Gershwin and Beyond

(www.online-inquirer.com)

May 6 I was back at Roy Thomson Hall for Gershwin and Beyond.  It was to be conducted by Joana Carneiro however due to a shoulder injury she was unable to lead the series of two concerts.  Substituting was American Edwin Outwater.  He had conducted a concert earlier in the season I had wanted to go to but didn't so it was nice to have another opportunity.  Until I read his bio I didn't realize he's the music director of the Kitchener-Waterloo Symphony.

The concert opened with Bernstein's "Overture to Candide", which seems to be the selection of choice for opening light classics concerts.  As usual it was joyously played.  Really I don't mind if it's performed a lot, it's one of my favourites.

(hurdaudio.blogspot.ca)

In the introduction to "The Chairman Dances: Foxtrot for Orchestra" Mr. Outwater explained it was part of John Adams opera Nixon in China.  It comes from Act 3 when the President and Chairman Mao, along with their wives are dancing, probably at a ball.  He described the piece as starting with a bit of important business going on, then switching to a classic 1950's Hollywood sound before concluding with percussion sounds reminiscent of an old record with the needle sliding off and up.  It was funny as the young conductor indicated "well that's what I've been told.  I don't know records." :)  The ending didn't really sound like the needle lifting to me, but maybe I just need to hear the real thing again for comparison.  The record I remember playing as a kid was You're a Good Man Charlie Brown and I think the old record and player is still around somewhere.

The first half ended with the always enjoyable "Rhapsody in Blue".  Written by George Gershwin I believe originally for 2 pianos, it was actually orchestrated by Ferde Grofe.  It's true that this piece has become widely recognized.  As Mr. Outwater said "people know it from all sorts of places, like the tunnel between Terminal 1 at Chicago's O'Hare; Neon and Gershwin you might say."  So true!  Admittedly when I haven't been in a hurry in Chicago I've enjoyed a leisurely stroll through the tunnel.  But it wasn't always the soothing, relaxing piece we consider it today.  In its day it would have had things to make the previous generation gasp.  The guest pianist was Todd Yaniw, who I would consider a prodigy having made his debut with the Edmonton Symphony at 13.  Now 26, he's recently received a Master's degree from Rice University studying with another TSO regular Jon Kimura Parker.  As always, it opened with the fantastic clarinet solo by YaoGuang Zhai.

O'Hare Tunnel

Opening the second half was a fanfare inspired by Copland's "Fanfare for the Common Man", but written by Joan Tower and titled "Fanfare for the Uncommon Woman".  Back in March the Baltimore Symphony had a program which included both of these.  A good idea, although I think the "Common Man" would have overshadowed the "Uncommon Woman" merely by being more recognizable.  It was a good fanfare, one I'd like to hear performed again.

Barber's "Adagio for Strings" has been paired by the TSO with "Rhapsody in Blue" before.  It's always a stirring piece but it bothers me that people find the quietest pieces and moments within them to start coughing.  Someone should do a study on the reasoning behind why one cough triggers 15 more from other people around the hall.  I have to force myself to focus on the music, get sucked back into the beauty and try to ignore what's going on around me.  No one clapped though in the spot where there's a pause when people sometimes think the piece is over.

(www.sheetmusicplus.com)

The finale was by Aaron Copland, "Four Dance Episodes from Rodeo".  As part of his intro, Mr. Outwater said something akin to the following "Copland's music is considered by conservative politicians in my country to be an example of pristine America.  I guess they didn't know he was a gay, Jewish socialist from Brooklyn!"

The piece is in four movements Buckaroo Holiday, Corral Nocturne (a pun on chorale), Saturday Night Waltz, and Hoe Down.  The first and finale are fast and light hearted and my favourites.  I haven't seen the suite performed before, but would love to again.  The audience clearly enjoyed it and applauded after each movement which was considerately acknowledged by the conductor rather than just ignoring it; the benefit of a casual concert I suppose.  There was even a burst of applause in the middle of Hoe Down, although the indication from the podium at that point was a skeptical expression as if to say "we're not done yet".  It was great to hear the audience enjoying it, and I'll guess the orchestra didn't mind too much, they had just yelled "yee haw" :)

Memphis: The Musical

Fresh from Broadway is the first National Tour of Memphis, which recently made a brief stop in Toronto (so technically it's a North American tour).  The story takes place in the 1950's during a time when radio was one more segregated element in the southern USA.   I had no idea that "race music" stations were relegated to the edges of the band, typically where the signal was not as high a quality.  Mainstream stations may have had a rhythm and blues program, but based on how the musical pokes fun at this program on a white station, they were essentially a joke; not really playing black music.

In the musical, a guy named Huey Calhoun (Bryan Fenkart), who likes black music ends up in the wrong area of town at a black nightclub.  He convinces them he likes their music, and isn't interested in anything other than promoting it, well except for Felicia (Felicia Boswell).  She's a black singer, and sister of night club owner Delray (Quentin Earl Darrington), with whom Huey falls in love.  His promise of getting her singing in the centre of the radio dial is the driving force of the first act.  The sudden expansion of black music, now being called rock and roll, onto radio, TV, and the aftermath of the Huey/Felicia relationship is the subject of Act 2.

