I am left scratching my head about this past weekend's Houston Symphony Orchestra performance. I raved on for a while in a previous entry about how much I was looking forward to this concert, and what an incredible program it was. I didn't mention it in the entry, but I was happy to know that Giancarlo Guerrero was conducting, as I am a fan of his--I have had the fortune to see him conduct in several different places, and have always been impressed. I've always been impressed, as you might have read before, with the Houston Symphony Orchestra. Yet this past weekend's concert didn't really grab me like I thought it would, and I'm sad about that.
The orchestra started off with a work they commissioned a few years back, Christopher Theofanidis' Rainbow Body. This was a very other-worldy piece to me. It had very beautiful elements of medieval chant, yet sounded sweetly enigmatic, graceful, and almost distant. It was very mesmerizing at times actually, much like when you go in to an old cathedral, and find yourself staring at the very high ceiling.
Copland's Appalachian Spring followed, and unfortunately this left a lot to be desired. My first issue was with the violins. I have found them to be one of the weaker, if not weakest, sections in the HSO. Intonation is a constant issue with them. So that put things off for me not long from when they started. Then, I don't know what it was, but there was real heart to the playing. The sweet spots just seemed kind of there, and the exciting moving parts had no real zing, no sense of life to them. I don't get it, because Guererro's conducting certainly was energetic. I don't understand the disconnect. Was it just me? Rarely do I ever question myself like this, but things just weren't computing for me.
The second half of the concert was the film with live orchestra, Orbit: And HD Odyssey, produced and directed by Duncan Copp. John Adams' Short Ride in a Fast Machine started things off. The film during this part was fascinating--it was of a NASA shuttle getting ready for takeoff, and its actual takeoff. It was fascinating to see, and I think the music fit it well. I wanted to be on my edge for this work, because I so often am when I hear it. Yet, I simply sat back. It wasn't the electric work I am used to hearing. It wasn't BAD, it just didn't have a groove to it, of sorts. Again, I was scratching my head. Well played, but no real soul.
The second half of the film was incredible footage of the earth from space, put to R. Strauss' Also Sprach Zarathustra. The footage really was stunning at times--the earth is so beautiful from space! Musically speaking, things were...ok. Again, no zest! I do think part of that was the tempos--I thought much of it was a tad on the slow side. However, I wonder if they had to play Also Sprach at a certain tempo to fit the video. Even so, however, the piece lacked the confidence, and dare I say, arrogance, that is needed to really pull the work off--any Strauss tone poem, really. Don't get me wrong, they played well in general. The brass section as usual, killed it. (that's a good thing). The winds worked their tails off. The strings overall were great. (again, violin issues). Yet there was no bravado....no macho-ness to the performance. The crowd disagreed with me, and leapt to their feet. Then, after a lot of clapping, Guerrero decides to do an encore, and they play the Adams work again. This time however, there was some serious zest to it, some life, some spark! Perhaps it was the high that comes off of playing Also Sprach, who knows. (I have been fortunate enough to play that with an orchestra in college...afterwards I believed that I could beat up several lions with my bare hands.) The encore was fantastic--much better than the first time around. I really dug it, and again, so did the audience.
So, for me, it was an odd concert. It was filled with favourites of mine, with a conductor I really dig, and an orchestra I enjoy too, yet the pieces didn't seem to fit together as well as they could. I'm left scratching my head.
However, I'm also left looking forward to hearing the Houston Symphony Orchestra again. I'm slowly but surely getting to know them a bit better, and am looking forward to hearing them more and more.
Monday, February 20, 2012
Monday, February 13, 2012
Houston Symphony Orchestra: Orbit - An HD Odyssey
The Houston Symphony Orchestra is offering up a seriously cool concert this weekend, entitled "Orbit-An HD Odyssey". It had a visual component to it, which is what helps make it such an interesting and inviting concert.
But first off, the repertoire is simply killer. Richard Strauss' Also Sprach Zarathustra. Aaron Copland's Appalachian Spring. John Adams' Short Ride in a Fast Machine. (There's another work on the program that I'm not familiar with, Christopher Theofandis' Rainbow Body) I've been so fortunate as of late to hear programs that are right up my alley, and this is another one of those. I just want to kiss whoever put these tunes together!
In addition to good music, there will be high definition images shown, of NASA missions to Earth's orbit. This will be quite a bombardment of the senses--aurally AND visually stimulating!
I think the combo of the visuals AND the absolutely killer program makes this concert one that you shouldn't miss out on. Get your tickets here!
But first off, the repertoire is simply killer. Richard Strauss' Also Sprach Zarathustra. Aaron Copland's Appalachian Spring. John Adams' Short Ride in a Fast Machine. (There's another work on the program that I'm not familiar with, Christopher Theofandis' Rainbow Body) I've been so fortunate as of late to hear programs that are right up my alley, and this is another one of those. I just want to kiss whoever put these tunes together!
