Allan.
Quote from: bhodges on March 05, 2009, 01:39:25 PM
Well, good luck tonight, and I'll hope to hear that pianissimos have been sighted. (That's one of my pet peeves, too.)
--Bruce
One of the most marvelous "PPP" perfromances I ever heard was the final bars of the
Mahler Ninth Symphony by the Cleveland Orchestra with Christoph von Dohnanyi conducting.
As affecting as any TA-DAA finale.
Aye.
SWEEET!!!!
Unfreakin believable news (http://www.nytimes.com/2009/04/09/arts/music/09spri.html?_r=5&ref=arts)
Allan
Quote from: toledobass on April 08, 2009, 05:34:42 PM
SWEEET!!!!
Unfreakin believable news (http://www.nytimes.com/2009/04/09/arts/music/09spri.html?_r=5&ref=arts)
Allan
The
Toledo Symphony at Carnegie Hall! 8)
So what will you be playing? The
Koussevitzky Contrabass Concerto ? 0:)
Yay Team! Will the
Mudhens be playing in Yankee Stadium soon? :o
Quote from: toledobass on April 08, 2009, 05:34:42 PM
SWEEET!!!!
Unfreakin believable news (http://www.nytimes.com/2009/04/09/arts/music/09spri.html?_r=5&ref=arts)
Allan
Like it or not Allan, I am going to be putting this on a better thread so those that do not haunt here will see it. Congrats!
I applaud the deed, Bill, but I must offer a slight emendation:
No thread is better than this 0:)
Heartiest felicitations, Allan! ¡Andale!
Quote from: toledobass on April 08, 2009, 05:34:42 PM
SWEEET!!!!
Unfreakin believable news (http://www.nytimes.com/2009/04/09/arts/music/09spri.html?_r=5&ref=arts)
Allan
Wow...fantastic news, Allan. And you get a free trip to NYC! :)
Sarge
hold up... who said FREE?!?!?!?!! We better be getting some overscale and a good per diem for this trip $:) >:D :P ;D
Thanks for the congrats guys. I don;t know anymore info than what's been printed in the article. When I know more about the program we'll be choosing etc, I'll be sure and let you all know.
Allan
So the official email from our management basically says only that we are going. It gives some details as to what the festival is and who is involved, but also says that the program can't be announced until the festival announces it first.
Allan
Quote from: k a rl h e nn i ng on April 09, 2009, 03:18:17 AM
I applaud the deed, Bill, but I must offer a slight emendation:
No thread is better than this 0:)
Heartiest felicitations, Allan! ¡Andale!
Agreed....all posts back to home base starting now. ;D
Basically a rehash of what is already known, but here is the Toledo Blade article (http://toledoblade.com/apps/pbcs.dll/article?AID=/20090410/ART10/904100333). One amazing bit of info: we pulled a Saturday night!!!! This is gonna rock.
Allan
Howdy folks!!!!
Been back to work for a few weeks now, but this weekend marks the opening of the Classics series with the Toledo Symphony. We'll be performing Mahler 3!!!
We've had two double rehearsal days already and dress rehearsal is tomorrow. I've had mixed feelings about Stefan's Mahler some of it is very engaging like the 9th we did a few years ago (which some of you have heard) and some of it just rather bland and flat. His third is on the engaging side of the fence, VEERRY thankfully since it is the only thing we are rehearsing! I'm liking everything he's doing so far. His vision is making a lot of sense to me even if he hasn't provided any of those 'aha!' moments
of revalation.
The orchestra doesn't sound to bad.....a little rusty here and there but that's to be expected. It's shaped up pretty well over these rehearsals.
We see the chorus tomorrow and I'll be sure to report....
Allan
Quote from: toledobass on September 23, 2009, 07:28:55 PM
Howdy folks!!!!
Been back to work for a few weeks now, but this weekend marks the opening of the Classics series with the Toledo Symphony. We'll be performing Mahler 3!!!
