The November Masterworks concert pair this Thursday and Friday at the Tennessee Theatre boasts three essential masterpieces. Beethoven's Violin Concerto will be in the unusual lead-off spot, with two tone poems following intermission; Richard Strauss's Death and Transfiguration, and Tchaikovsky's Romeo and Juliet. Any of these works could either open or close a concert, and their content is gripping.Beethoven's concerto for violin is a towering work in its genre, although it had a rocky start. Beethoven finished writing the solo violin part the day of the premiere, so that the soloist and dedicatee, Franz Clement, had to sightread parts of it at the performance! Needless to say, these less-than-ideal conditions led to an unsuccessful debut, and the work lay in relative obscurity until 1844. At that time, 12-year-old Joseph Joachim resuscitated the work in London under the baton of Felix Mendelssohn. Joachim would later become a close friend of Brahms, collaborating on the later master's violin concerto and contributing the work's cadenza. Luckily, guest soloist Paul Huang will have had much more time to prepare than Franz Clement did back in the day.Death and Transfiguration is a deceptively macabre title for a work that is chock-full of both energy and profound beauty. Strauss's command of orchestration is just jaw-dropping, and guest maestro Joshua Gersen has his finger on the pulse of the composer's intentions. The phrase “tone poem” has come to be a catch-all term for a programmatic work that is longer than an overture but usually shorter than a symphony. It isn't that the music is particularly rhyme-y; it might as easily be called a “tone saga,” or “tone mural.” Tchaikovsky's Overture-Fantasy “Romeo and Juliet” touches on all the moods and nerves of Shakespeare's drama, thanks to some of his most poignant coloristic writing. Check out the muted violas and second violins about 5 minutes in. It is the most beautiful musical depiction of bullfrogs in the moonlight, serenading the two lovers. Performances are Thursday, Nov. 16 and Friday, Nov. 17 at 7:30 p.m. at the Tennessee Theatre. Tickets found here.
Anyone who has lived in this town for more than 10 or 15 years cannot deny the spectacular growth that the city has experienced in that period. This “crescendo” has been encapsulated by the boom in craft breweries, ignited by a national trend thereto. Knoxville currently boasts at least ten of these institutions, where ten years ago there might have been one. The KSO has partnered with several of them in presenting a new and unique music-centric experience called “UnStaged.” The idea is to bring classical music away from the concert hall, and present it in a more intimate setting in a more informal and thirst-quenching way.Two promotional performances – “appetizers” – have already taken place at beer terminals in town, and a third is just a couple days away. On October 5, cellist Stacy Nickell and violinists Ruth Bacon Edewards and Rachel Loseke performed at the Pretentious Beer Company on Central Ave. in the Old City. The late Classical music patriarch of Knoxville, Norris Dryer, would have been so proud knowing that not only has a brewpub opened up below his old apartment, but also that classical music was being played there! On the following Thursday, principal bassist Steve Benne, principal oboist Claire Chenette, and violinist Zofia Glashauser performed WAY out west at the Blackhorse Pub and Brewery. Coming up this Thursday, November 2nd at 5:30, principal bassoonist Aaron Apaza, principal flutist Hannah Hammel and violist Eunsoon Corliss will hold court at the Casual Pint of Downtown at 421 Union Ave., next to the Oliver Hotel.The main UnStaged event will take place on Thursday, November 9th at 7 pm at The Standard on Jackson Avenue in the Old City (next to Sweet P's Barbecue). Compositions for various-sized ensembles will be performed in two different performance spaces within the venue, including Mozart's Symphony no. 40 and Milhaud's La creation du monde. Beers from Alliance Brewing Co., Blackhorse Brewery, Crafty Bastard Brewery and Last Days of Autumn Brewing Co. will be featured. Food will be tastefully provided by Knoxville caterer Nancy Kendrick, and between sets, the members of the KSO will mingle with concertgoers beer devotees. The event is funded in part by a generous grant from the American Orchestras' Future Fund, a program of the League of American Orchestras. Tickets are here and include tastings from said brewers.Outside looking in on the Oct. 5 Pretentious Beer Co event
