Mode - Knoxville: Summer of 1915

I recently went to a somewhat unusual event at the Ruth Page Center for Music and Dance.  The Mode Ensemble - a collection of a dozen or so talented musicians put together an evening of Early American and Civil War Era music in a constant flow of ever-changing ensemble on stage.

Offering era-appropriate food and very sweet cocktails while performers and audience members dressed the part, the evening was a lot of fun and felt transportive.

Ashlee Hardgrave did an excellent job with Alan Louis Smith's Covered Wagon Women Vignettes, and the Prairie Spring, Haymaker's Hoedown and Banjo & Fiddle performances at the end of the first half were energetic and skillfully played.  The second half of the evening though was where all the emotion came out.  Anthony Plog's Songs of War and Loss, sung by ????? (performer's names were not included in the program) was intense and it was followed by a dark reading of a Civil War Soldier's letter over Jay Ungar's Ashokan Farewell (from Ken Burns' documentary on the Civil War).  Copeland's Quiet City and Barber's Knoxville: Summer of 1915 made a fantastic end to a really well-rounded and enjoyable show.

The program could have been more complete and the initial words about the final piece, which lasted a good half hour, could have been left out, but the music was really the important part, and Mode knocked that out of the park.

Happy Birthday, Verdi!

Thursday marks the anniversary of the 200th year since Italian Romantic Operatic composer Verdi was born.  He is most known for his prolific opera composing (averaging one every nine months for a good decade of his life).

His operas are known for their grandiose style with prominent use of the chorus.  He also experimented quite seriously with developing a style of realism or verismo in his music composition.  He did experiment with all types of Italian operatic writing at the time and this can be seen throughout his works.

Many colleges, music festivals, and city orchestras are celebrating Verdi's oeuvre this season with performances, and I recommend checking a couple of them out!

If you're in Chicago, you're in luck.  Yet to be performed is Verdi's Requiem Mass (Thursday @7:30pm, CSO), which can be watched that evening online at cso.org/verdi (I'm definitely doing that with a glass of wine after work).  The Lyric is doing Verdi's Otello - my favorite of his operas (opened Oct. 5) and La Traviata - another of my favorites and one of his most well-known operas (Opens Nov. 20).   So, Chicagoans - GO!  (For opera neophytes, these are both very accessible and a lot of fun.)

Chicago musicians have been hard at work already though -

I had the pleasure recently of seeing Joan of Arc, performed by the Chicago Opera Theater.  The production was creative - a sect of fundamentalist Christians putting on a play of the famous story,
making the piece more apropos for today's audience.  The baritone was fantastic and the writing for the chorus was perfect and made sense given Verdi's penchant for grandiose declamatory choral writing.  I was having such a good time that I forgot to take notes and the time just flew by!

I also recently had excellent seats to see Macbeth performed without set by the CSO.  Aside from a very strange offstage recording at certain points of
the opera, I was enchanted.  Verdi writes soprano emotion so well - that even without costumes and a set, the listener could feel the palpable anxiety from the vocalists and the orchestra.  I have never heard a better performance of this opera - the cello solo in the third act, the beautiful chorus, and the exquisite and glittering orchestral playing - not to mention the voices made it an amazing evening!

If you've missed the above performances, the CSO, the Chicago Opera Theater, and the Lyric are always top-notch and you can't go wrong in attending a concert.

A Russian Music Orgy at the CSO

Well, I know where all the high-brow percussionists were last night!  With Mussorgsky's A Night on Bald Mountain, Tchaikovsky's Piano Concerto No. 1, and Stravinky's The Rite of Spring on the program, the Chicago Symphony Orchestra dominated its audience with grand crashing chords and lurching anxiety, which made the two hours seem like a quarter that.

The concert hall was pretty full for a Wednesday evening, with attendees of all ages pushing to get their tickets and reach their seats.  Mussorgsky set the tone for the evening - not an evening to sit back and listen, but to sit forward and WATCH.  The stresses and meter in this piece are so uneven and lurching and the swirls of sound that the piece creates got into every corner of the room.  I don't know how anybody could sit comfortably directly behind the orchestra for this program.  There were some excellent clarinet and flute parts (this program was another showcase for the woodwinds), and I think the harp must have been miked because it was a lot more prominent than I was used to... I felt at times that this program was just going for fortissimo oppression of the hall.

I'm pretty sure the entire audience was familiar with everything on the program that evening, so the maestoso first movement of the Tchaikovsky was heard with welcome and relief.  With such a need for precision in the treble and sonority in the bass, I must say that the piano was tuned beautifully.  Performed by 21-year-old Daniil Trifonov, who ambled on stage with gangly limbs and a skateboarder's haircut, I thought, "he's just a kid!" and then ....... he turned into the piece.  Though this famous movement is often looked at as a choppy piece of extreme difficulty, and while this wasn't the cleanest of performances, I thought it was well done, energetic and passionate.  The very clean high trills in the second movement over the waltz-like theme in the orchestra was exquisite and the lively Russian third movement was powerfully played.  This was my favorite part of the evening.