We've had two double rehearsal days already and dress rehearsal is tomorrow. I've had mixed feelings about Stefan's Mahler some of it is very engaging like the 9th we did a few years ago (which some of you have heard) and some of it just rather bland and flat. His third is on the engaging side of the fence, VEERRY thankfully since it is the only thing we are rehearsing! I'm liking everything he's doing so far. His vision is making a lot of sense to me even if he hasn't provided any of those 'aha!' moments
of revalation.
The orchestra doesn't sound to bad.....a little rusty here and there but that's to be expected. It's shaped up pretty well over these rehearsals.
We see the chorus tomorrow and I'll be sure to report....
Allan
Welcome back, Allan. What kind of eats have you been partaking in getting ready for the Mahler?
Interesting rehearsal last night. It was the first we had seen of the chorus so we spent some time rehearsing with them, they sounded good although there is a little difficulty getting the children to come in cleanly on their first entrance. The soloist doesn't seem to know how to count and apparently enjoys using rehearsal time for a private coaching with orchestra...I'm quite nervous about that movement. We haven't made it through without a botched soloist entrance. We'll see what happens tonight!
I've complained in the past about how we don't actually get a good run through of the piece in dress rehearsal. Such is the case again this week. There is some scheduling difficulty given the duration of the piece, but it seems all the more important to feel what the pace of playing through all of that music is like. I guess we find out tonight, I just hope we can keep it together mentally and physically.
I do think it will be a good performance despite all of these complaints...in fact I can't wait to be on stage tonight!!!!
Allan
Allan - good luck and hope that all goes better than expected! :D
Our local symphony is quite good, but the Winston Salem Chorus is basically a volunteer group (Susan belonged for years) which of course is an issue - they just do not perform well in the combined choral works; however, usually pretty good! Dave :)
Quote from: toledobass on September 25, 2009, 02:15:07 PM
. . . The soloist doesn't seem to know how to count and apparently enjoys using rehearsal time for a private coaching with orchestra...
Off with her head.
Hi Allan!
So who is this mysterious soloist? Local girl? 0:)
And how did things sound last night? Good crowd I hope?
Oh, and Allan: a singer who doesn't know how to count, eh? Now there's a bulletin. >:D
Good concerts Fridays and Saturday. Friday was a little ragged, but I never felt like things were out of control or wondering what was going on. Saturday was just a more settled and IMO better performance.
Toledo Blade review (http://toledoblade.com/apps/pbcs.dll/article?AID=/20090926/ART10/909260436)
The comment about the orchestra growing more artistically got me thinking. While it's hard to say what we're going to sound like from our first performance, I think we are on a good path. The fact that we put together a decent performance as our first concert back speaks of how far we have made it under Sanderling. A few years ago this concert in this placement in the season probably wouldn't have fared as well.
Allan
Good review--and that was for the first night! Congratulations.
Bravi, Allan!
Makes me weep that I wasn't in Ohio to hear this. Mahler 3 as the opening concert of the season! Amazing!
Sarge
Yay Team Toledo!
Practice makes perfect!
Sarge: you should be in the Toledo cathedral when the Toledo Symphnoy plays Bruckner symphonies! This is one of Sanderling's best ideas ever (I assume it was his idea, at least.)
I know people who can tell you about concerts back in the bad old days, when conductor Yuval Zaliouk, who now runs a cookie company (?), stopped a Beethoven Third Symphony performance because there were so many wrong notes and missed entries, and just restarted the orchestra after a slight and apparently very withering pause! :o
See:
http://naturalproductsbuyersguide.com/company.php?id=443915&company=ALMONDINA+/+YZ+Enterprises,+Inc
http://www.zaliouk.com/experience.htm
I've had those cookies! They're pretty darned good!
Allan
Yesterday began a Citymusic Cleveland week. We've got a hellish schedule but a great program and some great musicians with us.
HATZIS Redemption [world premiere]
MOZART Serenade in D (Serenata Notturna), K239
MENDELSSOHN A Midsummer Night's Dream: Suite
David Alan Miller is conducting and The Pacifica Quartet is here with us as soloists in the Hatzis and Mozart.