DYNAMICS AND YOU That ticking sound you hear, it sounds like when you've turned your car off and it's cooling down, right? Well, that is the players of the KSO collectively quenching, after an intense run of performances going back to September's Masterworks concerts. The Q Series, Unstaged, and Meet the Musicians slates were full, then the Chamber Classics season started up with a bang on Oct. 1. The Concertmaster and Friends recital at the KMA brought a new star into Knoxville's classical sky in William Shaub, and as if to dot the “ı,” the KSO performed John Williams' dynamic soundtrack to accompany the first Harry Potterfilm just this past weekend. I called the Williams score “dynamic,” which is a word that has many meanings in music. It can be a noun or an adjective. As an adjective, it means “vigorous,” “vivid,” or even “vibrant.” The noun version can refer to the “vibe” or the “chemistry” of the group-- e.g., group dynamics. Specific to music, however, the notation of volume at which a player or ensemble should play, the sizeof the sound, is called the “dynamics.” This is notated with the letters fand p,which are the abbreviations for the Italian words forte (loud) and piano(soft). Multiples of these letters indicate extremes; I have seen as many as five in either direction, but usually only up to two. After three it just gets to be kind of a joke; I mean, we don't have little dials that louden us decibel by decibel, we have pieces of wood and metal, operated by our breath and hands. An increase in volume is called a crescendo, and a decrease a diminuendo(or a decrescendo, they are synonymous). These words can also be replaced with symbols, elongated “>'s” or “<'s” with which the wider, the louder. The usual term for these signs is “hairpin;” I guess “tweezers” would sound a little weird, but it's exactly that shape. A crescendoover several measures will usually just employ the abbreviation cresc.,since the converging lines of the symbols would be visual pollution on the page. It's easy to overlook a 5 letter word in italics, however, so a player may boost his chances at correct execution by drawing a symbol in. Slide… This is the cello part to Beethoven's Violin Concerto, last movement. You can see on the second line down where every other note has a swell on it. In measure 150, a typical Beethoven feature is found; the “crescendo to nothing.” (Not all crescendos result in a f).In measure 158 notice the word dimin. printed, and you'll agree that the dynamic symbol, if used here, would get in the way of other musical indications. The effect of a composition's dynamics is dependent on each player's adherence to their parts' dynamic markings. A sudden (or subito) pianoin the midst of a fortephrase is a lot more embarrassing to miss than the other way around. A sharply attacked note might have the letters sfzor just sf on it; this stands for sforzando and means “with sudden emphasis.” A similar notation is fp,meaning fortepiano,which is just a loud start to a note rather than a sharp attack. The distinction between these two markings can be enigmatic. As if all this wasn't enough, let's throw in accents. They're little “>'s” on a single note, meaning yet another attack scenario. Whatever the indication, the uniformity and force of each players' attack on that note must be worked out precisely; one can't just blat or scrape indiscriminately. Slide… Here is the opening of Mahler's 4th Symphony. The whole spectrum of dynamic indications is here, as is typical with Mahler's persnickety (yet beautiful) music. Every measure has some sort of “diacritical marks”-- accents, accents under slurs, sforzandos, sforzandosunder slurs, fortepianos…All of these must be unified and coordinated across the orchestra-- this is why we rehearse.So if I said, “the ensemble's attention to dynamics made for an impressive group dynamic that resulted in a dynamic performance,” it appears that I have used the same word three times in one sentence, but I am really just pointing out that the word “dynamic” is a many-splendored thing.
