Dah-Dah-Dah-Daaaahhhh.....

Hopefully, when your read the title of this post, you hear the beginning of Beethoven's Symphony no. 5 in C minor, which i had the pleasure of hearing this past weekend at the Indianapolis Symphony Orchestra, along with a few other orchestral goodies.

I am noticing a different Indianapolis Symphony Orchestra than I'm used to, and it's one that overall, I like quite a bit. (this will not be the usual review. This is gonna be about how I see the ISO changing, and how I especially saw it this past weekend).

First off, the ISO sounds BIGGER. Seriously, their sound is expanding. I am not sure if it's the new European style seating or what, but the orchestra sounds broader, which I like. It's as if the orchestra had been caged for a while, and is now unleashed. There are times when the orchestra sounds quite rich, and nearly lush. I especially noticed this in the Brahms (Tragic Overture), and especially since Maestro Urbanski took a bit of a slow tempo for it. I felt like the orchestra was able to stretch everything out, and really sit on notes, as it were.

In addition to that more broad sound, the dynamic contrast of this orchestra is growing in leaps and bounds. It's exciting to hear such quiet pianissimos, like I've never heard before. It's been a while, at least.

These are good things that are happening. However, there are negatives as well.

Woodwind intonation. It's an issue. The second movement of the Beethoven had me wincing at times. I was unsure who to blame---perhaps a bit of everyone? What happened to listening?  Did each individual think "It's not me!" Come on guys and gals. There's no excuse for it.

Precision (in many areas). It's not there. It's not there with intonation in the woodwinds obviously, and other sections on occasion too. But I'm talking talking precision in other ways---notes being the exact same length. Bow strokes being identical. If one section has a phrase and is then copied by another section, that phrasing needs to match. All the i's need to be dotted, and the t's crossed. Everything needs to be tied together nicely. Make sense?

I don't say any of this to trash the orchestra---heavens no. Actually, I see this time in the ISO's life as an exciting time. They've got a new, dynamic Music Director, who is already making all sorts of progress with the orchestra. Seating style and whatnot can have a lot to do with the new sound, but I haven't noticed this sound until Urbanski, so I'm gonna say that HE is responsible for the delightful growth and improvement in that area. And the orchestra does sound more passionate---I attribute that to him as well, and also to the up and downs that this orchestra has gone through this year, with contract disputes and whatnot. I actually think that lit a fire of sorts, under everyone's bum, and the results of that can definitely be heard.

So,  growth is clearly there. I listened on Saturday, and I was proud of the ISO. I also heard things that can be cleaner, and more precise. And I know that me saying this is nothing new, or isn't some abstract concept. I mean, Beethoven 5 is standard repertoire. I myself have much of the bass part memorized still, from college! We all have worked on Beethoven 5 a ton---it's a requirement for just about everyone's audition. It's a piece EVERYONE knows, yet it was not perfect on Saturday. It really should have been. The first movement---Urbanski took a brisk tempo that the orchestra couldn't seem to keep up with---sloppy eighth notes as a result. Second movement was an exercise in intonation issues. 3rd movement was rather sloppy at times, during the famous trio part. The cellos and basses sounded like mush at times. Sure, some of that is the hall, but it's also the player. Do you get the point I'm trying to make?  It was an exciting performance, for sure. I was glued to the orchestra like they were playing Mahler, instead of Beethoven. Yet it was not as precise as it could have been, and not as precise as it SHOULD have been.

I say all this with hope, however. I truly have the utmost confidence in this orchestra, and very excited about its future. Auditions for various open spots are happening, so new, invigorating and inspiring blood will be coming in. The renewed support of the ISO's audience I'd like to think, is quite a morale booster for the orchestra. A new CEO to help move the organization forward. An amazing new Music Director who clearly wants to get things done and create beauty and mold this orchestra to be the best it can be. Things are still new between he and his orchestra, so I cannot expect everything to be lily white and perfect, not just yet. I do believe with time, these things will be addressed.