While these days, a standing ovation in the concert hall seems almost required, this time, the audience was rewarded with a flashy encore of the piano version of the Infernal Dance from Stravinsky's Firebird Suite.  I felt like the young pianist was saying, "Oh yeah?  Let's step it up a notch, Chicago.  Here's MY Stravinsky..... let's see what YOU can do!"

And the CSO brought it.  A staple piece that they play well, I felt this time the concert hall was almost unable at times to hold the music in.  Never letting the listener rest for more than a few moments when the solo instruments take over, the orchestra definitely has the capriciousness of this piece down.  Their pesante was nauseatingly so and their take on frantic was almost unbearable.  I hope nobody in the audience came in that evening already anxious.  Bravo.

This concert is being performed again on Saturday evening.  

Also, Happy Birthday, Dad!

Flute and Piano

Yellow Butterfly - by Hugo Wolf

performed by Erin Murphy and Aubrey Faith-Slaker

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Spring and Soirees

 

Gershwin's Lullaby from Yesterday's Soiree

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This Season at the Lyric (so far)

I love going to the opera.  I got hooked on it in grad school and try to go to a couple every year.  I find that opera is a touchy subject with most people I.   For those of you who don't like going to the opera, I have prepared a little chart here to help change your mind.  For those of you who DO like the opera, skip the chart and read on!

There.  Now that we know that it is definitely worth it to go to an opera, let's talk about the operas that are currently out this season!  

I have seen two of the several operas out this season so far and they couldn't have been more different!  The first one was Macbeth by Verdi.  As expected, it was over the top in drama, it was pretty depressing, full of madness (thank you Shakespeare) and the music was lush and memorable.  There were only three singing parts and no tenor at all (yay!).  The soprano who played Lady Macbeth completely stole the show.  The sets and the costuming were great with simple, yet effective symbolism that would have made Shakespeare proud.  

A Midsummer Night's Dream couldn't have been more different!  There are so many characters in this story, so many scenes, and so much going on that it only made sense to throw in an entire children's chorus and a dog!  Britten is a 20th century composer, so the music may not be what you expect to hear in opera if you aren't that familiar with it (there are some great cello parts).  In fact, I saw several people walk out before intermission!  However, Britten is hilarious in the ways that he plays with our musical expectations and everyone involved in the show was fabulous.  The actor who played Puck had the audience laughing aloud!

The other operas out this season are Carmen (who wouldn't want to hear the Toreador's Song again??),

 

a Masked Ball (Verdi is always great for a stunning and moving opera experience), The Girl of the Golden West (Puccini is quintessential opera.  Italian.  You'll love it.), Lohengrin (Wagner.  Oh boy.  I've never seen any Wagner live.  Who wants to go with me?), and Hercules (as much as I'd like to see a Handel opera, this one has a modern take to it that doesn't thrill me).

the only one I wouldn't recommend is The Mikado.  It is a Gilbert and Sullivan operetta and I personally find their work to combine the least likable characteristics of an opera with the least likable characteristics of a musical.  Stay home.  Go to a sporting event.  Play a video game.  OR..... go to the opera and enjoy it and prove me wrong!

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Sundays, Spring, Soirees, Samosas, Singers.

Some beautiful music by Couperin, for flute and piano:

Forlane
La Bandoline
Canaries
Les Calotins et les Calotines

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Kreisleriana, Op. 16, Movement 2

Okay, so in the spirit of sharing and listening (my New Year's resolutions - sort of), here is a small clip of a recent performance of mine, along with what I wrote about it in the program notes.

Kreisleriana, Op. 16, Movement 2, performed by me, November, 2009

Romantic music (music written between 1820 and 1900, generally) tends to emphasize melody with warmth and expressiveness and with something of a searching, restless quality. The music of Schumann is an excellent example of these qualities as his compositions are known for having a moody nature - varying suddenly and wildly between exuberance and deep depression.

Until 1840, Schumann wrote almost exclusively piano music. Written in the 30s, Kreisleriana was based on a character by E.T.A. Hoffmann. A literary experiment, Hofmann tried to depict a novel written by both a philosopher of sorts and his housecat! Schumann, being the son of a book dealer and publisher and grew up with a thorough knowledge of literature, which he maintained an interest in throughout his life. Though titles for his pieces usually didn’t come to him until after he had finished composing them, Schumann purposefully determined to translate Hoffmann’s character into music with this experiment in eight movements.

The first three of these eight I played on a recent concert. In this one, the second movement, listen for the dramatic changes in character, evidence of the extreme uses of the piano in the romantic period, and those portions of the pieces that might represent the philosopher, and those that might represent his cat.

Again, for those who may think this post is copyright infringement:

Schumann has been dead for over a century, Monte approved my use of his photo, the performance is ME, and the original performance was free and open to the public. Considering all of that, please enjoy the performance of a piece I intend to always keep in my repertoire.