The KSO's Concertmaster & Friends series has experienced a sea change, with a new captain at the helm. Concertmaster William Shaub brings more youth and vigor to a series that was already pretty youthful and vigorous. The series has always been a forum which combined virtuoso violin repertoire and staples of chamber music literature, and that will continue under Will's leadership. The opening installments of the 2017-18 campaign will be this Wednesday and Thursday at 7:00, at the Knoxville Museum of Art. The program will consist of works by Sarasate, Franck and Beethoven. Pablo Sarasate was a Spanish violin prodigy from the later 19th century whose considerable technical prowess and pure tone were complemented by a distinctly Spanish compositional style which motivated his contemporaries throughout Europe. He was the first to translate Spanish melody, rhythm and soul into violin-ese, inspiring the composition of Saint-Saëns' Introduction and Rondo capriccioso and Lalo's Symphonie espagnole. Will and pianist Kevin Class will perform Sarasate's Romanza Andaluza,from the “Spanish Dances” to open the program. The first half centerpiece will be César Franck's iconic Sonata for Violin and Piano from 1886. A highly regarded organist, pianist and teacher, Belgian-born Franck's composing output was sparse until this work (and several that followed) put him on the map in a big way. The four-movement Sonata was presented to the titanic Belgian violin virtuoso Eugène Ysaÿe as a wedding gift in September of 1886, and was performed at the wedding with a guest, Léontine Bordes-Pène playing the piano part. The first public performance took place in a Brussels museum on December 16th of that year. Somehow the concert ran long, and despite an official ban on artificial light at the museum, the two performers played the final three movements from memoryin the dark. Will and Kevin will have no such predicament, I assure you.The concluding work will be Beethoven's Quartet in C Minor, Op. 18, No. 4. It's the only minor-key quartet in the Op. 18 folio of 6 quartets, which were commissioned byPrince Joseph Franz Maximilian Lobkowitz(not to be confused with Lefkowitz!) of Bohemia. Three of its movements are of an excitable, stormy nature, with only the Andante scherzoso quasi Allegrettostanding out with a quirky charm for comic relief.
The chamber side of the KSO will be in evidence this week as the Principal String Quartet will present a concert at noon at the Square Room on Wednesday, Sept. 27, and the Knoxville Symphony Chamber Orchestra will bring a diverse program to the Bijou on Sunday afternoon at 2:30. The Square Room is on Knoxville's Market Square downtown, hence the name. It also happens to be square in shape, but most rooms are, so in this case, the venue is named after its location, not its design. The quartet will perform music of Mozart, Piazzolla and Mendelssohn. Mozart's quartet K. 159 is not your average “Baby Mozart” quartet; there is a quirkiness to it that indicates the composer's impatience with convention- with being square. The first movement Andante grazioso has a gentle start and is neither slow nor fast; a piece you might peg as a middle movement. Oddly sized phrases and differing textures keep you guessing as to the musical destination. The middle movement in this case is an urgently skittish Allegro. It has to be one of the best G minor movements ever written, on a list dominated by Mozart's “emo” gems. The finale is a Rondo, but you will probably want to call it a Theme and Variations. More punchy, boppy, B-flat major fun than you can shake a stick at, from a 14-year-old composer who was holed up in Milan working on his eighth opera. Astor Piazzolla took traditional string quartet playing for a wild ride in 1989 with his Four for Tango,written for the Kronos Quartet. Its highly percussive, urban complexion will set the table for Felix Mendelssohn's String Quartet op. 44, No. 2 in E minor. Mendelssohn's rich palette keeps the music bright and charming in spite of the minor tonality. The Sunday Chamber Classics series concert will begin in Revolutionary times, with Haydn's Symphony No. 60, the “Distraught” from 1775. Prokofiev's “Classical” Symphony will bridge the 140-year gap between itself and the Haydn by melding classical-era constructs with 20th-century tonal cheekiness. The concert will close with Maestro Aram Demirjian leading HK Gruber's Frankenstein!! This narrated showpiece from the Third Viennese School has every trick in the book coming in to play; “a show with everything but Yul Brynner,” as we used to say in the '80s. Gruber is said to be a distant relative of the composer of Silent Night, Franz Gruber, but that is where the similarity ends. This is music you will want to fasten your seatbelt for! Listen safely...
RT @knoxtntoday: Guest soloist Paul Huang shines bright in his performance with @knoxsymphony. Click the link to read Harold Duckett's revi…Sat, November 18, 2017
RT @StaceyPMurray: Magnificent violin concerto @knoxsymphony tonight. Beethoven would be proud, for sure. Looking forward to some Strauss &…Sat, November 18, 2017