In addition to good music, there will be high definition images shown, of NASA missions to Earth's orbit. This will be quite a bombardment of the senses--aurally AND visually stimulating!
I think the combo of the visuals AND the absolutely killer program makes this concert one that you shouldn't miss out on. Get your tickets here!
Mahler Mondays: Mahler 8 LIVE with the LA Philharmonic
I'm thrilled that this coming weekend I'll be hearing the LA Philharmonic again! However, this time I don't need to hop on a plane, or worry about getting a hotel in LA. I merely need to buy a ticket and head to my local movie theater!
Yep, Gustavo Dudamel, the LA Philharmonic, and the Simón Bolivar Symphony Orchestra will be performing Mahler's Symphony no. 8 live from Caracas, Venezuela this coming Saturday, Feb. 18. There will be more than one thousand musicians for this performance....can you even fathom that? I've seen a performance of Mahler 8, but I can't remember there being anywhere near that many performers.
Even if you aren't a huge fan of this symphony, who would miss out on seeing that many musicians on a stage at one time? It's going to be an incredible event, and one not to miss! You can find out about tickets and whatnot here.
Yep, Gustavo Dudamel, the LA Philharmonic, and the Simón Bolivar Symphony Orchestra will be performing Mahler's Symphony no. 8 live from Caracas, Venezuela this coming Saturday, Feb. 18. There will be more than one thousand musicians for this performance....can you even fathom that? I've seen a performance of Mahler 8, but I can't remember there being anywhere near that many performers.
Even if you aren't a huge fan of this symphony, who would miss out on seeing that many musicians on a stage at one time? It's going to be an incredible event, and one not to miss! You can find out about tickets and whatnot here.
Monday, February 6, 2012
A Weekend in DFW, Part Two: Fort Worth
I stayed in the Dallas/Fort Worth area for the weekend, and had decided I'd make the best of it, and check out an orchestra I've wanted to hear ever since I moved to Texas, but hadn't gotten around to--the Fort Worth Symphony Orchestra. I had seen their Music Director, Miguel Harth-Bedoya conduct in Indianapolis, and remember being impressed by him, and have wanted to see him in action with his own orchestra.
Being that it was my first time at the FWSO, I was soaking it all in. The hall is beautiful (be sure to look at the ceilings there! They are incredible!), and everyone on staff, from the PR department to the ushers were incredibly kind and welcoming. Even fellow concertgoers were incredibly warm there--I struck up two rather intense conversations with some people while I was there, and when I let them know it was my first time there, they welcomed me as if it were their own personal orchestra, and wished me well and invited me back. So, right from the get go, it was great experience.
This Sunday afternoon performance began with Borodin's Symphony no. 2. Right from the off, it's all in unison, and I was immediately struck by the large, deep, encompassing sound of the orchestra, particularly the strings. (all throughout the concert I was impressed with the strings, particularly the lower strings--they blend and play well together; very much a tight, solid unit). Unfortunately I can't remember much else about the work because there was a baby making noises. Actually, I'd say it was an 18 month to 2 year old making noises. What was equally as bad was the mother, saying "SSSHHHHH!!!" each time the child made a noise. Now, I think it's great that people want to introduce their kiddos to classical music---but bringing your little ones to a concert is simply unacceptable. I heard mumblings about the kid from people around me, but I wasn't annoyed with the child at all--after all, she was a child, and make noises is what they do. I couldn't believe that her mother thought it was acceptable to bring her child, and even more than that, I was disappointed in the ushers who let them in. I actually saw several babies at the concert. Granted, only this one child was making noises, but still--babies, as cute and wonderful and adorable and sweet as they are, do not belong in concert halls. I do hope next time the ushers will be a little more firm with concert goers, and make sure little ones stay OUT of the concert hall. (That's what family concerts are for!)
After that, the mother and child were thankfully asked to leave, and we moved on to a new work by the FWSO's Composer in Residence, John B Hedges entitled Fantasía sobre Yma Sumac, which was for clarinet and orchestra. If you are unaware of who Yma Sumac is, check this out. This woman....wow. She had something like a range of 5 octaves, and could do anything with her voice, literally. It's sultry, tribal, and downright sexy at time...I mean just dead hot, sexy. Hedges' composition can be very much described as that as well; he caught the essence of Sumac in the clarinet's part, as his writing displayed its range, and a vast array of tones, and sounds, much like Sumac's voice. FWSO Principal Clarinetist Ana Victoria Luperi absolutely owned the work. She dove in to her part with confidence and soul...she went to town on it! I really would like to hear her in the orchestra...her playing was truly stunning.
