Klezmer Goes Classical
UPDATE: Check out the Arizona Republic's review of this performance here.
This September, The Phoenix Symphony will present the inaugural Target World Music Festival, featuring concerts by artists from around the world showcasing unique musical styles. March 13-15, however, you can get a bit of a preview in Osvaldo Golijov’s work for strings and klezmer clarinet, The Dreams and Prayers of Isaac the Blind. Clarinet soloist David Krakauer is one of the most successful figures in klezmer music, and recorded the work in 1997 with the Kronos Quartet.
Klezmer comes from the Jewish tradition, and is instantly recognizable in its strong, trance-like beat, its Eastern-European modes and scales, and its intense build-ups of energy that culminate in euphoric climaxes - check out the audio at David Krakauer's website for some great Klezmer sounds.
What really separates klezmer from other pop styles, though, is that its integration into what is considered the mainstream classical music has been so successful. Golijov, and the many other composers who have a klezmer-influenced classical voice, has found a unique way to combine the musical and metaphysical substance of art music with the energy of popular klezmer music.
So while there are many other reasons to enjoy this weekend’s program (listeners unfamiliar with the work of Arvo Pärt will be pleasantly surprised: his Cantus in Memory of Benjamin Britten is exquisite, as is Tchaikovsky’s Symphony No. 4, an audience favorite and undisputed masterpiece), Golijov’s Dreams and Prayers of Isaac the Blind is one of his most popular works, and with good reason: it is also one of his most intense and most beautiful.
10 Comments:
Perhaps it was the intensity of the first half of Saturday night's concert, but this Cat totally hated the Tchaikovsky 4th that received multiple curtain calls
for our first guest conductor of the Classics series this year.
Well, okay, the finale was fast and furious. But, until then it was one long boring mess. Mickelthate's soft meant always slowing down the tempo. By the time the brass made their entrance in the 3rd movement, the initial pizzicato pace had gone to doubletime. Also, there were uncharacteristic missed or sloppy
entrances from key wind players. I can't remember the last time two trombone players in our orchestra could not agree on the length of a note! Mind you, this was the 3rd and final performance of the same program. Perhaps while the Music
Director was away, there was less fear in the air.
Mickelthwate tried to impose his "interpretation" on this most mighty and overplayed of Tchaikovsky symphonies. However, putting in forced rubatos and extreme pianissimos did not necessarily make for a more interesting performance. Hushing the usual molodic lines in favor of a "hidden" line made the original masterwork unrecognizable at times. Lots of arm and elbow flinging, one arm raised to the ceiling. Cute. But, please remove Mickelthwate from the future conductors invitation list.
I don't care what "Presto" the Cat says. I loved clarinetist Krakauer in the Golijov with
great accurate and intense playing by the full strings of The Phoenix Symphony. The soloist was emoting the entire 30 minutes.
I was somewhat disappointed at the casual response given by the audience to this great performance.
I expected a spontaneous standing ovation. Nothing of the sort.
The Klezmer style: anguish, humor, dance, pyrotechnics. Too much to understand?
Also, I totally loved the Arvo Pärt. Much better than that reduced version played in the pit with Ballet Arizona last season.
But, I think it was a programming error to perform these modern pieces back to back. Like I said, I was exhausted by intermission.
I actually thought about leaving during the dull first movement of the Tchaikovsky...
Did Sonny the Cat read Nilsen's review of the superb performance by guest conductor Mickelthrate and the Phoenix Symphony of the Tchaikovsky Fourth Symphony? Is Sonny such a fan of Christie that he can't see how great other young conductors can also be? Bring back this fine young conductor!
You! The so-called "Anonymous" one. Who are you and were you even there at the concert on Saturday night? The Republic's review was from a different night. I did not pretend to comment on that night's performance. But, you apparently are.
I am a freelance semi-professional musician. I personally am acquainted with many of the players in our great orchestra. I know I play my best under pressure. I've been attending classical orchestral concerts for more than 40 years. I know a less than acceptable performance when I hear one.
The last two concerts conducted by Maestro Christie, who should know how to get the best out of his musicians, showed us the true level of The Phoenix Symphony. Grofe's Grand Canyon Suite and Mahler's 5th Symphony would have blown away the audience in Carnegie Hall!
I enjoyed this concert more than any concert so far this season. Both for its variety and quality. Mickelthwate is certainly an excellent conductor and what he evoked out of the orchestra was truly a work of art. I totally agree with Nilsen's review. Did you also notice at Saturday evenings performance, how not one member of the audience applauded between movements? That was also due to the expertise of our guest conductor.
All I can say is what a difference a really good conductor can make with a really fine ensemble.
I must say that I too disagree with Sonny and I attended Saturday night's concert. I very much enjoyed the Tchaikovsky, loved the Pärt, and was most impressed with the Golijov.
And while I'm glad Sonny was supremely pleased with Michael Christie's interpretation of Mahler's 5th Symphony, I personally felt it was one of the most lifeless renditions of this piece that I have ever heard. For me, Christie's Mahler had nothing to say -- just like his Beethoven.
I should also note that the Symphony musicians looked very happy at the conclusion of the Saturday evening concert, which is something that very much pleases this anonymous and rarely posting blogger. And itshowed in their playing.
Symphony management, please bring back Mickelthwate as a guest conductor in the future. One of the best we've seen all season.
bring Mickelthate back!
Trivia question: What concert was Mickelthwate's debut performance with The Phoenix Symphony?
HINT: It was a Pops @ the movies gig that I didn't care to attend. For those who want to see Mickelthwate LIVE again, move to Winnipeg, Canada.
I'm just loving this battle between those who LOVE-Christie and those who absolutely and consistently HATE-Christie.
Finally, the Music Director of the Phoenix Symphony of all people has become a controversial figure in this community. The Christie is comparable to The Shaq and The Suns or Randy and the DBacks.
I'm sure The Phoenix Symphony management is loving it, too. It sells tickets. Can the anti-Christie contingent be more prominent at concerts by booing? Christie is here to stay, so there'll be plenty of fighting words in the years to come.
Maestro should hold a discussion session after each of his concerts. Have an open confrontation with his adversaries. He can explain why he chose to interpret a certain piece his way and not your way.
How about a radio call-in show? I think our public radio station KBAQ should do more to promote local events instead of the lame "This Week in Classical Music" segment that lasts 5-minutes on Sunday. Better yet, how about a weekly TV show on PBS Channel 8?
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