OK! Where are we now? The Tennessee Theatre, of course. The “Big Orchestra” is hosting a guest conductor, Larry Loh from Pittsburgh. In that city, he is the Resident Conductor of the Pittsburgh Symphony, and director of the Pittsburgh Youth Symphonies. The January Masterworks concert pair is given over to music of Berlioz (Roman Carnival Overture), Shostakovich (Cello Concerto #1), and Tchaikovsky (4thSymphony). These shows have 7:30 starts at the Tennessee this coming Thursday and Friday nights. Our soloist is Julie Albers, from New York. She has just been appointed Principal Cellist of the St. Paul Chamber Orchestra, but is also on the faculty of the McDuffie Center for Strings at Mercer University in Atlanta. Such is the life of an in-demand player; lots of frequent flyer miles there. As busy as she is, there is no sense of harriedness in her playing. The Shostakovich Concerto on which she is featured requires great concentration and focus, and she brings out the best in the work. And now a little about that work. The more frequently performed and studied of the two Shostakovich Cello Concerti by far, the First Concerto in E-flat was written in 1959, 3 years before the String Quartet No. 8 that the Principal String Quartet performed this past November. The two works share some material; the main theme of the concerto's first movement appears in the quartet's scherzo. The outer movements of the concerto are boisterous, bordering on wacky, with some fairly simple melodic ideas receiving harmonization from Shostakovich's unique tonal and rhythmic palettes. The second movement Moderato is cast in a serene, meditative (but DEFINITELY not morose) mood, and features a duet between the solo cello (playing artificial harmonics) and the celeste, played by Carol Zinavage Shane. (Carol and I both agree that the Turtles' 1968 hit You Showed Meborrows its melody from this movement). The Moderatoyields to an extended stream-of-consciousness cadenza, leading to an upbeat (and offbeat) finale. As a whole, the work definitely bears repeated listening; there is SO MUCH in it.Speaking of so much, “Tchaik 4” is all of that. Before I knew the work well, I just assumed that the multitude of tunes in it were from different pieces by Tchaikovsky. Then I performed it for the first time, and I couldn't believe that all that stuff I had heard was in just the FIRST MOVEMENT. At least 8 different themes appear, ranging from lilting to soaring to tumultuous. The first movement Andante sostenuto/Moderato con anima is the longest symphony movement Tchaikovsky composed, but it is done so smoothly that one doesn't notice the length as much as Tchaikovsky's gift as a tunesmith. The 3rdmovement Scherzo: Pizzicato Ostinatostands alone in all of the symphonic literature with not a single bowed note from the strings. The Finaleis fast and furious, and provides a happy ending.I haven't spoken of the Berlioz Roman Carnival Overturewhich opens the concert, but it is a true classic. It has to be, it is full of Berliozian wit and verve, and besides, it has an English horn solo in it. Don't be late or you'll miss it!
It's always good to say those two little words: SOLD OUT! That's What's Up! The “carrot and schtick” method of entertainment seems to be just what Knoxville needs right now. Saturday night at 8:00 at the Civic Auditorium, there will be a full house as the KSO will host Bugs Bunny at the Symphony, with all of your favorite Merrie Melodies and Looney Tunes front and center.So much classical music is quoted here, it's impossible to list, but there is a strong Wagner presence in the score. Some of the tunes are lifted veboten, er... verbatim from commonly performed editions, but often there are slight altercations –oops!-- I mean alterations in the direction the music goes. It keeps us on our toes, we get to wear headphones, and we finally learn what instrument makes that slide-y sound at the beginning of the fanfare!If you are attending the concert, be aware that there is a Knoxville Ice Bears vs. Pensacola Ice Flyers game in the adjacent Coliseum, which has a 7:30 face-off. Parking may take a little extra time, but probably not as much time as it will take that poor hockey player to get his face back on.Say, why not skip the traffic and walk off the dinner you just ate downtown? It's only five blocks from Market Square, three from Gay St. (And you walked HOW FAR the last time you were in New York)?Just for a little added flavor, I'm going to put this bug in your ear. Don't you think Mel Blanc looks like Django Reinhardt? Just sayin'... Also their styles are similar, going for broke at every turn.Only the guitar gives it away...