The concert ended with Prokofiev's Suite from Cinderella, and in typical Prokofiev fashion, you can hear everything in the story, in the orchestra. You could hear the ugly stepsisters, clearly. You literally felt the joy that Cinderella did at the ball, and the panic when the clock struck midnight. This piece is where the entire orchestra truly shined. The overriding thought in my head was what a close, tight knit sound they have. Maestro Harth-Bedoya has been with the orchestra for some time, and it's obvious how hard he has worked to create that with him. It was palpable, literally. They created a large, expansive sound, yet it was never messy or unfocused. It came at you with quite a force, and a pleasing one at that.
Musically I was very satisfied with my first hearing of the FWSO, but there were other things I liked just as much. Harth-Bedoya took time to speak to the audience about each work. I kind of get nervous when I see a conductor who is about to speak, because I fear them going on for too long, or being far too pompous and over everyone's head, but this was not the case. He kept his comments brief and accessible, and entirely appropriate. He was engaging with his audience, and trying to bring them closer to what they were about to hear. He brought out composer John B Hedges before his work to talk to him about the process of composing, and helped make this new work more accessible to everyone. I don't know if this would work with all orchestras--but here it worked perfectly. It wasn't just for education's sake, but for making a connection with the audience as well. I was honestly charmed by this, and I'm a musician who's been to what seems like thousands of concerts in her lifetime! You'd think I'd have a jaded response to this, but I was charmed. I was further charmed when the orchestra then played an encore---a great reading of Glinka's Overture to Russlan and Ludmilla). Everyone loved it! The enthusiasm this audience had for their orchestra could have been spotted--and heard a mile away. After it was done, all I heard was glowing talk of the performance. (I agreed with them all, I assure you--I was just taken aback by such devotion to the orchestra. I didn't expect for that to take me by surprise, but it did, and it was a delightful thing!) Then, to connect with their audience MORE, Miguel Harth-Bedoya, John B Hedges, and Ana Victora Luperi went to the Barnes and Nobles across the street to do a meet and greet. I loved this sense of approachability Harth-Bedoya has about him. A conductor--one who has conducted many major orchestras across the US, including successful concerts at Carnegie Hall--inviting the audience for coffee and chatting, essentially. I was flabbergasted! And it wasn't just to go say hi and get an autograph or something. I went over there (I didn't talk to anyone, I was just observing) and saw Harth-Bedoya chatting at length with someone maybe no older than 20 or so. He was intently listening to, and engaging with this young man, and I bet you if it was his first time at the symphony, he'd be back because of this experience, because the conductor took time to chat with him. If it wasn't his first time, I'll bet you it helped to ensure he'd buy tickets again. I know this all sounds terribly simplistic, but it was so refreshing and new somehow. It was GENUINE. It was a desire to connect with the audience, not just to boost ticket sales, but to instill a love and appreciation of music in to them as well. Again, I know that sounds simplistic, but in seeing everyone's reaction and enthusiasm about it all, it seemed practically revolutionary.
So, now I have another orchestra about four hours or so north of Houston to drive up for. This was my first experience at the Fort Worth Symphony Orchestra, and it will certainly not be my last. What a great orchestra, great conductor, and great experience!
Being that it was my first time at the FWSO, I was soaking it all in. The hall is beautiful (be sure to look at the ceilings there! They are incredible!), and everyone on staff, from the PR department to the ushers were incredibly kind and welcoming. Even fellow concertgoers were incredibly warm there--I struck up two rather intense conversations with some people while I was there, and when I let them know it was my first time there, they welcomed me as if it were their own personal orchestra, and wished me well and invited me back. So, right from the get go, it was great experience.
This Sunday afternoon performance began with Borodin's Symphony no. 2. Right from the off, it's all in unison, and I was immediately struck by the large, deep, encompassing sound of the orchestra, particularly the strings. (all throughout the concert I was impressed with the strings, particularly the lower strings--they blend and play well together; very much a tight, solid unit). Unfortunately I can't remember much else about the work because there was a baby making noises. Actually, I'd say it was an 18 month to 2 year old making noises. What was equally as bad was the mother, saying "SSSHHHHH!!!" each time the child made a noise. Now, I think it's great that people want to introduce their kiddos to classical music---but bringing your little ones to a concert is simply unacceptable. I heard mumblings about the kid from people around me, but I wasn't annoyed with the child at all--after all, she was a child, and make noises is what they do. I couldn't believe that her mother thought it was acceptable to bring her child, and even more than that, I was disappointed in the ushers who let them in. I actually saw several babies at the concert. Granted, only this one child was making noises, but still--babies, as cute and wonderful and adorable and sweet as they are, do not belong in concert halls. I do hope next time the ushers will be a little more firm with concert goers, and make sure little ones stay OUT of the concert hall. (That's what family concerts are for!)