Felicia Boswell and Bryan Fenkart
(www.mooneyontheatre.com)

The story line is lively, intense, thought provoking, tender and touching all at the same time.  We see the change in characters preconceived notions about people, (namely Huey's mother played by Happy McPartlin), who are different and a younger generation that embraces the music and change.  It's sad to think that all this happened barely a generation ago.  Things don't get as far as a lynching but there's intense opposition to Huey and Felicia being together.

Unfortunately, there isn't a fairy tale ending.  Felicia's story has a happier finale than Huey's as she makes a career as a singer in New York.   By trying to force too much, too fast change wise in Memphis Huey ends up losing all the progress he made professionally.  Although I like to think he gets back on the right track at the end with a little help from old friends.

Huey and cast in final scene
(yipit.com)

The music follows the same mix of emotions.  The score (musical as well) won a Tony award in 2010 and is by founding member of Bon Jovi, David Bryan.  I particularly liked the upbeat "Everyone Wants to be Black on a Saturday Night", Felicia's heartfelt "Coloured Woman", and the song that eventually makes it on the radio in the centre of the dial "Someday".  Maybe I was just in an overly sappy mood, but "Memphis Lives in Me" brought tears to my eyes as everything Huey had falls apart.  There wasn't a member of the cast who left you feeling let down with their voice or performance.  They are all top notch talents.

Felicia singing live on the radio
(photo by Joan Marcus)

The show has now left Toronto, but should it make a return appearance and you're looking for a mix of catchy music and story with heart, check out Memphis.

A Night at the Cotton Club

May 17 the Toronto Symphony travelled back in time with a concert that was the pastiche of the 1920's and 30's when swing was king and the Cotton Club was the place to be.   Guest conductor Jeff Tyzik led guest artists Byron Stripling, Carmen Bradford, and Ted Louis Levy along with an interesting orchestra combination in A Night at the Cotton Club.

Dave Young
(daveyoung.ca)

The Toronto Symphony itself was pared down to a smattering of strings taking up the left side of the stage with the basses on a raised platform at the back.  I'd say this isn't a location the basses are accustomed to given the very careful way they climbed the 4 or so steps with their expensive instruments.  A grand piano was placed centre stage and the right side was filled with a big band consisting of two French horns, a tuba (played by TSO regular Mark Tetreault I believe), several trombones, trumpets, and a full front row of saxes, with one alto player doubling a clarinet.  The lead trumpeter was fantastic although I can't recall his name.  John Johnson was the sax/clarinetist and Dave Young the plucking jazz bassist by the drum set who never stopped!  I expect the remainder were from the jazz world as well.

John Johnson
(thelivemusicreport.com)

With this set up it was fascinating to see the dichotomy between the jazz and classical worlds.  More noticeable at the beginning of the evening, the jazz side moved with the music, tapped feet, nodded heads, and swayed bodies.  In contrast the classical side was more subdued in their movements.  There's a different kind of sway and a less pronounced joy in the genre.  And feet tapping?  Why that seems to be a no no, at least in any concert with classical repertoire.  By the end of the evening though, several violinists were tapping their feet and some more smiling faces emerged.  I don't doubt the TSO musicans have great respect for other styles of music and performers as there was often enthusiastic bow waving for soloists, it just takes them some time to get into it.  Indeed by the time Byron Stripling was calling for audience participation in a "Cotton Club Medley" the orchestra joined in singing the "highdee highdee highdee ho's" with more conviction than I've seen before.  Ted Levy mentioned how they were clapping with their feet in rehearsal and had them join in the dancing from their chairs.

jazzartsgroup.org

The guest artists were all extremely talented and had great camaraderie amongst themselves.  I got the impression Byron and Carmen had worked together before and their vocals blended well.  Carmen was actually the last singer hired by Count Basie himself, and was a favourite of Ella Fitzgerald.  Her rendition of "Stormy Weather", popularized by another Cotton Club-er, Lena Horne, was particularly moving.

Grand Rapids Press

Byron's trumpet skills are stupendous and he flipped between singing and playing so effortlessly.  He even joined the big band section "sitting in" for one of the numbers as he said he'd never had the opportunity to play with strings before.  While this can't be the case given the other symphony orchestras he's guested with, it was a nice touch.

Ted Levy added humourous showmanship to the evening with his flamboyant tap dancing, singing, and joking around with Byron as they "instructed" each other in the art of having flow and how to perform jazz.  Ted did a tap dance segment from his chair which instantly made me think of the fabulous Gene Kelly and Donald O'Connor "Sitting Dance".

vancouversymphony.ca

The evening really had the feel of being in the type of place I imagine the Cotton Club was.  There could have been a bit less of "thanks for being here at the Cotton Club" which began each guests initial speaking segment, but by the end everyone was having a good time and if tsoundcheck tickets had of been posted for the next evenings show, I probably would have gone again!