- Aubrey

Sundays at Sherwood

Click to listen to:

Brahms Hungarian Dance No. 4, Aubrey and Chris
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Picture taken by April Faith-Slaker
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For those who may think this post is copyright infringement:
Brahms has been dead for over a century, April approved my use of her photo, the performance is ME and a friend, who also approves this post, and the original performance was free and open to the public. Considering all of that, please enjoy one of my favorite performances.
- Aubrey

Sunday Soiree

In the spirit of the Fourth of July, several of my musician friends came over for a soiree of sorts. The program included Brahms, Amy Beach, Bach, Henry Martin, Faure, some jazzy musical theater pieces and a flashy Romanian piece by ?????? (Otilia - please fill in the blank!).

It was festive and dorky and I was so excited to hear my piano played so beautifully today. I recorded everyone, but without being given their permission, I'll only include my playing here.


This is the opening of a Schumann piece titled Kreisleriana, which is based on a very strange book by E.T.A. Hoffmann.

Kreisleriana opening

A slightly more typical and festive way of celebrating the Fourth of July is with a picnic near the beach:

The above photos were taken by my sister April.

The Barber of Seville

Recently I was gifted a ticket to the Lyric Opera. I rearranged all my plans, dug out something nice to wear, and enjoyed the Barber of Seville more than I ever have - or ever thought I would.


I was surprised and diverted by the production (by John Conway), which juxtaposed the artwork of Magritte with the surrealistic layers of the opera. With each level of disguise and intrigue there lay another interesting aspect of the surrealist's art in the set (by John Conklin) and costume design. Rather than sticking to a traditional production or trying to spice it up with an unsuccessful modern-day setting like some so often do, this production was a huge success!
What I also loved about this particular performance was that the singers were given certain leeway as they would have been in Rossini's day which filled the performance with the sort of musical jokes that would have been typical when the opera was first written but that apply to the audience today!


My favorite scene was the overture opening the second act. Rather than have nothing occurring on stage while the orchestra played, an acting out of a rainy day was taking place. Of course, the backdrop was the famous painting of Magritte's with the men in the bowler hats.


Hidden in the costumes and the set (such as the inside of the umbrella containing the blue sky) were treasures of artwork and music. (That last sentence sounded stupid but I'm having a hard time writing about art.)

I look forward to my next opera opportunity. Goodnight.

The Mozart Effect

I am currently in Glenview, Illinois with my family. The Christmas lights here are beautiful. This morning, in sitting with my step-dad while he is recovering from a recent surgery, I was handed the following very excellent joke, which I delight in sharing with you:

A new report now says that the Mozart effect is a fraud. For you hip urban professionals: no. Playing Mozart for your designer baby will not improve his IQ or help him get into that exclusive pre-school. He'll just have to be admitted to Harvard some other way.

Of course, we're all better off for listening to Mozart purely for the pleasure of it. However, one wonders that if playing Mozart sonatas for little Hillary or Jason could boost their intelligence, what would happen if other composers were played in their developmental time?? (I am inclined to think that rather than simply to make your child more precocious, listening to Mozart may instill in your childhood a love of simplicity and a leaning toward dramatic flourishes).

BEETHOVEN EFFECT: Child is prone to loud outbursts followed by moments of exquisite intelligence.

BRAHMS EFFECT: the child is able to speak eloquently and will be on a new subject before you have even realized the subject is changing. However, he may be quite a while before he is ready to let go of the apron strings.

WAGNER EFFECT: Child becomes a megalomaniac. May eventually marry his sister.

BRUCKNER EFFECT: Child speaks very slowly and repeats himself frequently. Gains reputation for profundity. (Goes on and on!)

LISZT EFFECT: Child speaks rapidly and extravagantly, but never really says anything important.

MAHLER EFFECT: Child continually screams - at great length and volume - that he's dying.

STRAVINSKY EFFECT: Child is prone to savage, guttural and profane outbursts that often lead to fighting and pandemonium in the preschool.

SCHOENBERG EFFECT: Child never repeats a word until he's used all the other words in his vocabulary. Sometimes talks backwards. Eventually, people stop listening to him. Child blames them for their inability to understand him.

IVES EFFECT: Child develops a remarkable ability to carry on several separate conversations at once.

BABBITT EFFECT: Child gibbers nonsense all the time. Eventually, people stop listening to him. Child doesn't care becaue all his playmates think he's cool.

GLASS EFFECT: Child tends to repeat himself over and over and oever and over and over and over and over and over and over.

RILEY EFFECT: Child may take forever to get to his point and will have a propensity to micromanage everything.

...... and then of course there is the Cage effect - the child says nothing at all for 4 minutes and 33 seconds. Preferred by nine out of ten classroom teachers!

I changed a bunch for those of you who may have encountered this before.

In other news: my step-dad is recovering well, Kansas and Missouri haven't changed a bit since the last time I saw them, and Paris Hilton is practically a nun.

Happy Holidays Everyone!