After that, the mother and child were thankfully asked to leave, and we moved on to a new work by the FWSO's Composer in Residence, John B Hedges entitled Fantasía sobre Yma Sumac, which was for clarinet and orchestra. If you are unaware of who Yma Sumac is, check this out. This woman....wow. She had something like a range of 5 octaves, and could do anything with her voice, literally. It's sultry, tribal, and downright sexy at time...I mean just dead hot, sexy. Hedges' composition can be very much described as that as well; he caught the essence of Sumac in the clarinet's part, as his writing displayed its range, and a vast array of tones, and sounds, much like Sumac's voice. FWSO Principal Clarinetist Ana Victoria Luperi absolutely owned the work. She dove in to her part with confidence and soul...she went to town on it! I really would like to hear her in the orchestra...her playing was truly stunning.
The concert ended with Prokofiev's Suite from Cinderella, and in typical Prokofiev fashion, you can hear everything in the story, in the orchestra. You could hear the ugly stepsisters, clearly. You literally felt the joy that Cinderella did at the ball, and the panic when the clock struck midnight. This piece is where the entire orchestra truly shined. The overriding thought in my head was what a close, tight knit sound they have. Maestro Harth-Bedoya has been with the orchestra for some time, and it's obvious how hard he has worked to create that with him. It was palpable, literally. They created a large, expansive sound, yet it was never messy or unfocused. It came at you with quite a force, and a pleasing one at that.
Musically I was very satisfied with my first hearing of the FWSO, but there were other things I liked just as much. Harth-Bedoya took time to speak to the audience about each work. I kind of get nervous when I see a conductor who is about to speak, because I fear them going on for too long, or being far too pompous and over everyone's head, but this was not the case. He kept his comments brief and accessible, and entirely appropriate. He was engaging with his audience, and trying to bring them closer to what they were about to hear. He brought out composer John B Hedges before his work to talk to him about the process of composing, and helped make this new work more accessible to everyone. I don't know if this would work with all orchestras--but here it worked perfectly. It wasn't just for education's sake, but for making a connection with the audience as well. I was honestly charmed by this, and I'm a musician who's been to what seems like thousands of concerts in her lifetime! You'd think I'd have a jaded response to this, but I was charmed. I was further charmed when the orchestra then played an encore---a great reading of Glinka's Overture to Russlan and Ludmilla). Everyone loved it! The enthusiasm this audience had for their orchestra could have been spotted--and heard a mile away. After it was done, all I heard was glowing talk of the performance. (I agreed with them all, I assure you--I was just taken aback by such devotion to the orchestra. I didn't expect for that to take me by surprise, but it did, and it was a delightful thing!) Then, to connect with their audience MORE, Miguel Harth-Bedoya, John B Hedges, and Ana Victora Luperi went to the Barnes and Nobles across the street to do a meet and greet. I loved this sense of approachability Harth-Bedoya has about him. A conductor--one who has conducted many major orchestras across the US, including successful concerts at Carnegie Hall--inviting the audience for coffee and chatting, essentially. I was flabbergasted! And it wasn't just to go say hi and get an autograph or something. I went over there (I didn't talk to anyone, I was just observing) and saw Harth-Bedoya chatting at length with someone maybe no older than 20 or so. He was intently listening to, and engaging with this young man, and I bet you if it was his first time at the symphony, he'd be back because of this experience, because the conductor took time to chat with him. If it wasn't his first time, I'll bet you it helped to ensure he'd buy tickets again. I know this all sounds terribly simplistic, but it was so refreshing and new somehow. It was GENUINE. It was a desire to connect with the audience, not just to boost ticket sales, but to instill a love and appreciation of music in to them as well. Again, I know that sounds simplistic, but in seeing everyone's reaction and enthusiasm about it all, it seemed practically revolutionary.
So, now I have another orchestra about four hours or so north of Houston to drive up for. This was my first experience at the Fort Worth Symphony Orchestra, and it will certainly not be my last. What a great orchestra, great conductor, and great experience!
A Weekend in DFW, Part One: Dallas
Few things are as tedious (as I have probably mentioned before) as the four hour drive from Houston to Dallas, but it's always, always worth it to see and hear Jaap van Zweden and his awesome band, the Dallas Symphony Orchestra. Saturday night's concert was spectacular--which seems to be par for the course for them. It was a concert program after my own heart---many of the works are on my "favourite pieces ever" list.
Jaap and his orchestra started the evening off by wooing us all, with Wagner's Siegfried Idyll. With the way I was feeling about it, you'd think I had it in my mind that Wagner wrote it for me, not his wife Cosima. Such sweetness, such tenderness! I was convinced I was in love! It was a poignant and amorous performance, and had me wishing I had a hand to hold throughout it.
We were then treated to one of my favourite piano concertos, Mozart's Concerto No. 20 in d minor, K.466. David Fray was the soloist, and if you haven't heard this gentleman before, be sure to seek out one of his concerts, if you can. I was baffled as to why the audience didn't give him a standing ovation, but then it occurred to me---it's Mozart. I'm not sure I've ever seen a standing ovation given for one of his piano concertos. I always see them for Gershwin, or Beethoven, or Liszt, but not Mozart. That is a shame too, because his concertos, as "simple" as some might say they sound, are anything but that.