I was amped to play Strauss' Bourgeois Gentilhomme Suite last weekend, and I'm amped to play Tchaikovsky's Souvenir de Florencein its original sextet form tonight and tomorrow night at the Knoxville Museum of Art at 7:00 as part of the “Gabe Lefkowitz and Friends” Concertmaster series. This is a high-amp month, with Tchaikovsky's 4thSymphony coming right up next week. The one great thing about music is that the music itself doesn't care when we move on to something new-- We can say “we love it,” but it's okay to say that we love another piece just as much. One week's favorite must necessarily give way to the next piece, otherwise, why not just play the same work over and over?Why Florence? In rehearsals for the sextet, I've been keeping an ear peeled for hints of things which might evoke the way Florence looks, sounds or smells, but having never been to Florence, I'm not really sure what I'm looking for. The commission for this sextet, issued by the St. Petersburg Chamber Music Society, came in 1886, but in true Tchaikovsky fashion, it took a while for Tchaikovsky's muse to kick in. It wasn't until 1890, when he was in Florence composing his opera The Queen of Spades that the idea for the bel canto second movement theme sprang into his head. And that's it! Nothing else in the piece particularly evokes Italy; it is more about Tchaikovsky telling the world how much he loved to be in Florence.After a somewhat unsuccessful premiere in December of 1890 (the composers Liadov and Glazunov were in attendance, and agreed that the last two movements “needed some work”) and consequent massive revisions to the third and fourth movements, Tchaikovsky was quite pleased with what he had written, particularly the fugatopassage at the end of the finale. Only then did the title of the work come to be given. It is the last multi-movement work by Tchaikovsky save for the 6th(Pathetique) symphony. The concert will start in Italy, with Vivaldi's Winterconcerto from his Four Seasons“concerto cycle.” Gabe will be accompanied by an orchestrinaof 10 players. I have learned this is called a “decet.” Following that, Gabe and pianist Kevin Class will perform five movements from Prokofiev's Cinderellaballet, those movements being Waltz, Gavotte, Passepied, Winter Fairy and Mazurka.
Brrr... It seems like wicked cold weather always attends the January Chamber Orchestra concerts at the Bijou. The edict has been issued from management: “Do Not Use The Stage Door To The Bijou For Any Reason!” Unlike the Tennessee Theatre, where the stage door is a floor down from the performing level, the stage door of the Bijou opens right on to the stage, letting in whatever bus exhaust, Harley-Davidson noise (even with the door closed you get that), and- COLD AIR.To ensure good instrument and musician health, there are contractual guidelines assuring that the temperature onstage will be at a minimum of 65 degrees. Any colder than that, and players' fingers are at risk of injury. The woodwind and string instruments have a minimum temperature requirement for structural health, but I must add that it is the wide fluctuations in temperature that cause the most problems, not the cold temps themselves. A cello or a bassoon, for instance, can't help but cool off when being toted from a warm car (or bus, or train, etc.) to the hall. For a string player, this means opening the case and mingling the warmer indoor air with the cooled air inside the case, before pulling the instrument out in earnest. Different pieces of the instrument expand and contract with the heat at different rates, so there is a chance that they will come unglued. The friction fit of the pegs is affected by these different expansion rates also, which is why we often open our cases to find that one (or more) of our strings has come unwound. The glue which holds a stringed instrument together is purposely not super strong, in case there is some tectonic shifting due to temperature differential. Any glue that is stronger than the wood itself will cause the instrument to tear itself to shreds when exposed to a drastic temperature change. You want the glue to let go, not the wood itself. Humidifying devices, the most common of which is called the Dampit, are inserted into the f-holes to raise the humidity inside the instrument. The humidity plummets because of the dry forced-air heat that is so prevalent in our modern winter world. A woodwind player's plight is different here, in that the player's warm breath blown into the instrument is at a way higher temperature than the ambient air, even on a summer's day. For this reason, woodwind instruments also need time to become acclimated to the cold. Another danger for wind instruments makes itself known at the end of a rehearsal or concert, when players leave through a door that allows cold air to enter. (A woodwind instrument takes quite a bit longer to put away; you can always count on the woodwind players to still be on stage at least 10 minutes after work). This cold air always seems to make a beeline for the woodwind instruments, which have become toasty warm from the indoor warm air and from being played. Principal clarinetist Gary Sperl can tell you some horror stories about cracks that his clarinets have sustained this way. I have always been puzzled by the amazing condition of some string instruments that are 350+ years old. Most modern classical musicians, if not all, have every convenience and amenity to keep us warm in this weather, but what about 300 years ago? How on Earth did musicians in Europe and especially Russia cope with winter weather? Obviously Strads, Guarneris, etc. were owned by the upper class, who had ample means of keeping things warm, but what about the poor grunts that had decent but not world-class instruments?It will probably get above freezing by Sunday at 2:30, when the Knoxville Symphony Chamber Orchestra will present music of Mozart, Stamitz and Strauss. It will definitely be above 65 inside the Bijou Theatre. So come warm up with us!
