The Start of March Music Month

I'm very excited about this month! There are lots of things going on in my music circles and it all started last night with the Toronto Symphony.

Since the tsoundcheck program is so awesome, and reasonably priced, I decided to take in a concert program of elements I was not familiar with. The concert consisted of Sibelius' Suite from King Kristian II, Grieg's Piano Concerto in A Minor, a Chorale by Magnus Lindburg, and the backbone of the evening, Elgar's "Enigma" Variations. My first step was to find some youtube versions of the Piano Concerto, and the Enigma Variations. Discovering that I at least recognized the opening theme of the concerto, and the famous "Nimrod" variation, I got tickets without really knowing what else to expect.

As usual, live music beats any recording, well that's my opinion. There's something to be said for watching the music being made. Overall, the evening was filled with lyrical melodies and lots of moments where it was nice to just close your eyes and let the sound sweep over you. I really enjoyed King Kristian II which had lots of full string sounds. Having played some simple arrangements of Grieg's dances, it was nice to hear the Piano Concerto, his only significant large-scale composition (according to the program notes). The soloist, Lars Vogt, was animated and an excellent musician.

The piece that seemed an opposite to the others was the Chorale (after J.S. Bach "Es ist genug"). Now I know nothing of the original Bach, having never heard it, but this piece seemed to lack the lovely melodies found in the rest of the evening. Indeed the composer of the work says "I have always considered my music as non-melodic, in the sense that melody arose out of the harmonies which I never though of as having a tonal quality. In Chorale I have my harmonies, but suddenly there is a melody on top." It was different.

The highlight for me in the Enigma Variations, was "Nimrod", although I really liked the 10th variation as well. According to the program notes, it represents a "charming young girl with an unfortunate stammer". I will need to listen to the whole thing again, and probably repeatedly, to completely appreciate all the other great parts. The 14 variations are all based on elements of Elgar's life, the first being his wife, the last himself, and in between there's a sea voyage, country squire, 18th century house, even a friend's bulldog.

Next up it's back to Ottawa Pops with Mysterioso: Music, Magic, Mayham, and Mirth...talk about throwing it all in there! Can't wait!

Concordia's Spring Season

Tonight marked the second concert of Concordia Pops spring season. The music is a nice mix, although I am partial to the lighter stuff of the second half which includes Highlights from The Sound of Music and My Fair Lady, a nice Jerome Kern medley, and Belle of the Ball by Leroy Anderson (composer of Sleigh Ride). Belle of the Ball needs a bit more work, but it's being pulled out of the performance list, so reprieve!

The first half starts with John William's Olympic Fanfare written for the Los Angeles Games in 1984. The first clarinet part matches the trumpet fanfare line and is fun to play. Alas, it doesn't come close to the version played at the Vancouver closing ceremonies, we take it a bit slower. By the way, anyone know if that was the Vancouver Symphony Orchestra that played at the opening and closing ceremonies?

The pieces then move into a few dances, specifically Slavonic by Dvorak, and Norwegian by Grieg. These make me sweat as there's some exposed clarinet parts, but my confidence is growing with each performance. I've discovered swabbing at the midpoint of the concert though really helps get the gurgle out. Sleeper's Wake by Bach is one of those flowing really pretty songs that doesn't require staccato articulation. Since I'm still working on getting that aspect cleaner, this is a good thing. Other than some fingerings that need conversion to autopilot (great analogy put forth in a recent NACOcast "Practice Makes Perfect" between flight and practicing), it gets played fairly well. Except when I miss my cues (sorry Mr. Conductor!).

Week off next week since it's March Break, but must not lose motivation to practice or the autopilot will never be engaged!

From 2010 Back to 1950

My 2010 concert year began in Ottawa with a wonderful trip back in time to 1950 through a performance of "Guys and Dolls: In Concert". The always fantastic Maestro Jack Everly led the NACO, four main vocalists, about a dozen gamblers, a few Salvation Army Mission folk, and the Hot Box Girls in a musical performance that I'll characterize as the Broadway show minus the sets. There were costumes, and dialogue from binders (although most of the actors referenced them only occasionally), and music! A lit up "Pops" sign, two large dice, and chairs provided tables and props as needed. Honestly, you didn't miss sets, the rest of it was so good. If I didn't already like the score the show would have gone a long way to changing that. I love being able to watch the orchestra and conductor on stage. In this case I wish that I had multiple sets of eyes to be able to focus on everything at the same time.

Kristen Plumley as Sarah Brown was beautiful. Her voice is so clear and she acted the part really well. Her part in Sci-Fi Spectacular last season, with I believe it was only a single solo song, really didn't do her justice. She also blended nicely with Hugh Panaro's Sky Masterson. In my opinion much better, in all regards, than Marlon Brando's movie version. I was excitedly waiting to hear him do "Luck Be a Lady" rather than wishing it was Frank Sinatra, and he did a great job! Gary Beach as Nathan Detroit, and Megan Lawrence as Miss Adelaide were also excellent. "Adelaide's Lament" is one of my favourite pieces and Megan's performance was full of charm, and very realistic sneezes!