For instance, take No.20--it's quite a departure from Mozart's other concertos. It's chromatic out the whazoo, and how easy it is for chromatic piano work to sound muddy and incoherent. With Fray though, it was anything but! Instead of mush, he played with clarity. Not a cold, angular clarity though--one still infused with warmth, and depth. Hearing him was a breath of fresh air, and it's no wonder that BBC Music Magazine named him "Newcomer of the Year 2008".
The second half of the program began with Wagner again, this time his "Good Friday Spell" from Parsifal. This work was comprised of many tender moments, similar to Siegfried Idyll. This rich, yet pure piece was over rather quickly, and then brought us to a piece that will always be high up on my Top Ten list, Debussy's La Mer.
To cut to the chase, we, the audience were literally at the ocean for this performance. We saw the waves, smelled the salt in the air, and felt the water around our ankles, as if we were walking on the beach. Much like the tide can come at you quickly and delightfully surprise you, Maestro van Zweden's dynamic contrast at times took my breath away. No other conductor I've seen or heard has that kind of control over dynamics. It's amazing how he can create such a swell, or a sudden burst of sound, literally out of nothing. You could practically hear the water crashing down, and then followed by the peaceful sound of it dissipating. And much like the ocean, there was such a depth in everyone's playing. Each time I've heard the DSO, they've always sounded like they are on their A game, and tonight was no different. Meticulous attention to detail, purpose in each note, and an overriding sense of togetherness, oneness in their goal of music making. It's truly astonishing to hear this group. You can sense the momentum, the excitement that is there regarding classical music. It's nearly tangible, and it infects you (at least it did me) with a new zest for classical music. It made me want to go home and go through all my recordings, and do all sorts of comparing and contrasting, and basking in the glory that is classical music.
So, I have to suffer through a four hour drive for all this---not a bad trade, if you ask me. I may hate the drive, but what awaits me in Dallas has always been, and I'm sure always will be very much worth it! Thank you, DSO, for yet another fabulous performance!
Jaap and his orchestra started the evening off by wooing us all, with Wagner's Siegfried Idyll. With the way I was feeling about it, you'd think I had it in my mind that Wagner wrote it for me, not his wife Cosima. Such sweetness, such tenderness! I was convinced I was in love! It was a poignant and amorous performance, and had me wishing I had a hand to hold throughout it.
We were then treated to one of my favourite piano concertos, Mozart's Concerto No. 20 in d minor, K.466. David Fray was the soloist, and if you haven't heard this gentleman before, be sure to seek out one of his concerts, if you can. I was baffled as to why the audience didn't give him a standing ovation, but then it occurred to me---it's Mozart. I'm not sure I've ever seen a standing ovation given for one of his piano concertos. I always see them for Gershwin, or Beethoven, or Liszt, but not Mozart. That is a shame too, because his concertos, as "simple" as some might say they sound, are anything but that.
For instance, take No.20--it's quite a departure from Mozart's other concertos. It's chromatic out the whazoo, and how easy it is for chromatic piano work to sound muddy and incoherent. With Fray though, it was anything but! Instead of mush, he played with clarity. Not a cold, angular clarity though--one still infused with warmth, and depth. Hearing him was a breath of fresh air, and it's no wonder that BBC Music Magazine named him "Newcomer of the Year 2008".
The second half of the program began with Wagner again, this time his "Good Friday Spell" from Parsifal. This work was comprised of many tender moments, similar to Siegfried Idyll. This rich, yet pure piece was over rather quickly, and then brought us to a piece that will always be high up on my Top Ten list, Debussy's La Mer.
To cut to the chase, we, the audience were literally at the ocean for this performance. We saw the waves, smelled the salt in the air, and felt the water around our ankles, as if we were walking on the beach. Much like the tide can come at you quickly and delightfully surprise you, Maestro van Zweden's dynamic contrast at times took my breath away. No other conductor I've seen or heard has that kind of control over dynamics. It's amazing how he can create such a swell, or a sudden burst of sound, literally out of nothing. You could practically hear the water crashing down, and then followed by the peaceful sound of it dissipating. And much like the ocean, there was such a depth in everyone's playing. Each time I've heard the DSO, they've always sounded like they are on their A game, and tonight was no different. Meticulous attention to detail, purpose in each note, and an overriding sense of togetherness, oneness in their goal of music making. It's truly astonishing to hear this group. You can sense the momentum, the excitement that is there regarding classical music. It's nearly tangible, and it infects you (at least it did me) with a new zest for classical music. It made me want to go home and go through all my recordings, and do all sorts of comparing and contrasting, and basking in the glory that is classical music.
