Something old, something new
By Matthew Heil
Marketing & Public Relations Manager
Marketing & Public Relations Manager
Nothing is harder for arts organizations, I think, than to please broad audiences. Between our Pops and Classics subscribers there are wide differences in taste and interest. And even among those groups, there are sharp opinions about old works versus newer works, and just what--exactly--makes a good, weighty-but-not-too-long concert. Hopefully this weekend's events will do well to meet everyone's interests, because the offerings are certainly diverse!
First, something old: It's one of the most popular works of instrumental music in the world...and it's coming to three different places around the Valley. Yes, Beethoven's 5th Symphony is slated for an appearance at Scottsdale Center for the Arts this Thursday, Mesa Arts Center this Friday, and Pinnacle Presbyterian Church this Saturday...and an extra visit to Prescott on Sunday, thanks to the Yavapai Symphony Association.What makes the 5th Symphony so popular? It could be the easily remembered and oft repeated first four notes (as close to a pop hook as they had in classical music, I'd think!). It's also sure to be Beethoven's obsessive attention to detail, constructing a complex and dramatic work that is both artistic and accessible. Or maybe it's just that it's loud and fun? Whatever the reason, it's on the docket for the second half of this week's concerts.
And the something new: Christopher Rouse's Flute Concerto, with soloist Carol Wincenc. Written in 1993, the Flute Concerto is what the composer describes as responses to the music of the British Isles particularly of Celtic origin. Cast in "a somewhat loose arch form ... [t]he first and last movements bear the title "Amhrán" (Gaelic for "song") and are simple melodic elaborations for the solo flute over the accompaniment of orchestral strings. They were intended in a general way to evoke the traditions of Celtic, especially Irish, folk music," accordng to Rouse.
The work isn't all light-hearted, also containing an elegaic movement as its central component. But being specifically commissioned for Wincenc to perform, there can be no doubt that the evening's concerts will be a stirring, enlivening juxtaposition of old and new.
We're always curious, as we program these concerts, how patrons react to what's presented. Please be sure to let us know!
20 Comments:
Sonny, the Coolest Cat, will be escorting at least 3 beautiful felines to the Saturday night Rouse affair. I didn’t have to make false promises of hummable melodies or sell it based on the fact that the ever-popular Bernstein and Beethoven are also on the program. “Presto” will attempt to like this Rouse because her companion “Sonny” is crazy about his works. All I did was give flutist “Firefly” a copy of the CD featuring Carol Wincinc. She then made copies and distributed them to “Firecracker” and several other local flutists. Expect a high turnout from the Flute Club.
Usually controlled and afraid of the front row kitty “Firecracker” says . . .
I would describe much of his music as agonizingly beautiful. Sometimes I felt like I could relax and breathe and in the next moment, just wanted to sob. The other parts are just a wonderful romp. And sometimes when the orchestra is very prominent it’s so powerful that it’s a little scary. Sorry, I am not very analytical or even musically educated and usually respond emotionally to music more than anything. What I can tell you is I LOVE THIS PIECE. It is one of the most moving I have heard in a long time. Can't wait to hear more. Yes, I will carpool with you. I will sit in the back seat, complain about how long it is taking and kick the front seat! And eat Cheetos. Or rice cakes- they make a mess too, without turning your lips orange.
Formerly mild mannered and sleek princess kitty “Firefly” says…
Ok, I've finally had some uninterrupted time to dedicate to the Rouse and my gut reaction is - !!wow!! I really dig it! Wincenc's performance is superb. Her expressiveness is sublime in the plaintive melodic sections, and her explosive pyrotechnics are impressive (after you get over the heart palpitations you experience with Rouse's sudden change of moods). There's a schizo quality to the piece that endears me to it.... beauty/tragedy, peace/confusion, contentment/desire... This is definitely a serious piece of literature that should be in every flutist’s repertoire, and I'm going to encourage as many flutists as I can to hear this upcoming performance. Thanks for enlightening me. (My mom really digs it, too!)
What makes Ludwig van's 5th Symphony so popular? The real question should be: "What will Maestro Christie bring to it to make it still interesting after all these years?" More so than educating the audience with new pieces, this is the true test for a young Music Director. This Critical Cat will be taking copious notes.