The supporting cast of gamblers are not to be left out. Nicely Nicely Johnson (Eddie Glen) did a great job of "Sit Down You're Rockin' the Boat". This wasn't one of my initial favourite songs, although it has grown on me. It did emphasize one of the small problems of the evening. The balance between orchestra, chorus, and soloist's wasn't always quite right. For example, one line wasn't able to be heard because the chorus volume overpowered him. The lyrics by Frank Loesser in all the songs are just so good it's a shame to miss any. A few times Big Jule's mike didn't get turned on until about a sentence or so into his narration. On the positive side, special kudos go to the gambler who in "Guys and Dolls" had the line "When a guy wears tails with the front gleaming white, who the hell do you think he's tickling pink on Saturday night", what a voice!

I like to be slightly blown away by the orchestra, not to the point of them overpowering the vocalists, but in the upbeat orchestral sections (such as parts of the overture) I could have had a bit more volume. Unfortunately, the two orchestral pieces from the 1992 Broadway revival recording (which is how I came to love the music), "Havana" and "The Crapshooters Dance" were pretty much left out. I can only assume they were in the original Broadway version as well. Short segments were heard during narrations/prop re-arragement but it would have been great to have them left in their entirety. Given that it's an "in concert" performance and the music is playing a key role, having a few orchestra numbers to show off the NAC orchestra, particularly the larger brass section, wouldn't have been out of line.

None of that though detracted from a very enjoyable evening. It had occurred to me that having Maestro Everly get in on the action by introducing the Hot Box numbers as if he was the conductor in the night club, might work well. But Big Jule did that part as well.

I'll be keeping my eyes out to see if this ends up on any other orchestral schedules for the upcoming seasons, I'd go see it again in a heartbeat! Speaking of which...all you other orchestras out there--time to announce your 2010/2011 season, Toronto's beaten you all :)

Christmas with the TSO

This is a belated and hopefully short review of two great concerts in one week. First the traditional Christmas favourite "Handel's Messiah" to which I took a first time symphony attendee. Hopefully she enjoyed the experience and will want to go again. I'm always looking for new people to join the fun :)

I had rather high expectations having seen the NACO version several times, and the TSO did not disappoint! The soloists were wonderful! The soprano, Shannon Mercer, had an exceptionally clear voice. Admittedly I was briefly distracted by the tenor, Colin Balz

er's, resemblance to Voyager's Doctor. Although note I was sitting in practically the last row on the floor so from that distance there was a resemblance, perhaps closer not so much, but he also had a lovely voice.

The balance between orchestra, soloists, and chorus seemed excellent and while I would have liked more punch from the Hallelujah Chorus, it was beautiful if not "knock your socks off" forceful. The brass, which showed up for a solo from the organ level, did look like they dozed through the second half when they joined the orchestra after the intermission, but Andrew McCandless came alive when it counted for the trumpet solo near the end, it had punch!

Two nights later I was back again for "Christmas with the Canadian Brass". I think I found my secon

d favourite conductor at this concert! John Morris Russell was lively, had a good repour with the audience and told a neat personal story about how the favourite record his family had was by the Canadian Brass. This story served as their intro following several strictly orchestral pieces.

The whole show was great, even lacking some TSO principal players (I noticed the clarinet, bass, and trumpet were missing). The smaller chorus, but much larger orchestra gave the Hallelujah Chorus the strength I'd desired previously.

When Canadian Brass joined the orchestra they added their own degree of showmanship. I'd never seen them perform before but they were great, with entertaining intros to pieces, jokes about themselves and a "melting" tuba player/Frosty. They had unique as well as beautiful arrangements, even a piece with them and the big band brass of the TSO. It was all a delightful way to get into the Christmas spirit, in case by the 23rd of December, you weren't already there! :)

Beethoven and Another Premiere

December 12th marked my second TSO trip of the month. A performance of Beethoven's "Pastoral" Symphony (#6), and a world premiere of a new violin piece commissioned by Robert McDuffie and the TSO from Philip Glass. It's a modern take on Vivaldi's Four Seasons. Technically it was the third time it was performed, since the TSO had done in at the Wednesday concert, then Thursday at my other favourite place, the National Arts Centre in Ottawa. According to a few reviews the Glass piece stopped the show. Which is perhaps why they reversed the order and played the Beethoven first.

It was the first casual concert that I'd attended...half hour earlier start, no intermission, and a party in the lobby afterwards. We didn't really stay for the party, but the straight through performance worked well. It was also the first time I saw Peter Oundjian conduct. He's ok, certainly not boring to watch or bad, and he shared with the audience a bit of history on how he knew McDuffie (back when they were both at Julliard and recognized each other while wanting to purchase the same steak at a grocery store...who knows if it's true or not). I always like it when conductors interact with the audience.