How exciting is it, for me, to get to see this molding process for the orchestra? It's been a privilege to see its growth over the year, and this orchestra has grown SO much in the time I've gotten to hear them. And at times they've gone backwards. And others, they've sprung forward and been challenged, and met those challenges. I really think this time right now is exciting for them---you can hear it in the orchestra, and you can feel the excitement that the audience has (especially Saturday night---the place was packed, and there was quite an energy about that audience).

What a fantastic time to be hearing great music, with a great orchestra that is on its way up. I'm digging on your bigger, more expansive sound, ISO. I am in LOVE with your dynamic contrast. Now, to just keep working on all the details!  Can't wait to hear continued growth, hopefully at the next concert!

Most Famous Symphony EVAR!!1! At The ISO This Weekend

Who hasn't heard Beethoven's Fifth Symphony? Only people who have been living under rocks all their lives, that's who. That opening....those four notes....everyone can sing them.

The Indianapolis Symphony Orchestra will be playing this super famous symphony this weekend! (I didn't think I was going, hence me not writing about it sooner, but yay, I think I can make it. Oh, and here's a video about the concert you might want to check out). This actually isn't a work that I'm gonzo about. I can't tell you how many hours in the practice room I've spent working on the 3rd movement, which is a staple of bass audition repertoire. So, I've grown tired of it. I've also grown tired of boring, standard, usual interpretations of this ever so famous work. I'm the rare bird who doesn't want to hear this piece. It's genius, don't get me wrong. It's a work of pure genius. I just can't help but smell the inside of my small musty practice room at IU,  and remember hearing the click of my metronome whenever anyone mentions Beethoven 5. It's like I have trauma from it or something, ha!

That said though, I'm majorly excited to see what Urbanski does with it, because in case you didn't know, I'm a big fan of his. And I'm kind of excited to see the bass section in action, especially since they are now at the back of the stage, creating a wall of sorts, instead of the usual behind the cellos seating. I being able to really see the bassists at work--it's quite a beautiful thing, actually.

Also on the program is Brahms' Tragic Overture and Schumann's Concerto in A minor for Cello, with Sol Gabetta as soloist. It's not a super heavy program, but it's a good program of some pretty standard works, and  I'm looking forward to it, quite a bit. Perhaps I'll see you there!

Mahler Mondays: M10 at the Chicago Symphony Orchestra

Finally, after about 3 years or so, I got to hear the  Chicago Symphony Orchestra. again. Ah! I was thrilled when I approached the city--seeing the awesome skyline always thrills me. I associate trips to Chicago with nothing but good things, and that association only grows with each visit.

The program was thoughtful--Wagner book-ended the program, starting with his Siegfried Idyll, and ending with the Prelude to Parsifal. In between was Schoenberg's Violin Concerto, and Mahler's Adagio from Symphony no. 10. Pretty cool set of tunes, especially considering that Mahler was a fan of Wagner, and Schoenberg was a fan of Mahler. I liked that correlation. Asher Fisch conducted (was originally supposed to be Boulez, from what I gathered, but was switched out quite some time before)

I was grateful for my wonderful seat, in the lower balcony. Seat F109 has gotta be the best seat in the house, I swear. Smack dab in the middle! Wonderful view, and great place to hear music.

As the music started, I found myself settling in to my seat. Walking around Chicago on St. Patrick's Day weekend was slightly frazzling---crazy people everywhere! So it was nice to get settled in my seat, ready to soak in the sounds of the evening.

I have always loved Siegfried Idyll--it's such a tender piece. It started very sweetly, but I didn't really settle in to my seat and feel fully relaxed until I heard the double bass come in on that B. Ahhhh.....I sat back, smiled, and enjoyed that rich, deep sound. It was a sweet performance, almost like a lullaby at times.