Well, what to say about tonight's concert at the Scottsdale Center. It's late and I'm tired, so just a few impressions:
1. The Bernstein was nice, even though I'm not much for Bernstein. I don't dislike his music, nor am I particularly fond of it. But tonight it was nice and well played.
2. Another Rouse piece. Carol Wincinc is obviously a talented musician, and I would really like to hear her play again, so long as it isn't a Rouse piece. Rouse needs prozac and a cyanide capsule. Ugh. This composer just doesn't do it for me at all. Glad I only have to suffer through one more of his compositions this season.
3. Beethoven's Fifth -- I love this piece, but I was frustrated tonight. Michael, the horns should be majestic and they weren't. Overall the interplay between sections was too touchy-feely smooth. I feel like I heard "Beethoven-light". There was a marked contrast between Beethoven's 1st as performed when Pinchas Zukerman was here vs. what I heard tonight. Zukerman & the musicians gave me the Beethoven I was looking for that night. Where was the tension tonight? Where was the majesty and pomp? The musicians know what to do here -- they did it with Sedares, Hermann Michael, and Alcantara. I really wish you would let them do what they know needs to be done here.
Kudos to principal's Boro, Richard Bock, Marian Buswell, and Peter Rosato for yet another night of fine music making. They consistently demonstrate, night in and night out, why they belong as principals in this Symphony. You folks were wonderful. Warm feelings also go out to Bruce Pulk and Marlene Mazzuca for exceptionally fine timpani and bassoon work. Yes, some of us out here notice. Keep it up!
"Firefly" is going through some extreme pre-concert "A-Rousal." She added these comments:
F.Y.I. -I ordered the Rouse from Flute World earlier this week and expect toreceive it today. It's a flute/piano rendition but still, can't wait to 'attempt' it.
I'm thrilled that "Firecracker" had such a strong emotional response to the piece as well. I will have to pack my purse with Kleenex as I suspect we will be sobbing during the performance. We've taken an oath not to blubber and howl though...
>>> Perhaps we need Carol Wincinc to give a Master Class on the Rouse Flute Concerto at Pinnacle Prebytarian after intermission? Watch out ladies. Sonny will be howlin' in the hall.
Dear Ms. Wincenc, Mr, Christie, and Mr. Rouse:
You had me at... "A"
... as in the opening notes of the first "Amhrán". I started sobbing uncontrollably. My chest heaved as if in convulsions. I had to force myself to breathe. It was a good thing I took out my handkerchief before the start in anticipation. THE BEAUTY OF IT ALL! This is why I go to live concerts. These are the treasured moments in classical music.
Thank you Ms. Wincenc. Thank you Mr. Rouse. Most of all, I cannot THANK YOU enough Mr. Christie for bringing this masterpiece to me. THANK YOU!
Sonny the Cat's enthusiasm is, in general, admirable, but he dominates this blog in a way that leads to imbalance. Where have all the other commenters gone? Are they driven away by so much feline intensity? Perhaps Sonny might consider slacking off a little with his comments, in hopes that others will fill the void and provide a more rounded view of how audiences perceive the Symphony.
To Anonymous, I would say this: The fact that Sonny the Cat writes on this blog so much is just fine with me. That is no reason for others to feel shy about expressing their opinions and sharing their perspective. The more the merrier. Also consider that some writers may not be getting approval for posting on this blog. But keep writing. Open exchange of ideas and knowledge is a healthy thing. OboeMom
By the way, Sonny, I too would like to credit Maestro Christie for making available to all of us these enticing works of Mr. Rouse. I was not familiar with his work prior to playing these selections in the orchestra this season, and I find his music very moving. I look forward very much to working on his "Rapture" this week. And I thank you for your overall interest and your attendance at our concerts. OboeMom
I am glad the one orchestra members finds something to like about the music of Rouse, because as an audience member I am very unimpressed with this composer. As for the comment about "Sonny The Cat" I agree.