The schedule:
Moday: rehearsal 3-6 7-10
Tues: reahearsal 1-3 6:30-9:30
Wed: dress 10-1 concert in Youngstown (1.5 hours away) 7
Thursday: concert 7
Friday: concert 7
Sat: Recording session 9:15-12:15 concert 7
Sunday: concert 2 concert 7
The Hatzis piece is a Citymusic Cleveland commission and more can be read about it here. (http://www.citymusiccleveland.org/Concerts/october2009.php) The Pacifica Quartet are really something else to play with and witness. Excellent musicians and a great thing to be able to share the stage with them
More as the concerts begin,
Allan
Splendid, Allan! (You've met Peter C-L, I think? He's been working with Citymusic, IIRC.)
Indeed I've met Pete, although he doesn't seems to be working with us this week.
Allan
Last I spoke with him, one of his jobs had become full-time, so perhaps that's meant that he's less involved with Citymusic at present . . . .
Quote from: toledobass on October 13, 2009, 06:02:20 AM
MENDELSSOHN A Midsummer Night's Dream: Suite
Wish I could catch this one Allan. A favorite at this end.
It's mighty fine music isn't it Bogey?
Dress rehearsal this morning was fine. We worked on some balance and intonation issues, especially with the Mendelssohn. The Mendelssohn will require some real concentration and adjustments for each acoustic. It's unforgiving in the way that the group needs to feel the pulse as a whole. Once a section is even a little off, things get muddy quickly and the propulsive energy of the music deflates.
One major request for the Hatzis is exageration of all o the gestures. While they are coming across to some extent, the impact seems not to be at a level that it can reach. I think it'll be there tonight, 10am rehearsals tend not to be all out like that :P
Hitting the road for a few hours to get to Younstown, Oh for our opening night concert.
Allan
Good luck tonight, Allan! Another fan of that Mendelssohn here, which seems like it would be rather tricky to play. Will also be interested in your comments on the Hatzis (a name I don't know), and great you are getting to work with the Pacifica group!
--Bruce
Thanks Bruce, I hope you've been well. I don't know if you saw the info on the Hatzis piece posted previously. Here is another article written by Rosenberg (http://www.cleveland.com/arts/index.ssf/2009/10/prolific_composer_christos_hat.html)
Allan
Knock 'em daid, Allan!
So far two good concerts. Wednesday in Youngstown at the beautiful Stambaugh Auditorium. An excellent venue for a group of our size with some of the best acoustics we will have a chance to play in throughout the year with this group. Typically we find ourselves in churches rather than concert halls. We had a sound check at 6 followed by dinner with some patrons. It was nice being able to talk with some patrons before the concert. While it seems Youngstown has a pretty vibrant arts scene happening there, everyone was still appreciative of the chance to see a chamber orchestra and just hear some more live music.
Yesterday found us in our 'home' of Fairmount Presbyterian Church. This is where all of our rehearsals take place so this acoustic is our baseline and where we build all of our adjustments from. We had the more normal situation of an extended intermission/reception during the concert in this venue and it was a great pleasure to speak to some the audience here.
One of my thoughts regarding this program is how bold of a move it is to start with the Hatzis. The piece is actually the entire first half. During the intermission I heard much positive feedback on the performance. It turns out people are enjoying the piece.....I heard from more than one person how the piece drew some pretty vivid imagery in their minds. Also from more than one person was the thought that they were gonna have to sit through some god awful racket for the first half. Racket? perhaps but I know we really are playing the heck out of the piece and fully commited to trying to get it across as best we can...that's been enjoyable for me and its nice to know our efforts are paying off.
The Mozart has been beautiful both nights with some of the cadenzas in the final movement being improvised with great humor by some of the quartet members. Great fun.
Mendehlssohn has been good but always a few very small details that leave just a little bit of an annoying feeling inside. I have a feeling these little things are gonna be completely different spots each performance. Keeps us on our toes I guess!!!