So, I have to suffer through a four hour drive for all this---not a bad trade, if you ask me. I may hate the drive, but what awaits me in Dallas has always been, and I'm sure always will be very much worth it! Thank you, DSO, for yet another fabulous performance!
Friday, February 3, 2012
I Think I Finally Understand Bruckner a Bit!
I had the pleasure of hearing the Houston Symphony Orchestra play a free concert of Bruckner's Ninth Symphony last night. I went in scratching my head about Bruckner (I have never understood his music, but that could be because I'm totally dense sometimes) and left scratching my head, but now after talking to some people, I get it!
First off, it was played in a large cathedral, and before I had my epiphany, I simply thought "Oh, this sounds cool. All the chords are ringing and it's really beautiful, and kinda spiritual. I dig." Then however, I spoke to some musician friends I deeply respect, and they pointed out some kind of obvious things--so obvious that I did a good job of missing them.
One friend, a horn player, pointed out to me that Bruckner was an organist, and it helps to envision his symphonies as organ music, and each instrument section is similar to a stop being pulled out and whatnot--especially regarding the brass. (and the HSO brass, might I say, sounded sublime last night). That is when one light bulb went on.
Then, as I was complaining that Bruckner's music seemed disorganized and had no real focus, a bassist friend said "His music is designed in blocks of sound rather than in melodies; so very different from Mahler."
Friends, at this point, an 8000 watt lightbulb went off in my head. Funny enough, I have spent much time moaning and groaning about how I hate that Mahler and Bruckner are compared to each other. I have heard "Oh you like Mahler? Then you'll love Bruckner!" about a thousand times, and wanted to vomit each time. I hated that comparison. Yet I was guilty of making the comparisons myself, without even knowing it! Here I was, listening to Bruckner, and wishing he were more like Mahler! I was sitting, with my arms crossed and a scowl on my face thinking "This guy has no concept on how to make a melody and develop it and weave it in to a symphony, like the way Mahler does. Geesh. Hmmph." etc etc. Ahhh! The hypocrisy! Right after I complained about comparisons between the two, I made one myself. Terrible, I know!
I'm happy to report that I now better understand Bruckner! And I understand why someone might say "If you like Mahler, you'll love Bruckner!" It's NOT because they are similar, because they aren't at all! They both however have deeply moving, spiritual undertones to their works. As examples, Bruckner devoted his ninth symphony to God, and Mahler was often wondering about life, death, and the afterlife in his works. That common spiritual thread is a deep, and strong one. You can hear it all throughout their symphonies. They both have very different ways of going about a symphony, but I get the commonality. (yes, there are more than that, I realize).
I'm really happy the HSO decided to put on this free concert! Not just so I could finally be enlightened about Bruckner, but also because so many other people got to hear that fantastic work, and they got to go for free. I hope this entices them to come to more concerts, free or otherwise. I saw so many college kids there, and people with families...the place was packed, I'm happy to report. The only gripe I had was that there were no programs at all. What about people that wanted to read about the work? What about handing out something in regards to the Houston Symphony Orchestra, and doing a bit of advertising there? (as opposed to just having a table outside devoted to get people subscribed--it's good that was there, but some people are intimidated by that). Other than that though, I was happy as a clam about the performance. It was in a beautiful venue (the Co-Cathedral of the Saints, near downtown Houston), the music was beautiful, and the HSO sounded sublime. I can't wait to hear them play Bruckner again!
First off, it was played in a large cathedral, and before I had my epiphany, I simply thought "Oh, this sounds cool. All the chords are ringing and it's really beautiful, and kinda spiritual. I dig." Then however, I spoke to some musician friends I deeply respect, and they pointed out some kind of obvious things--so obvious that I did a good job of missing them.
One friend, a horn player, pointed out to me that Bruckner was an organist, and it helps to envision his symphonies as organ music, and each instrument section is similar to a stop being pulled out and whatnot--especially regarding the brass. (and the HSO brass, might I say, sounded sublime last night). That is when one light bulb went on.
Then, as I was complaining that Bruckner's music seemed disorganized and had no real focus, a bassist friend said "His music is designed in blocks of sound rather than in melodies; so very different from Mahler."
Friends, at this point, an 8000 watt lightbulb went off in my head. Funny enough, I have spent much time moaning and groaning about how I hate that Mahler and Bruckner are compared to each other. I have heard "Oh you like Mahler? Then you'll love Bruckner!" about a thousand times, and wanted to vomit each time. I hated that comparison. Yet I was guilty of making the comparisons myself, without even knowing it! Here I was, listening to Bruckner, and wishing he were more like Mahler! I was sitting, with my arms crossed and a scowl on my face thinking "This guy has no concept on how to make a melody and develop it and weave it in to a symphony, like the way Mahler does. Geesh. Hmmph." etc etc. Ahhh! The hypocrisy! Right after I complained about comparisons between the two, I made one myself. Terrible, I know!