Dear Anonymous,
There are things I like about the music of Rouse that we have played this year. Mostly, the rhapsodic character of some of the solo lines he employs, which can sound wildly free and spontaneously expressive. What I am less crazy for are the massive blocks of loud dissonance he utilizes to express angst, when they go on for very long. Lots of new music composers seem to want to make us all scream and tear our hair out by creating so much tension for long sections at a time, it becomes exhausting and unnerving for many of us. Maybe that is what the composer wishes to accomplish. But it is certainly not easy listening, is it? I for one do not need one more reason in life to scream and tear my hair out. Still, at this stage in life, I do not expect to love every facet of ANYTHING, and I can certainly understand why many listeners might find these works less than appealing. That is fine, we can't all like the same thing, and it is great to be able to voice your opinion here. Hopefully, this blog will help our organization determine what our most active audience members really want to hear, and that may guide them in their artistic choices for future concerts.
To Oboemom,
There is an obvious and accpetable difference between your opinion as a player in the symphony and the audience. I am sure your ear is far tuned than mine is what I am saying. You do pose an intersting question for this audience member, and that is "what are most active audience members what to hear". I do want to hear a nice mix of the classics and 20th century music. I would like to hear Gershwin, Grofe, Berstein,Adams,Copeland, to name a few of the popular ones. I am not looking to hear disonance, I want to hear beauty and lyricism.
I also don't want to hear the conductor at the start of each concert. I find it annoying to sit and listen to him for 10 minutes. Also the handing out of program notes is also a distraction, they belong in the program not in the hands of patrons to make noise with. Turn down the lights in the theater as well.
Dear OboeMom,
A cynic might note that you are paid to learn about new music, while we members of the audience have to pay to listen to it. However, I know that none of the Symphony musicians is getting rich through his/her employment there, so I won’t belabor the point.
I enjoy hearing musical compositions that I haven’t heard before, whether they have been composed relatively recently or hundreds of years ago. Some of these new-to-me compositions become new favorites; some I hate with a passion; some make no impression. That seems to be a normal pattern. So, in general, I accept the idea of having “new” compositions included in the Symphony’s programs.
However, I thoroughly dislike the idea that the Symphony should highlight a few composers each season, with the stated goal of giving us insight into those composers. The Symphony doesn’t play enough concerts (I attend all Classics concerts at Symphony Hall plus the ones at SCFA) to run the risk of alienating numbers of audience members through poorly chosen targets. In the case of Rouse, very few of those who post here seem to like his music, although I have to admit that I can’t so far perceive a style that makes his music identifiable as his (unlike, for example, Wagner or R. Strauss, whose music is almost instantly recognizable within a few measures). I would prefer to have a “sprinkling” of unfamiliar music by multiple composers, in the hope that at least some pieces would be interesting to most of the audience.
Having said that, I realize that some audience members simply don’t want to hear unfamiliar music, and they are entitled to their opinions. And in truth I haven’t seen any authoritative research that “proves” that programming new music is more likely to enlist new audience members than is programming old favorites. My suspicion is that way too much attention is paid to fads in programming or presentation (e.g., video screens), while the real success stories at symphony orchestras around the world result from the excellent presentation of musical masterpieces.
I, for one, am tired of the "20th century masters". I am only in my early 30s but fear that I'm going to go to my grave hearing the same old pieces year after year. Enough of Gershwin and Bernstein and their friends. They are not "new" music. Yes, they were innovative at the time, but so was Beethoven. Why is it old hat to these ears? Because it was programmed by orchestras like the Phoenix Symphony and played whether or not the audiences complained and now is the norm in symphonic programming.
Although I'm not sure I agree with the orchestra's idea to highlight one modern composer, I think that including new music in the repetoire is one of the most important things we can do. Bartok and Neilsen were considered too radical at one point (Neilsen? Radical??) but now they are part of our standard repetoire. If it wasn't for orchestras across the world taking a chance on these two composers plus others at the time like Messiaen, Boulez, Prokofiev, Stravinsky, composers these days like Adams, Dun, Higdon, Read Thomas, Saariaho, Gjoliov and others, wouldn't have a chance.