I also wanted to give and idea of the varying concert settings so here are the first two halls....hopefully I'll remember to snap pics the remainder of the week.
Stambaugh Auditorium first then Fairmount Pres:
Rosenberg review (http://www.cleveland.com/musicdance/index.ssf/2009/10/post_5.html)
Splendid encore, Allan!
Ever any video coverage, Allan?
AWESOME!!!! my browser crashed after typing up a post about last nights venue and todays recording session.
For now just pics of the venue last night....St Noel Church in Willoughby Hills.
More on St Stanislaus recording session this morning and concert coming up this evening.
Allan
Quote from: toledobass on October 16, 2009, 09:43:06 AM
Rosenberg review (http://www.cleveland.com/musicdance/index.ssf/2009/10/post_5.html)
Linked this at henningmusick BTW
Thanks Karl, very kind of you.
Pacifica (http://www.nytimes.com/2009/10/18/arts/music/18smit.html?pagewanted=1&_r=1&sq=Pacifica%20quartet&st=cse&scp=1) article from today's NYT arts section.
Allan
Lagging a little here. The intense Citymusic week is over. Many great performances that were well recieved. I'll be sure to get photos of the last few venues posted soon.
Meanwhile, we start a nice program in Toledo with the guest conductor Ignat Solzhenitsyn. He'll be conducting and playing Mozart piano concerto 11 and conducting Rach 2.
Allan
Quote from: toledobass on October 20, 2009, 08:51:15 AM
Lagging a little here. The intense Citymusic week is over. Many great performances that were well recieved. I'll be sure to get photos of the last few venues posted soon.
Meanwhile, we start a nice program in Toledo with the guest conductor Ignat Solzhenitsyn. He'll be conducting and playing Mozart piano concerto 11 and conducting Rach 2.
Allan
Ignat has his own website: he's just a baby! :o
See:
http://www.ignatsolzhenitsyn.com/welcome/home.html
And yes, he is a child of novelist
Alexander Solzhenitsyn. Ignat must be almost more "American" than "Russian," since he would have been only 3 or 4 when his family was exiled to the U.S.
On the other hand, with Solzhenitsyn as your father, maybe that assumption is not necessarily correct! $:)
Pics from the last two venues of the CityMusic week.
St. Mary in Elyria:
Rocky River United Methodist in Rocky River:
Toledo concerts went pretty well this weekend. Rach was musically pretty interesting with an interpretation that unearthed a very intimate contemplative voice. I was frustrated by some sloppy ensemble that never really got addressed though. In truth, I'm kinda glad that the week is over, it wasn't a bad week and it's beautiful music for sure, but it can be chore to get through multiple performances of.
Blade review (http://toledoblade.com/apps/pbcs.dll/article?AID=/20091024/ART10/910240418)
Allan
Quote from: toledobass on October 26, 2009, 07:32:17 AM
Toledo concerts went pretty well this weekend.
Bravo,
Allan!
Quote from: toledobass on October 26, 2009, 07:32:17 AM
Toledo concerts went pretty well this weekend. Rach was musically pretty interesting with an interpretation that unearthed a very intimate contemplative voice. I was frustrated by some sloppy ensemble that never really got addressed though. In truth, I'm kinda glad that the week is over, it wasn't a bad week and it's beautiful music for sure, but it can be chore to get through multiple performances of.
Blade review (http://toledoblade.com/apps/pbcs.dll/article?AID=/20091024/ART10/910240418)
Allan
YAY Team!
The review mentioned the
Mozart concerto had the ensemble problems at the beginning. Was the
Rachmaninov better played?
Are you preparing for the
Bruckner concert at the 0:) cathedral yet?
Hi Cato,
The string were reduced on the Mozart so i didn't play. Can't really say if it was better performe or not. I will say that there were just a few things that would have been fine if properly attended to in rehearsal. Also, condutor as soloist is always a tricky proposition.