I'm happy to report that I now better understand Bruckner! And I understand why someone might say "If you like Mahler, you'll love Bruckner!" It's NOT because they are similar, because they aren't at all! They both however have deeply moving, spiritual undertones to their works. As examples, Bruckner devoted his ninth symphony to God, and Mahler was often wondering about life, death, and the afterlife in his works. That common spiritual thread is a deep, and strong one. You can hear it all throughout their symphonies. They both have very different ways of going about a symphony, but I get the commonality. (yes, there are more than that, I realize).
I'm really happy the HSO decided to put on this free concert! Not just so I could finally be enlightened about Bruckner, but also because so many other people got to hear that fantastic work, and they got to go for free. I hope this entices them to come to more concerts, free or otherwise. I saw so many college kids there, and people with families...the place was packed, I'm happy to report. The only gripe I had was that there were no programs at all. What about people that wanted to read about the work? What about handing out something in regards to the Houston Symphony Orchestra, and doing a bit of advertising there? (as opposed to just having a table outside devoted to get people subscribed--it's good that was there, but some people are intimidated by that). Other than that though, I was happy as a clam about the performance. It was in a beautiful venue (the Co-Cathedral of the Saints, near downtown Houston), the music was beautiful, and the HSO sounded sublime. I can't wait to hear them play Bruckner again!
Speculation on Crookall's Departure from the ISO...Is It Worth It?
I've seen tweets, comments on facebook, and even had a few comments submitted here to the blog, speculating about Simon Crookall's recent departure from the Indianapolis Symphony Orchestra. Normally I would be all over this, trying to dig up the story, find out who knows what, and report back to you. I certainly did that during the time when Crookall was making abysmal decisions a few years back. Many people right now are interested in digging around and getting the "full story" on what is going on now, but I have come to two conclusions about this.
The first being that there isn't really a deep story behind it. I'm convinced of that. I confirmed with the ISO PR department that Crookall handed in his resignation to the ISO Board Chairman John Thornburgh. (many people have had other ideas of what "really" happened). I know many want to know why, and under what circumstances did he decide to do that, etc etc, but that leads me to my next conclusion....
Who cares? Seriously, I personally am not bothered one bit why the man handed in his resignation. The point is, he has left the ISO, and sorry if I sound like a jerk, but that's a very good thing in my opinion. I know that back when he was doing really dumb stuff (like firing lots of people, including then Music Director Mario Venzago) that I dug around and talked to everyone I could about this to see what was going on, and perhaps some people think I (or someone else) should do the same. What's done though, is done. And what has been done is a good thing, and I'm content to just smile about it, not worry about the details too much, and move on.
The first being that there isn't really a deep story behind it. I'm convinced of that. I confirmed with the ISO PR department that Crookall handed in his resignation to the ISO Board Chairman John Thornburgh. (many people have had other ideas of what "really" happened). I know many want to know why, and under what circumstances did he decide to do that, etc etc, but that leads me to my next conclusion....
Who cares? Seriously, I personally am not bothered one bit why the man handed in his resignation. The point is, he has left the ISO, and sorry if I sound like a jerk, but that's a very good thing in my opinion. I know that back when he was doing really dumb stuff (like firing lots of people, including then Music Director Mario Venzago) that I dug around and talked to everyone I could about this to see what was going on, and perhaps some people think I (or someone else) should do the same. What's done though, is done. And what has been done is a good thing, and I'm content to just smile about it, not worry about the details too much, and move on.
Simon Crookall Steps Down as President and CEO of the Indianapolis Symphony Orchestra
I was shocked to receive this press release today (I have omitted a few ending paragraphs which simply give the background on the ISO, and information on conductors, etc etc)
After seven years of significant accomplishments, Simon Crookall steps down as President and CEO of the Indianapolis Symphony Orchestra
INDIANAPOLIS- Simon Crookall, President and CEO of the Indianapolis Symphony Orchestra (ISO), has announced he is leaving the ISO after leading Indiana's largest arts organization in to a transformative era of artistic vision and innovation programming directions, including the appointment of the ISO's new Music Director, Krzysztof Urbanksi, the naming of Time for Three as the ISO's first ensemble-in-residence, the adoption of the Metropolitan Youth Orchestra as an integral part of the ISO's Learning Community and the introduction new programming such as the successful Stella Artois Happy Hour at the Symphony series.
Crookall said, "After welcoming Krzysztof Urbanksi, successfully launching our capital campaign and expanding the ISO's impact and profile in the community to include collaborations with other arts groups and universities, I am ready to move on to my next challenge. I wish the great musicians and staff of the ISO every success in the future."
The ISO's Board of Directors has appointed Jackie Groth, ISO's Vice President of Finance and Strategic Planning, as Interim President and CEO, effective immediately. Jackie joined the Orchestra in 2010 after seven years of leadership in finance and administration at Veolia Water. The Board will begin the process of forming a search committee to select a new President and CEO and has asked the ISO's Executive Leadership Team to continue its work overseeing day-to-day operations of the Orchestra.