The next work was the highlight of the evening, if you ask me. Michael Barenboim played the Schoenberg Violin Concerto like he was born to play such music. Schoenberg's piece is so....moody, and petulant at times almost. It's unpredictable, and catches you off guard, and Barenboim was all over it (in the good way of being all over something). He wholly embraced the jagged edged parts as he did the longer lines. His technical mastery was something else as well---that piece is a monster to play, and he played it as if it were  no big deal. It was refreshing in many ways, to see someone so in control of such a piece like that. Yes, you're aware that it's a challenge for him, but his clear mastery over it made it seem simpler than it was. It was breathtaking at times.

Of course for the Mahler, many people around me had their tissues out. Surprisingly, I wasn't one of them! I dunno what's gotten in to me, not crying at Mahler! Despite my lack of tears, it was a good performance. And it was lovely to hear Mahler again---I know I just heard him a few weeks back here in Indy, but it'd been quite a while before that, I think. So hearing his music was like....coming home in many ways. Also, hearing one of my favourite American orchestras play my favourite composer is always a treat, as I've said before. I felt nourished from hearing that performance. I also have gained more respect for trumpet players, as I watched principal trumpet Christopher Martin's face turn redder and redder during that really long, high note in the piece. No idea how he fits his lungs in to his body! Simply amazing---it sounded clear as a bell, and was perfectly in tune, and held beautifully. Kudos!

The Prelude to Parsifal was a nice ending to the evening, and well played. I love the scope of Wagner's writing. Even the preludes to his opera have as much depth to them as the operas themselves. I love how he slowly starts things off, and then he builds and molds the story, having it take shape in a way that is able to truly stun and capture you. That is the beauty--one of the beauties, at least--of Wagner.  It is always a delight to hear his works, and that night was no exception.

I had a wonderful evening at the CSO. I enjoyed a wonderful seat, got to meet a friend I'd met via my blog (I have a reader! Wow!) that I'd long wanted to meet, and despite the fools walking/stumbling around, I enjoyed the great city of Chicago. What a lovely way to spend a Saturday! Thanks for having me, Chicago. I look forward to my next trip!

Mahler! In Chicago!

It has been.....I'd say at least three years since I have seen the Chicago Symphony Orchestra. The whole living in Texas thing kinda prevented me from making usual trips up there, like I was so fond of doing when I lived here in Indy before.

I'm happy to say I get to hear them again this coming Saturday.  Not only do I get to hear one of the Big 7 orchestras, but I get to hear them play MAHLER. Joy of joys!

Every time I've driven up to Chicago, it's been worth it. The miles I put on my car. How tired I was the next day for work. One the valves in  my little 94 Honda Civic hatchback lost all its compression on the way up to a CSO concert (translation: my car was officially on its deathbed). The exorbitant amount of money I spent on parking (living in Indy makes one spoiled, as parking here is dirt cheap). It was always worth it, always. The passion, and depth that that orchestra plays with is simply astounding.  (this time the Megabus will be taking me to Chicago. Probably don't have to worry about valves losing compression. My biggest worry will be a smelly---or worse, talkative passenger sitting next to me)

I'm anxious to hear them again, after 3 years off. There have been some changes there, most notably the retirement of principal bassist Joe Guastafeste,  and the welcoming of his successor, Alexander Hanna. Just like many other bassists, I've been fascinated with Mr. Hanna's success in the bass world. He's all of like.....I dunno, 28 years old or something? Anyway, point is, he's massively talented, and is clearly a ridiculously hard worker. It's awesome to see those two things come together and create success, such as winning one of the most coveted chairs in the bass world. Good on Mr. Hanna, for his efforts. I'm looking forward to seeing he, and his section, in action.

And, I'm happy to have another stop along the way in my Mahler journey. To indulge a passion of mine, to bask in some beauty, to enjoy another lovely midwestern city......and to be grateful that I have such wonderful opportunities.