A replay of the opening Toledo Mahler 3 concert is available at wgte.org (http://www.wgte.org/)
Allan
Quote from: toledobass on October 26, 2009, 08:30:00 PM
Hi Cato,
The string were reduced on the Mozart so i didn't play. Can't really say if it was better performe or not. I will say that there were just a few things that would have been fine if properly attended to in rehearsal. Also, condutor as soloist is always a tricky proposition.
A replay of the opening Toledo Mahler 3 concert is available at wgte.org (http://www.wgte.org/)
Allan
Where is it at once you get to the site, Allan?
it's under the 'Listen' section. Here's a more direct link:
TSO Mahler 3 Broadcast (http://www.wgte.org/wgte/item.asp?item_id=4210)
Hope you enjoy it Bogey, any thoughts appreciated.
Allan
hi all,
sorry it's been so long. I go rid of my Internet at home and have been doing all my surfing on the Iphone which I find kind of tedious to write posts with. Anyway, this week is our Bruckner week. Tackling the 6th this time around. First half of the program features some of the motets performed by a local choir. I'm looking forward to hearing that stuff.
Allan
Great to hear you report in, Allan! I have a reunion which looks like drawing me to the Buckeye State in June, BTW.
Quote from: toledobass on January 19, 2010, 06:54:03 AM
hi all, sorry it's been so long. I go rid of my Internet at home and have been doing all my surfing on the Iphone which I find kind of tedious to write posts with.
Allan - been missing your posts in the 'food thread' - hope that you're back online in a more acceptable mode soon - Dave :D
Quote from: SonicMan on January 19, 2010, 04:17:39 PM
Allan - been missing your posts in the 'food thread'
Yes, Allan, please come back. Everyone's apparently on a hunger strike until you do ;D
Sarge
Quote from: toledobass on January 19, 2010, 06:54:03 AM
hi all,
sorry it's been so long. I go rid of my Internet at home and have been doing all my surfing on the Iphone which I find kind of tedious to write posts with. Anyway, this week is our Bruckner week. Tackling the 6th this time around. First half of the program features some of the motets performed by a local choir. I'm looking forward to hearing that stuff.
Allan
I had hoped to attend the
Bruckner Sixth Symphony in the Toledo Cathedral, but thinigs have not worked out recently.
But tell us how the rehearsals sound so far!
The Bruckner concert was decent. Not a stellar performance but not a terrible performance either. For some reason it lacked the spirit the past Bruckner performances have had. Perhaps it isn't the best idea to have the Bruckner concert as the first full orchestra concert directly after the holiday break. First rehearsal was noticably underprepared by many. That of course started the week off tensly. It never really got any better.
It was spectacular to hear the motets that started out the concert....especially in the space of the cathedral....gorgeous music.
Unfortunatly no newspaper review that I've found.
Allan
Thanks for the report, Allan. Your comment about the break might be true, unfortunately.
Say, Carnegie Hall just announced its 2010-2011 season, and look what I found:
Saturday, May 7, 2011, 7:30 p.m.
Toledo Symphony Orchestra
Stefan Sanderling, Principal Conductor
Program to be announced
:o Congrats!
--Bruce
Wooot!
WTH? Still no program announcement!!!! Dying to know what we're gonna play.
I am so entirely there on 7.v.11!
Quote from: toledobass on January 27, 2010, 04:42:48 AM
The Bruckner concert was decent. Not a stellar performance but not a terrible performance either. For some reason it lacked the spirit the past Bruckner performances have had. Perhaps it isn't the best idea to have the Bruckner concert as the first full orchestra concert directly after the holiday break. First rehearsal was noticably underprepared by many. That of course started the week off tensly. It never really got any better.
It was spectacular to hear the motets that started out the concert....especially in the space of the cathedral....gorgeous music.
Unfortunatly no newspaper review that I've found.
Allan
Hi Allan!
Thanks for the update on the
BrucknerSixth Symphony at the Toledo Cathedral!
Too bad the performance did not meet your expectations. How was the little funeral march in the slow movement?
