If you're looking for a nice night in Richmond this weekend, I'd recommend David Esleck's jazz trio performance at Dogwood Dell on Sunday (June 25) from 7 to 9 PM. They will be featuring special guests Margaux Lesourd, vocals (Margaux is a University of Richmond student)and William Hobbs on bagpipes.
If you want more information on Esleck's trio, you might want to read my review on this blog of his concert at Dogwood Dell last June.
Wednesday, June 21, 2006
Monday, June 12, 2006
Westminster Concert Bell Choir
On June 1, I attended a great handbell concert. The performers were the Concert Bell Choir from Westminster Choir College, and there performance was by far the best handbell music-making I've heard. They play the widest range of bells and choir chimes of any ensemble today, and the level of musicianship is very high as most of the players are talented young musicians with good hopes of pursuing careers in music after their fine training at Westminster.
Here are some of what I felt were the highlights of their perfomance.
In Cathy Moklebust's "Five Inscriptions" - During the movement entitled "I Console the Living" there was an accumulation of bell sound that was reminiscence of a comforting caress somehow symphonically applied.
An arrangement by Moklebust of "Greensleeves" featured choir chimes (instruments invented to introduce young children to skills needed for playing handbells) introduced me to new sound experiences - primarily hearing that a wide spectrum of choir chimes played simultaneously and in a flowing figuration can take on the character of a pipe organ's sound as these instruments do not stress the attack on each sound and have a very sustained quality instead.
Next was a performance of Bach's "'Little' Fugue in G minor." Here the musicality of the performers was most brilliantly demonstrated. One of the main difficulties of playing bells really well is that the musical lines are frequently broken up between numerous ringers. Thus, everyone needs to know exactly how his or her bells fit into each phrase. Bach's fugue involves many different lines at the same time, thus increasing the difficulty of a thoughtful and well-executed performance. Certainly thanks to the good guidance of their conductor Kathleen Ebling-Thorne the ringers rose to the occasion.
The climax of the program was Arnold R. Sherman's "Song of Peace." Commissioned after the Oklahoma City bombing, but not completed until after 9/11, this work begins with a dissonant and jagged version of the famous "Dona Nobis Pacem" tune that is often sung as a round. Eventually, this dissonant treatment gives way to the ensemble prayerfully singing the tune as a round as they accompany themselves with the bells. I cannot begin to say how deeply this work and this experience state the problems of, and desires for, peace - problems and desires that flow just below the surface of our day-to-day living.
Two other works illuminated the nature of musical expression - During Julie Stitt's "La Paix" we could see the stately dance of a bass line as the men playing the low bells performed. Similarly, but with a different affect, we could see the coy danciness of a famous jazz melody in the motions and interactions of the ringers as they played Paul Desmond's "Take Five."
All of this repertoire and more can be heard on their new CD entitled "By Request."
Here are some of what I felt were the highlights of their perfomance.
In Cathy Moklebust's "Five Inscriptions" - During the movement entitled "I Console the Living" there was an accumulation of bell sound that was reminiscence of a comforting caress somehow symphonically applied.
An arrangement by Moklebust of "Greensleeves" featured choir chimes (instruments invented to introduce young children to skills needed for playing handbells) introduced me to new sound experiences - primarily hearing that a wide spectrum of choir chimes played simultaneously and in a flowing figuration can take on the character of a pipe organ's sound as these instruments do not stress the attack on each sound and have a very sustained quality instead.
Next was a performance of Bach's "'Little' Fugue in G minor." Here the musicality of the performers was most brilliantly demonstrated. One of the main difficulties of playing bells really well is that the musical lines are frequently broken up between numerous ringers. Thus, everyone needs to know exactly how his or her bells fit into each phrase. Bach's fugue involves many different lines at the same time, thus increasing the difficulty of a thoughtful and well-executed performance. Certainly thanks to the good guidance of their conductor Kathleen Ebling-Thorne the ringers rose to the occasion.
The climax of the program was Arnold R. Sherman's "Song of Peace." Commissioned after the Oklahoma City bombing, but not completed until after 9/11, this work begins with a dissonant and jagged version of the famous "Dona Nobis Pacem" tune that is often sung as a round. Eventually, this dissonant treatment gives way to the ensemble prayerfully singing the tune as a round as they accompany themselves with the bells. I cannot begin to say how deeply this work and this experience state the problems of, and desires for, peace - problems and desires that flow just below the surface of our day-to-day living.
Two other works illuminated the nature of musical expression - During Julie Stitt's "La Paix" we could see the stately dance of a bass line as the men playing the low bells performed. Similarly, but with a different affect, we could see the coy danciness of a famous jazz melody in the motions and interactions of the ringers as they played Paul Desmond's "Take Five."
All of this repertoire and more can be heard on their new CD entitled "By Request."
Tuesday, May 23, 2006
Piano Competition
On Saturday I was one of three judges for the piano competion for the central region of the Virginia Music Teachers Association. We heard 21 pianists from grammar school through high school.
One thing that surprised me about the day was that many of the children communicated sad music much better than the spritely happy music that seems like it would fit so well with their character. I wonder why.