ISO Board Chairman John Thornburgh said, "The Board very much appreciates all that Simon and the Indianapolis Symphony Orchestra musicians and staff have accomplished during his tenure. Under Simon's leadership, the Indianapolis Symphony Orchestra has continued to fulfill our mission of inspiring, entertaining, educating and challenging through innovative programs and symphonic music performed at the highest artistic level."
"Simon built our financial and programming foundation to the point where the Indianapolis Symphony Orchestra can take the next great step forward in the excellence of our performances for concertgoers enjoying a wide range of symphonic music, in our educational outreach for youth and adults who want to appreciated and better understand fine music, and in our collaborative partnerships with the community and arts partners so crucial to the ISO's continued success," Thornburgh added.
Concertmaster Zach De Pue stated, "Thanks to Simon, the ISO staff and board, we are in a good place. Very few U.S. cities enjoy what we have here in Indianapolis. Our Orchestra is superb, and Simon worked tirelessly to tell our story. We wish him the best of luck in his future endeavors."
Not long after I read that, I was forwarded an email:
-----Forwarded Message-----
From: "Tom Ramsey" (address redacted)
Date: Feb. 2, 2012 4:24 PM
Subject: Important Announcement
To: "Tom Ramsey" (address redacted)
Cc: (addresses redacted)
Ladies and Gentlemen of the Orchestra,
After leading the Indianapolis Symphony Orchestra for seven years, Simon Crookall is stepping down as President and CEO to see his next career challenge, effective at the conclusion of today's Board meeting. Board Chairman John Thornburgh has asked that Jackie Groth, currently Vice President of Finance and Strategic Planning, serve as our Interim President and CEO.
I want to assure you that we have a well-thought-out transition plan already in place. the board will begin to forma search committee, and Jackie will be worrking directly with the Executive Leadership Team immediately to keep the day-to-day operations and strategic planning in motion.
At the conclusion of your rehearsal at the Basile Opera Center next Wednesday, I would like to invite you to stay for a brief questions-and-answer forum from John, Jackie, other members of the Executive Leadership Team and me. We want to be there to help any any questions you might have.
The ISO would like to thank Simon for all that he has accomplished during his years with our organization, including the appointment of our new Music Director, Krzysztof Urbanski, the naming of Time for Three as the ISO's first ensemble-in-residence, and the adoption of the Metropolitan Youth Orchestra as an integral part of the ISO's Learning Community. If you would like to send well-wishes to Simon, please give them to Kathleen Custer, and she will make sure he receives them.
Thank you for your time and talent in making the ISO one of the premier orchestras in this country. And thank you for your continued support during this transition.
And don't forget to congratulate your colleagues who are a part of the Jimmy Fallon Show at the Hilbert! You all make us very proud.
Tom Ramsey
Vice President and General Manager
After that email, I received this forwarded email, that originally was sent a few weeks back:
-----Forwarded Message-----
From: "Simon Crookall" (address redacted)
Date: Jan 13, 2012 1:43 PM
Subject: Staff Changes
To: "Simon Crookall" (address redacted)
To all Staff, Musicians and Board Members
I wanted to let you know about some management changes that are taking place at the ISO. In consultation with the Executive Leadership Team and the Board Chair and Chair Elect, I have decided to reorganize the upper management structure in order to move to three overall departments: General Management, Finance and Administration, and External Affairs.
With immediate effect, Beth Outland is being promoted to be Head of Artistic Planning and Education and will take over as General Manager when Tom Ramsey retires in 2013. Jackie Groth wil continue as Head of Finance and Administration, with some reallocation of departments under her supervision. We will be advertising the post of VP of External Affairs in the near future. Martin Sher will be leaving the ISO today and we taking immediate steps to ensure continuity in the artistic department as well as our ongoing commitment to new and innovate artistic programs and and projects.
If you have any questions about any of these issues please do not hesitate to contact me of another member of the Executive Leadership Team.
Best wishes
Simon
UPDATED/CHANGED FROM EARLIER:
There was some speculation as to whether Crookall made the decision to leave, or if it was made for him. After speaking with the ISO's PR department, I found out that Crookall himself made the decision to resign. Personally, I think that was a great decision.
This is a good thing for the ISO, and I am hoping for a good and smooth transition for the organization. I will of course keep everyone up to date on things as they unfold!
There was some speculation as to whether Crookall made the decision to leave, or if it was made for him. After speaking with the ISO's PR department, I found out that Crookall himself made the decision to resign. Personally, I think that was a great decision.
This is a good thing for the ISO, and I am hoping for a good and smooth transition for the organization. I will of course keep everyone up to date on things as they unfold!
Subscribe to:
Posts (Atom)