Karl! When you go to Carnegie Hall, Allan will be the guy with the REALLY big guitar! :o
And no moustache! 0:)
HE SHAVED THE MOUSTACHES OFF?!
Quote from: k a rl h e nn i ng on January 29, 2010, 08:03:43 AM
HE SHAVED THE MOUSTACHES OFF?!
Easy fellas. That is an actual Deadwood prop that Allan won on Ebay. He's pretty proud of it and the last time he avatarred without it, one heck of a howl went up here on the board.
Oh, why didn't he say it's a stage property! All right, then.
Quote from: k a rl h e nn i ng on February 24, 2010, 04:56:58 AM
Oh, why didn't he say it's a stage property! All right, then.
Truth....what up yall? Sorry still only lurking......
Allan
Quote from: toledobass on March 12, 2010, 11:51:01 AM
Truth....what up yall? Sorry still only lurking......
Allan
Dude! How are the ticket sales these days?
Any world premieres for next year?
And which
Bruckner symphony is scheduled for next season?
Under "Great Recordings" I just wrote about the
Respighi Pines Of Rome performance given by the Toledo Symphony and the Glassmen a few years ago. Were you there? 8)
Quote from: toledobass on March 12, 2010, 11:51:01 AM
Truth....what up yall? Sorry still only lurking......
Allan
Great to see a post from you good brother! :)
Quote from: Bogey on March 12, 2010, 08:45:53 PM
Great to see a post from you good brother! :)
Woot!
Wait on it, wait on it, wait on it.....
So who's the stevedore in Karl's photo? :P ;)
Cato,
Ticket sales are actually quite strong. To bad everything else (grant and big donations) are flailing. There is NO chance we'll do a world premier while the economy is what it is. There is just no money for it. I'm still wondering how this trip to Carnegie is going to work out.
Here is a preview for next season:
Were doing the 4th for the Bruckner week. A highlight program for me is the March Classics program.....really looking forward to that as I've been wanting a go at Sibelius 7 for years now.
http://www.toledosymphony.com/performances/2010-2011--Preview/
Also I did play that Pines concert. Very effective. The coolest thing was seeing the kids come off stage with all the excitement and adrenalin that they had for the performance they just gave....made even the most jaded orchestra lifer smile a bit.
Allan
Quite handsome there Bogey.
Quote from: toledobass on March 13, 2010, 09:24:23 AM
Quite handsome there Bogey.
Dressed for dinner. ;D What have you been serving at the household lately?
Arnold Cohen played some good piano last night. Looking forward to tonight, second and final performance.
Quote from: toledobass on September 24, 2011, 06:33:17 AM
Arnold Cohen played some good piano last night. Looking forward to tonight, second and final performance.
An interesting review of the concert:
http://www.toledoblade.com/Music-Theater-Dance/2011/09/24/Pianist-gives-dazzling-salute-to-Tchaikovsky.html (http://www.toledoblade.com/Music-Theater-Dance/2011/09/24/Pianist-gives-dazzling-salute-to-Tchaikovsky.html)
An excerpt:
QuoteWith the symphony playing at its peak, the effect was all splendid ensemble, the piano serving both as orchestral instrument but also as still the undisputed leader of the musical pack.
Decisive pedal work enhanced Cohen's digital technique. His assured performance created countless moments of sudden contrast, dynamic emphasis, and tempo and mood change, all to the mutual end of advancing the big musical picture. His first movement cadenza was impeccable.
No surprise that a very large and enthusiastic audience summoned Cohen back to the stage for an encore: a sprightly short piano work by Brazilian composer Ernesto Nazareth, 1863-1964.
Sweet. Bravo, Allan!
Yo, Allan! What's shakin'?
Howdy Karl!
Not much! Enjoying the warm weather here. Getting ready for some fun times. Spring Symphony and Brahms Double next week. Then other good programs coming up too. Bruckner 3 soon. Late April is the 'post card from Carnegie' concert. We will play the program that the Oregon Symphony played:
IVES The Unanswered Question
ADAMS The Wound-Dresser
BRITTEN Sinfonia de requiem
VAUGHAN-WILLIAMS Symphony No. 4
Adam, Britten and V-W are Toledo premiers. SO excited to bring this program to our audience.