I am reminded of a moment in Benjamin Britten's opera Peter Grimes when Ellen Orford tells Peter that the woes of little people may be greater than those of grown ups.
Maybe I was just struck by the poignancy of children playing sad music.
Or perhaps child-musicians don't appreciate their own youthfulness.
One thing that surprised me about the day was that many of the children communicated sad music much better than the spritely happy music that seems like it would fit so well with their character. I wonder why.
I am reminded of a moment in Benjamin Britten's opera Peter Grimes when Ellen Orford tells Peter that the woes of little people may be greater than those of grown ups.
Maybe I was just struck by the poignancy of children playing sad music.
Or perhaps child-musicians don't appreciate their own youthfulness.
Monday, March 13, 2006
Lloyd Arriola and Hammerklavier
If you're looking for a classical work with great emotional breadth, a work worthy of obsession, you ought to consider Beethoven's Hammerklavier Sonata, Op. 106.
For a review of a terrific recording of this great sonata, check out my good friend Lloyd Arriola's review.
For a review of a terrific recording of this great sonata, check out my good friend Lloyd Arriola's review.
Thursday, March 09, 2006
Flute Music and the Olympics
While the Winter Olympics were going on, I was preparing and performing a flute recital with my friend Jeremy MacEntire.
One of the pieces we played was Casella's Sicilliene and Burlesque. The Burlesque is full of directions from the composer to the performer to speed up. Thus, playing this piece seems a lot like downhill skiing. I heard that Casella was from Turino.
Another of the works we played was Schubert's Introduction and Variations which is based on Schubert's own song "Trockne Blumen." I think this work is a real masterpiece for flute and piano. One of the variations features rapid ascending scales in the piano part. Normally I think of scales of this sort as representing getting somewhere. But to me, having watched the Olympics quite a lot, these scales suggested a figure skater twirling around in place. This phenomenon reminds me of something Fleisher once said. He was discussing a piano piece in which there was a downward spiral of notes that somehow suggested an upward movement, as if the music were somehow implying an ascent into heaven. The idea that musical materials could suggest some movement other than what seems like the obvious choice based on register, is fascinating. Perhaps it depends on context and also harmonic content.
One of the pieces we played was Casella's Sicilliene and Burlesque. The Burlesque is full of directions from the composer to the performer to speed up. Thus, playing this piece seems a lot like downhill skiing. I heard that Casella was from Turino.
Another of the works we played was Schubert's Introduction and Variations which is based on Schubert's own song "Trockne Blumen." I think this work is a real masterpiece for flute and piano. One of the variations features rapid ascending scales in the piano part. Normally I think of scales of this sort as representing getting somewhere. But to me, having watched the Olympics quite a lot, these scales suggested a figure skater twirling around in place. This phenomenon reminds me of something Fleisher once said. He was discussing a piano piece in which there was a downward spiral of notes that somehow suggested an upward movement, as if the music were somehow implying an ascent into heaven. The idea that musical materials could suggest some movement other than what seems like the obvious choice based on register, is fascinating. Perhaps it depends on context and also harmonic content.
Sunday, February 05, 2006
Mozart Marathon
Last week, I took part in a Mozart marathon at the University of Richmond. Upwards of three hours of Mozart's music were presented by various Richmond performers.
One nice thing about important composer anniversaries is that they encourage musicians and the public to take another, and perhaps better look at the composer. I haven't played much Mozart in years, but the anniversary is drawing me back into relationship with his music.
I was surprised that hearing as much Mozart as I did during the marathon did not leave me with as joyful a feeling as I had anticipated. Maybe this is only because of the specific repertoire performed on the occasion, but it may be that his works are somehow more somber than I had realized before.
One nice thing about important composer anniversaries is that they encourage musicians and the public to take another, and perhaps better look at the composer. I haven't played much Mozart in years, but the anniversary is drawing me back into relationship with his music.
I was surprised that hearing as much Mozart as I did during the marathon did not leave me with as joyful a feeling as I had anticipated. Maybe this is only because of the specific repertoire performed on the occasion, but it may be that his works are somehow more somber than I had realized before.
Saturday, January 07, 2006
Horowitz Plays Mozart
A while back, a blogging friend mentioned that he would like to have some recommendations regarding classical recordings to buy, so I got inspired to start making some recommendations.
2006 is this 250th anniversary of the birth of Mozart.
My favorite Mozart recording is "Horowitz Plays Mozart." On the recording Horowitz performs the Piano Concerto, K. 488 and the Piano Sonata, K. 333.
Of course the music-making is energetic and refreshing, but what makes it my favorite is that Horowitz's musicianship is more than aural or conceptual here, it is somehow palpable.
Even better than the CD would be the film that was made about the making of the recording!
2006 is this 250th anniversary of the birth of Mozart.
My favorite Mozart recording is "Horowitz Plays Mozart." On the recording Horowitz performs the Piano Concerto, K. 488 and the Piano Sonata, K. 333.
Of course the music-making is energetic and refreshing, but what makes it my favorite is that Horowitz's musicianship is more than aural or conceptual here, it is somehow palpable.
Even better than the CD would be the film that was made about the making of the recording!
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