As for the music, well you'd have to mess up Beethoven a lot for me to dislike it. I think Symphony 6 is my favourite. It's just so lyrical and really gives the feeling of the countryside. Not being a huge fan of violin solo works, I'll admit to finding the Glass piece a little long. Amazingly played though. How someone can memorize a 45 minute piece is beyond me! The style is repetitive, although there were enough new themes to keep it mostly interesting. I do like the combination of solo "songs" and then the orchestra movements. Perhaps a bit more guidance as to what theme might be winter, spring, summer, fall is needed for me. Although part of the point I expect is that the audience decides for themselves. The double stops were great! Something I'd never heard before.

All in all an enjoyable evening out.

More later, as my December with the TSO continues.

A Concordia Pops Christmas

Tonight was our last concert before the Christmas break, and in my opinion it was the best so far. The audience at Thorton View was certainly the most engaged. The oboist wasn't there so the other 1st clarinet and I played the solo in Linden Lea (because our music had the cues) and we nailed it! Booyah! It was certainly the best I had played most of the pieces. There's still a few that are easy to get lost in, and we don't really get cued for entrances, although the getting lost doesn't happen while counting rests so I'm not sure it would really help anyway.

The Christmas music is fun to play, although it feels long. Particularly the last sing along piece where the audience gets to join and sing along (did you expect them to do something else? :) ). It seems to never end and my cheeks are aching by the end. The overall tone was really good tonight and the acoustics in the room sounded very nice.

So a few weeks with no official rehearsal, yet new music was handed out, hence no rest from the practicing.

Looking forward to hearing more of the Toronto Symphony and Handel's Messiah next week though. More about last weeks Beethoven's 6th and the world premiere of Philip Glass's Four Seasons to come. Stay tuned.

Dvorak, Tovey, McCandless, world premieres, and the TSO

December 2 was another great concert night. Beginning with a side note: Section R6 in the mezzanine is really quite good. You can see the whole stage and are close enough to see exactly who's playing. I had a great view of the principal clarinetist, and could see his fingers moving. End side note.

The conductor for the evening was Bramwell Tovey, conductor for the Vancouver Symphony among others. His voice I was familiar with from the series of CBC podcasts on Beethoven's 9 Symphonies, where he also played parts of the symphonies on the piano, so obviously talented and knowledgeable. His talent extends into being a pretty impressive composer as well. The first half of the concert included his "Urban Runway" and "Songs of the Paradise Saloon". As a conductor he definitely knew the music. He didn't open the score of "Urban Runway" until half way through the piece and then didn't really turn pages once he did open it. The intimate knowledge that comes with being the composer I suppose.

"Urban Runway" looked hard to play, particularly with watching the drummer. At one point the trumpet player had to take out the mute, turn the page, and get ready to play again in very short order. There also didn't seem to be one set of instruments that maintained the melody for long stretches (violas did for a bit apparently as a reminder of "the pre-owned grunge look") yet you could still pick out a continuous musical line. It was good modern music and totally had the sense of walking down a street looking snazzy!

"Songs of the Paradise Saloon" is a trumpet concerto commissioned for the TSO's Principal Trumpet Andrew McCandless, and this was it's world premiere. It ended up involving a C-trumpet, 2 fugal horns, a cornet, piccolo trumpet, and various mouthpiece he had hidden in his pockets to keep them warm. A longer piece than "Urban" yet equally enjoyable. A sort of theme and variations type which I always enjoy and it had some definite hummable melodies. It was great that Tovey and McCandless introduced the piece by explaining a bit about where it came from (based on a scene in Tovey's in progress opera "The Inventor") and how it developed. This intro concluded with "for those who have been to a pub you can imagine your own scenarios [referring to people one may meet there], for those who haven't, you can decide after this if it's somewhere you'd like to visit". If pubs had that kind of music it's somewhere I'd go!

The 2nd half was Dvorak's "New World Symphony". I've been anxious to hear this performed in full since the Largo movement was featured in "A Chorus of Hits" (further discussed here). I listened to parts of it on youtube for the first time before going to the concert and was surprised to hear some themes I recognized from John Williams music. The 3nd movement has some sequences of notes that likely influenced "Dual of the Fates" and the 4th movement starts as "Jaws" does. Although this was much more noticeable in the youtube version than live. The Largo was again beautiful (aside from the people who decide that's when they need to cough! ), with a duet between the oboe and clarinet I hadn't noticed before. The more lively movements were also fun to watch and listen to.

Something I'd like to know though. The principal clarinetist, oboist and a french horn (I don't believe the principal. He sat in the section beside us during the first half.) didn't play the first half, yet did perform the second. Why would they not want to play a world premiere yet want to play a symphony they've likely played many, many times over the course of their career? If anyone would care to fill me in on how this stuff works for orchestral musicians and what they can pick to perform, I'd be interested to know.

Stay tuned for notes about Beethoven's 6th next week and the first time I finally get to see Peter Oundjian conduct.