An Unforgettable Night at the ISO: Hampson Sings Mahler

I blogged and tweeted my heart out about Thomas Hampson coming to the ISO, to sing some Mahler. I thought the fact that the greatest baritone on earth right arriving in town to sing some Mahler would bring tons of people to the Hilbert Circle Theater. I was wrong. But, ya know what? It's their loss. I tried to get people here! (I succeeded with a few, I should say!) But for some bizarre, strange reason that I'll never understand, only about 700 or so people showed up. Perhaps it was because it wasn't a subscription concert. I dunno. Oh well. You know what less people meant, for me? Well, first, for the audience, it felt like a more intimate concert (at least, that's how I felt). But it also meant a bit of a shorter line (but the line was still ridiculously long) so I could do this:

Yep. that's me, meeting Thomas Hampson. 

He's considerably taller than I am. 

He's also a supremely kind man, who listened to me blabber on and on about how much I love the music of Gustav Mahler. I told him I had traveled to DC to hear him sing, and he said something like "You're nuts". And then I told him that meeting him was the closest I'd ever get to meeting Mahler, to which he responded quite well with, "We're all disciples". Ha! Love it. 

Anyway.....so, I met one of my musical heroes. He signed my CD booklet of Kindertotenlieder (Vienna Phil, Bernstein). I chose to bring that one because it was the first CD I ever bought of Hampson's. I got it at the ripe age of 14, and it's probably my favourite CD that I own. (also has Mahler 6 on it, my fave interpretation). 

Before the concert, there was a Words on Music interview with Hampson, who is so ridiculously knowledgeable on so many things, yet so, so humble about it all. Such an absolute gentleman! Hearing him talk about Das Knaben Wunderhorn and folk songs in general....it's his thing. He knows it all, left and right, forwards and backwards, inside and out. And the thing is, you can hear that when he sings. It's intimate to him. It's not just notes on a page to be interpreted well, but it goes deeper than that. Folk poems were brought to life, vividly, by his singing. 

I tell you, the concert was magical. For the several hundred of us there, the evening was completely magical. We clapped til our hands were sore, we hooted and hollered (yep, including me of course), we stood in line to get our picture with him (I was totally losing my mind waiting in line. You would have thought I was a 12 year old at a Bieber concert. I've been listening to Hampson since I was a teenager though; he's a hero of mine!), we all wept that more people weren't there to hear him, and we all seemed to agree that Mahler in the concert season is always a good thing. 

Conductor Joana Careiro did an admirable job leading the smaller orchestra through the Mahler. The orchestra was on its toes, and I have no doubt that they were all inspired by Hampson's singing. How could you not be? 

The second half of the night was filled with Schumann's Symphony no. 2. I'll be completely honest with you---I heard it, but I wasn't listening. I know, that was terrible of me--I go to concerts to listen to music, and write about it. I didn't though. After meeting Hampson, after hearing Mahler that I've heard recordings of, but never live, I was just....in happy land. I had a dumb grin on my face the rest of the night, and my eyes were probably glazed over or something. (I promise I'm 33, and not 12, really.)  I mean, how often does one get to meet a musical hero? I hopped on a plane, and flew to DC to hear this man sing a few years back. I have many a CD of his. He's THE foremost interpreter of Mahler. How could I have any reaction other than the one I had? 

If you weren't there.....bummer for you. You missed out on one of the greatest night's at the ISO. Seriously, I'm not exaggerating, not in the least. The evening was.....unforgettable. Hampson's singing was breathtaking. Marvelous. Deeply emotive. Musical heaven. You get my point, I hope. 

I feel so privileged to have been at the ISO Friday night, listening to such amazing music. Thank you ISO, Thomas Hampson, and Mahler, for bringing such beauty in to my life. I can't imagine I'll ever forget the amazing sounds I heard, and the emotions I felt, this past Friday.

Hampson. Singing Mahler. Here in Indy. GO!!!!!

Today, while doing my usual Facebook check, I have seen quite a few musicians from the Indianapolis Symphony Orchestra posting and commenting on how amazing Thomas Hampson is. It's not just the usual "we have a great soloist with us this week". It's far more than that. Not long after checking Facebook, I get a call, from a musician in the ISO, telling me how out of this world Hampson is. How musical, knowledgeable, amazing, etc etc he is. This guy called me, just to tell me how awesome he thinks Hampson is.