How bout you Karl?
Allan
Quote from: toledobass on March 19, 2012, 11:55:37 AM
Howdy Karl!
Not much! Enjoying the warm weather here. Getting ready for some fun times. Spring Symphony and Brahms Double next week. Then other good programs coming up too. Bruckner 3 soon.
Allan
hH Allan!
I assume that is the
Bruckner performance for this year's Rosary Cathedral concert!
http://www.toledosymphony.com/index.php?src=events&srctype=detail&refno=77&category=Mozart%20%26%20More (http://www.toledosymphony.com/index.php?src=events&srctype=detail&refno=77&category=Mozart%20%26%20More)
If you can make it to Toledo, this concert will be worth it!
Yes Cato!
The Bruckner Society will be there giving us an award for our yearly performances!
Allan
Quote from: toledobass on March 19, 2012, 03:28:42 PM
Yes Cato!
The Bruckner Society will be there giving us an award for our yearly performances!
Allan
Yay Team!
I was a member of
The Bruckner Society of America back before you were born! ;D (Almost 50 years ago!)
Jack Diether, an excellent critic and musical analyst, was the editor of the society's journal
Chord and Discord. I had a fairly nice collection of the journals, but Time can be hungry. They are no longer part of the vast
Cato archives! :o If you can find them, every article was worthwhile.
Diether, besides editor of this journal, was also a founder of the
Gustav Mahler Society of America.
Chord and Discord carried articles on
Mahler occasionally: I recall one on a
Mahler work from his teenager years, viz. a piano quartet.
My-man! A lot of Bruckner talk....very cool. Any new eats?
Quote from: toledobass on March 19, 2012, 11:55:37 AM
Howdy Karl!
Not much! Enjoying the warm weather here. Getting ready for some fun times. Spring Symphony and Brahms Double next week. Then other good programs coming up too. Bruckner 3 soon. Late April is the 'post card from Carnegie' concert. We will play the program that the Oregon Symphony played:
IVES The Unanswered Question
ADAMS The Wound-Dresser
BRITTEN Sinfonia de requiem
VAUGHAN-WILLIAMS Symphony No. 4
Adam, Britten and V-W are Toledo premiers. SO excited to bring this program to our audience.
How bout you Karl?
Allan
That is one über-bitchin' program Allan!
I've a couple of recitals I'm playing here in Boston in April. A wee small slice of White Nights may finally be performed . . . sometime in 2013.
Quote from: Bogey on March 20, 2012, 04:30:20 AM
My-man! A lot of Bruckner talk....very cool. Any new eats?
Hiya Bogey!
How ya been? How's the jazz collection coming along? Did you pick up those mid 60's Miles Quintet in Europe? Been out at a lot of ramen shacks lately. Also as the weather warms, thinking about converting my grill into one of these:
frankenweber (http://www.porkbarrelbbq.com/awesome-modified-weber-grill-pizza-oven-frankenweber/)
Allan
Quote from: toledobass on March 21, 2012, 09:18:10 PM
Hiya Bogey!
How ya been? How's the jazz collection coming along? Did you pick up those mid 60's Miles Quintet in Europe? Been out at a lot of ramen shacks lately. Also as the weather warms, thinking about converting my grill into one of these:
frankenweber (http://www.porkbarrelbbq.com/awesome-modified-weber-grill-pizza-oven-frankenweber/)
Allan
Instead of custom cars, let's chop up our grills....how sweet is that!
Bruckner week starts tomorrow. The third. Bruckner Society in the house to present us with an award for championing the music.
More later,
Allan
Nice, Allan! Conquer!
Quote from: toledobass on April 09, 2012, 07:32:07 PM
Bruckner week starts tomorrow. The third. Bruckner Society in the house to present us with an award for championing the music.
More later,
Allan
Yay Team!
Which version of the
Third Symphony is being used?