I still love the quote by Mr. Siegfried Landau, former music director of the Brooklyn Phil: "If I stayed with the same old warhorses year after year, if I permitted the repetoire to stagnate and become impoverished, I would no longer be serving the course of music. What is of enormous importance is that we take a stand against a tendency that is absolutely deadening to the future of Western music."
To Anonymous I and II,
I can't really dispute anything either of you have to say. I happen to agree that I would like more variety in composers myself. It is strange for me as well to be playing more Rouse than Strauss (Richard). And while I am glad to have some exposure to this composer, you both make the point that as audience members, you have had enough. I hope the powers that be who make the decisions for all of us, both players and audience members, will respond to your comments. I never meant to imply that I would rather be playing new music than a Mahler symphony, for example. And my own personal favorite 20th Century American composer is Samuel Barber,if that gives you any idea where I am coming from. Please continue to express your opinions. Our patrons and ticketholders must be given the utmost consideration regarding our programming and the presentation of our concerts. If you find these programs tedious, how can we expect you to come back for more? I for one appreciate your frankness, and I thank you for your attendance at our performances. I hope you will continue to ask for what you want from us, because your voices carry a great deal more weight than the opinions of the players. OboeMom
Dear OboeMom,
What a great post! (4/24 afternoon) Thanks for listening to us vent and taking us seriously.
hI have no arguement with either of the last posters, anonymous who critized my desire to hear more Bernstein and Copeland, or Oboemom. Truth be told, where are Russians, other than Tchaikovsky,where is Bartok, Barber, Schumann, Admans, Dun, Grieg (other than Peer Gynt), Richard Strauss and Excerpts from Wagner. A more fitting initative would be like the one being undertaken by the L.A. Opera to present works of Halocaust composers. I am sure there are those who wrote symphonies and concertos and not just opera. What James Conlon has started in L.A. is certainly something worthy and might provide learning for both orchestra and audience. One of my guestions is why is Yo Yo Ma returning to play the same piece he played last time he appeared in Phoneix. Or so it seems he is.
I really like the idea of NOT featuring a new music composer for the entire, but rather featuring perhaps 2 works from the same composer and giving us a sampling of such composers. Those that love the music of the newer composers might discover new gems, and those of us that generally do not like new music may discover something worthy of our attention. But being punished over and over and over again by a composer that I have determined I don't care for (Rouse) is something that I think about when I renew my season tickets. This gets less objectionable if such pieces are placed at the beginning of the concert. I know I'd gladly skip the Rouse and Adams pieces and just show up a few minutes later.
Kudos to Oboemom -- anyone promoting more Barber is a friend of mine!
I am relaying these comments from a "seasoned" local musician and conductor regarding the same Rouse performance last Saturday:
"The Rouse Flute Concerto was a real mixed bag. If he had stuck to the pretty Irish flute tunes and used the dissonance as a spice instead of a main course I would have liked it better. The soloist did a nice job, however, I did not give a standing ovation because the piece irritated me. I guess that makes me old fashioned. There has to be a continuity a flow in the piece. The Rouse Concerto was a patchwork quilt."
Now, I found this review meaningful because it told me what it was about that particular piece (or parts of it) that this learned listener was relating to. It's okay to be moved, whether it be irritation or ecstacy. That's what music is all about.
So, condemning one composer without any specific basis, especially without listening to more of his repertoire, is plain silly.
LEONARD BERNSTEIN: Candide Overture (4/21/07)
This was one piece I didn't need to hear again, or so I thought. Both Presto the Cat and I made a prediction. That it would be just another insignificant run-through at break-neck speed without much musical thought. (That's what we got used to hearing this Phoenix Symphony do in the past.)
Maestro Christie pulled another surprise and convinced me once again that no detail escapes his attention. From the beginning brass fanfare, the tempo was moderato enough to bring out the singing qualities of the medley of tunes from the operetta. The conductor's baton manipulated phrases and led the orchestra in multiple quick changes in volume, style and tempo.
A great preview of next season's retrospective on BERNSTEIN, the composer. (Too bad ASU Lyric Opera is only doing a reduced and rearranged "Chelsea version" of "Candide" as we speak.)
Post a Comment
<< Home