Do you get it? Do you get what the big deal it is, that he's here in Indy?

Thomas Hampson is one of the foremost interpreters of Mahler. No one will argue this, I assure you. He's a leading baritone, who has sung with the Metropolitan Opera, and has sung with literally every major orchestra on earth. No, I'm not exaggerating. Go check it out yourself. (and check him out talking about Das Knaben Wunderhorn here)

And now, here's here in Indianapolis, and going to perform for one night only. One night only! One the best baritones in the world is here, for one night only!

I said it in a previous blog, but I'll say it again: IF I COULD ONLY GO TO ONE ISO CONCERT THIS SEASON, THIS WOULD BE IT.  And I already said, but I'll say it again too: when I lived in Texas, and thought I'd be there for a while, I was going to take vacation days around this concert. I had planned on buying a plane ticket to Indy for the purpose of hearing Thomas Hampson sing Mahler. Not to visit family (although I would have), not to see friends, but to hear Thomas Hampson sing with the ISO.

Do you get what the big deal is? Please, if you get it, if you understand it, if you love Mahler, if you love classical music, if you love amazing musicians, if you love watching someone/ some people doing what they do exceptionally well, then go to this concert! Get your butt in a seat! What's stopping you?

One night only! Thomas Hampson, best baritone on the planet! Best interpreter of Mahler on earth! First ever performance with the ISO! He was born here in Indiana! ISO's first ever performance of Das Knaben Wunderhorn! 

GO!!!!

Mahler Mondays: Hampson to Sing Mahler with the ISO

This coming Friday is an important night at the Indianapolis Symphony Orchestra. It's a one night only show, on Friday, Feb. 22nd, and if there were only one show I could attend this season, THIS would be the one.

It's not that it's just because the orchestra is playing Gustav Mahler's Das Knaben Wunderhorn. It's also because that piece is being sung by THE person you want to sing Mahler, by far the best interpreter of his vocal works today (and has been for quite some time), the amazing Thomas Hampson. What also is great about this concert, is that the ISO has never performed this work, ever. There's a first time for everything, and there is no better person to have singing with you for your first performance of this piece! Add to that, that this is also Hampson's first performance with the ISO! I'm so thrilled that the ISO was able to bring him here.  Oh, and did I mention that Hampson was born in Indiana? Yeah. All sorts of coolness about this, isn't there?

If you are unfamiliar with Das Knaben Wunderhorn (The Youth's Magic Horn), allow me to enlighten you. Quite simply, Mahler collected some anonymous German folk poems, and set them to music. That's the very general gist of it. Some of them got incorporated in to his symphonies, either as vocal parts, or within the instrumental writing. I found some great program notes here , from the Kennedy Center that shed a bit more light on the work. (note: I am unsure which selections from the work they are doing. I know they are not doing all of them, however, so the ones mentioned in those program notes might not coincide with Friday night's performance).

I had the pleasure of seeing Hampson perform several years ago with the National Symphony Orchestra over 5 years ago (you can read about it here). In the blog I mentioned I'd been listening to him for years, but that in person was something different altogether. So moving, so touching. I attempted to meet Hampson that night, but couldn't, but that's just as well---for one of the few times in my life, when I DID see him backstage ever so briefly, I was flabbergasted, and couldn't come up with a single thing to say. (hopefully that won't happen this time around. I hope to have a picture of he and I this coming weekend, darn it. This is probably the closest I'll get to meeting Mahler himself---meeting one of his best interpreters! I gotta do what I gotta do to meet him!)

I am excited about the firsts of this concert: first time Hampson has sung with the ISO, first time the ISO has performed this work of Mahler's, and.....first time I will have heard this piece live as well. To say that I'm excited, wouldn't be adequate. Put it this way: when I was still living in Texas, and thought I'd still be there at this time, I was planning vacation days around this performance--I planned on hopping on a plane to hear this concert. There's no way I'd miss out on this! I hope others feel the same way too. It's going to be a special evening, I am sure of it. Do please join me!