We sometimes take off during the holidays. Last year’s trip to Florida is still on my mind. I mean, a year ago today I was swimming in the ocean! Previous years’ visits with in-laws in Minneapolis and my parents in New Hampshire were also fun and toughened me up for these nebbishyTennessee winters. This year is a different story. I’ve got a stack of really sublime music to learn, and the music itself is the trip. With Chamber Orchestra, Concertmaster Series, Pops, Martin Luther King Concert and Tchaikovsky IV all in the space of three weeks, January is going to be a many-splendored thing. On the second Sunday in January (the 11th at 2:30, Bijou Theatre), things get going with a bang, (and some tooting, too) as the Knoxville Symphony Chamber Orchestra will present music of Mozart, Stamitz, and Richard Strauss. The Mozart is the Bassoon Concertoand the Stamitz is the Trumpet Concerto.In the Mozart, principal bassoonist Aaron Apaza will be doing the tooting, and in the Stamitz, principal trumpeter Chase Hawkins. (Actually, Stamitz may or may not be the composer of this work, but whoever wrote it knew what they were doing. They really gave a toot. Another possible candidate for authorship of this work is a Bavarian composer named Holzbogen. Shades of Pirandello’s Six Characters in Search of an Author).ANYway... The show will close with Strauss’ passionate, quirky masterpiece for chamber orchestra, the Suite from Le Bourgeois Gentilhomme.Composed in 1918 to accompany an adaptation of Molière’s 1670 play of the same name, it is "Music for The Theatre," but not a “Theatre Piece.” Substantiating the title of this concert as “Orchestral Soloists,” this work presents a staggering array of solos itself with essentially no two people playing the same part. The final movement has a ginormous cello solo in it, and the polonaise-like 4th movement is all Gabe.Speaking of Gabe, just a few days later it will be time for the concertmaster series January installment at the Knoxville Museum of Art. Violinist Gordon Tsai, violists Katy Gawne and Eunsoon Corliss, and cellists Ihsan kartal and I will join Gabe Lefkowitz to close the concert with Tchaikovsky's string sextet, Souvenir de Florence. This exciting work has some really neat compositional devices, and there are so many beautiful tunes I just don't know what to do with myself. Actually I do know, I suppose I should go and learn them. The first half of the concert also involves the five of us along with principal bassist Steve Benne playing on Vivaldi's Winter Concerto from theFour Seasons,and then Gabe will perform five movements from Prokofiev's Cinderella Ballet with pianist Kevin Class. This is all music that will make you leap to your feet at the end. Wednesday and Thursday, January 7 and 8, 2015 at 7:00 pm.Stay tuned for the rest of January...
Julie Albers playing Shostakovich's 1st Cello concerto, one of the most technically difficult pieces in cello repertoire. #preconcertchatFri, January 23, 2015
The roads are slippery and traffic is heavy in #Knoxville. Be careful heading downtown and come dry off with us in the beautiful @TNTheatre.Fri, January 23, 2015
RT @HunterCollins2: So excited to go see @knoxsymphony rock some Tchaikovsky tonight. 🎻🎶Fri, January 23, 2015