Virtuoso and Composer Edgar Meyer
Edgar Meyer’s résumé is impressive. Astounding, even. Mastery of any one instrument or idiom is more difficult and time-consuming than most people can imagine, and yet Meyer seems to have mastered many.
On the string bass, he is virtually without equal: his recordings as a Classical soloist (which include the feat of Bach’s Unaccompanied Cello Suites performed on his double bass) contrast and complement his recordings with Country, Folk, and Bluegrass legends. A recent CD release features works he wrote for himself. Through multi-track recording Meyer the bassist collaborates with Meyer playing piano, banjo, dobro, and an array of assorted instruments to create unique and singularly personal music.
If his accomplishments as a performer aren’t convincing enough, he’s also an acclaimed composer, having written for superstar performers including Yo-Yo Ma and Hilary Hahn. And as you might expect, much of his writing blends elements from both Classical and Folk music. The result is something between the two, but in a secure voice that could only have developed with his brand of performance experience and virtuosity.
And so, when Meyer takes the stage to perform his Second Double Bass Concerto with The Phoenix Symphony this weekend, we won’t simply be witnessing another instrumental soloist. Instead, we will hear a master of composition and unimaginable skill on the double bass. This is one weekend you do not want to miss!
8 Comments:
It would have been nice to hear full orchestra on the Beethoven. I felt the program order was all backward. (Maybe Copeland, Meyer, intermission, then Beethoven). I also don't care for the setup of the orchestra. First and second violins blend so much better when sitting next to one another.
I respectively disagree with the poster above. I like the violins sitting across from one another, separating the two lines like stereo. And having experience in the lower strings in this same setup in the past, it is nice to have the melody/topline right there beside the bass line.
I decided to slightly reduce the orchestra for the Beethoven for a couple of reasons, first the woodwinds play a particularly prominent role in this symphony and I wanted to be sure that there was a good balance between them and the strings. Secondly, this symphony isn't among Beethoven's overtly muscular works in my opinion so I wanted to scale the forces to accentuate the chamber music feeling. The reduction was modest and the volume put out by those on stage when necessary was very robust. There was also a beautiful clarity and blend by those used for these performances. Incidentally, we did suffer from a couple of unexpected illnesses during the weekend so we were forced to play with a couple of additional reductions. Perhaps you heard one of those performances. Nonetheless, I still found the sound satisfying.
Unfortunately, we disagree on the program order. Finishing with Beethoven 6 is a tricky proposition. Granted, it is typical for the concert "menu" to be overture, concerto and symphony, I feel one must consider the context rather than the name "symphony" or "overture" when deciding the order of the works. I found all of the pieces pleasantly feeding off of the others without being too themed but honestly, I thought the evolution of the program was great, the quintessential nature work setting the stage followed by two works that in their own way blended the world around them with the symphonic sound. Sure, it would have been easy enough to switch the Beethoven and Copland but I think it's a good idea to lead the program toward a different focus point when the combination is appropriate.
I've mentioned our string seating in the past but I'm happy to write again that the decision to seat the orchestra this way is the result of a process where orchestra members went out into the hall and listened to different configurations and we all agreed this was the best for balance in Symphony Hall. Here again, we will have to agree to disagree on this matter but I generally feel that when the seconds and firsts are bunched together that the middle and low register writing for the seconds is mostly unheard. In our hall the seconds are heard very well on the outside and despite the difficulty one might expect from the distance between them , the sections play incredibly well together.
Thanks for writing!
I find it appalling that the paper did not review this concert.
Beethoven's 6th was indeed very softly played. This was a "pretty" version, showcasing all the inner lines. This interpretation lacked the depth and passion that some of us feel exists in this composition.
I was hoping for the bigger than life, in your face, movie theatre speakers version. No, not the Walt Disney Stokowski's "Fantasia."
This was before Maestro Christie was born but, how many of you will admit to seeing Charlton Heston and Edward G. Robinson in "Soylent Green" (1973), a sci-fi movie about the food supply running out in the year 2022 with themes of euthanasia and cannibalism. The famous final line: "Soylent Green is people!"
Anyway, this movie is where I was first exposed to the 1st movement of Beethoven's 6th Symphony. I fell in love with it. To this day, I have a hard time comprehending how far ahead of his time Beethoven was. Berlioz followed years later with his Symphonie fantastique, no doubt inspired by the Patorale. And then Mahler's Symphony No. 3 and Stravinsky's Rite of Spring.
To the second anonymous writer I would suggest that perhaps you should take a stab at sharing your own feelings about the concerts with us. The blog serves many purposes but one I think is most interesting is the ability for anyone to be the critic. Patrons often give an amazing perspective because, after all we all listen for different things, expect different things and take unique things from each concert.
Sonny, could you be more specific when you write about depth and passion? The pastoral symphony is a great piece to dialogue about because it is so unlike his other works.
Thanks for writing!
The Phoenix Symphony greatly appreciates receiving reviews in the Arizona Republic. Reviews open the chance for dialogue and discussion which is a large reason why the public attends concerts and exhibits in the first place. Sure we would like increased coverage in the Arizona Republic including a review and feature for each Classics concerts, especially one featuring talented musicians such as Edgar Meyer, but we understand that the Republic, like many papers across the country, are not always able to do this. Arts coverage and reporters have been slashed dramatically and papers have limited space and limited reporters often writing on a variety of topics. Richard Nilsen alone covers a number of beats including fine arts and music for the entire Valley.
We will continue to work with the Republic and other media outlets promoting future events and successes with The Phoenix Symphony.
David Nischwitz
Public Relations Coordinator
I am not a professional critic. Nor am I paid by the Phoenix Symphony.
I go to live concerts in hopes of experiencing an emotional or visceral response to the music.
If the music moves me, my hands will be moving. If it grabs me by the heart, I will gasp for air
and tears will flow uncontrollably. When I write a concert review in the Phoenix Symphony blogs, I stay up late and enter my carefully thought out essay with no malicious intent. "Pale garbage" indeed!
So, when I said the performance of Beethoven's Sixth lacked the depth and passion I expected, what I meant was it didn't move me. In other words, it was unmemorable! (I can't say "boring" since I can't even remember it.) That's my personal gut feeling. If I had felt more, I would have told you so.
Should I also have said that the solo bassist was entertaining
to watch for his skills, but the concerto overall failed badly as an orchestral opus. That the PVC pipes were a bad imitation of The Blue Man Group? That the two of them should play crossover jazz vaudeville gigs in small clubs?
The Maestro stated earlier that "it surprises me that people haven't found seats in the hall which gives them the acoustical experience they seek." His suggestion is not so easy to accomplish. Some of us cannot afford to pay the "Dress Circle" prices for a single concert.
I am very aware of the cheap front row seats. Levon Zarasian and I exchange greetings every week. The problem is obstructed view.
My expensive 6th row season seats suffer from the same frustration.
Most people are afraid to "sneak" into empty seats up front.
Why don't we follow the Baltimore Symphony's example? "For just $15 you'll get the BEST AVAILABLE seat on the day of the concert-it could be anywhere, but there's really not a bad seat in the house.
No obstructed views and you won't be on your feet. An unbeatable price for a guaranteed seat to a world-class orchestra."
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