BEHIND THE MUSIC: Carter Brey's thoughts on the Dvorak Cello Concerto

“On February 8, 1895, Antonin Dvorak inserted this terse note into the manuscript of the cello concerto that he was working on at the time:

"Today on February 8 very cold in New York and a blizzard." Dvorak, nearing the end of a three-year stay in America, was living in a Gramercy Park brownstone while performing his duties as Director of the National Conservatory of Music (now the Juilliard School). He was overcome with homesickness and longed to return to his homeland, Bohemia. During the composition of the Concerto he learned of the serious illness of his sister-in-law, Josefina, for whom as a young man he had cherished an unrequited love, and gave to the solo cello in the slow movement a quotation from one of his songs ("Leave Me Alone," Opus 82) which had been a favorite of hers.

I had known this about him for many years before the first time I visited Prague, but my first sight of this fairy tale city on the banks of its river, nestled and protected between the hills of Central Europe, brought these words immediately to mind and in that instant I understood the source of the sweet melancholy that pervades this score. Being a New Yorker, I have no trouble conjuring the bitter unwelcoming conditions of February in my city; when I picture that unhappy man, untethered from his roots and his family, probably overworked and struggling in an unfamiliar language, bent over his desk in an effort to sublimate his nostalgia into little black notes on lined paper while the gales of midwinter swirled outside his window, I believe I can approach him closely as a human being through his music.

Following his return to Bohemia, news of Josefina's death reached him and he completely reworked the ending to the Concerto, quoting another part of the same song (the music this time appearing in the solo violin) and extending the coda into an agonized dying away before the stormy and joyous last bars.  Like most cellists, I struggle with this passage each time I perform it, looking for the way to express the love and loss of the composer without descending into bathos. Like all great art, this music touches us not through its biographical specificity but through its universality.”

-Carter Brey
 
Carter Brey will perform with the Richmond Symphony this weekend (October 15-16, 2011). 

A note from Associate Conductor Erin Freeman about this Sunday’s concert

Connections.

On September 11, 2001, my conducting seminar class was kicked out of the building. School was shut down, and we were told to go home to our families. I was new to town, and my brand new husband was a few states away. Like many, I didn’t know what to do, but somehow I was drawn to Bach’s Well Tempered Clavier. I spent the rest of the late morning and early afternoon playing through both books of this masterpiece. I chalked it up to needing beauty and order in my life during this time of despair and chaos. What’s more perfect than Bach for those two human needs? On one end of the spectrum is the first C Major Prelude,



one of the most beautiful pieces ever written, even though it lacks a melody! On the other end of the spectrum is the complex and structured fugue, like the one in B-flat minor from book 2.



However, just a few days ago in a rehearsal for this upcoming Metro Collection concert, featuring music of Bach, as well as Kernis and Mendelssohn, the reason for my choice of activity became crystal clear. The Richmond Symphony Chamber Chorus and I were working on the second movement of the Bach Mass in F major, and I heard something in the music I had never heard before – a brief interplay of notes between the tenors, altos, and sopranos. This kind of discovery happens often with great music, but somehow this time I felt like we were instantly brought back to the moment Bach came up with this creative turn of the phrase. I was a bit overwhelmed by the whole thing (who knew that 9 notes could change someone’s outlook?). I’m sure the chorus thought I was a bit nuts when I stopped to cherish this moment of real connection. The singers, our pianist Michael Simpson, and the stage crew that set up the room made that moment happen, and I didn’t want to forget that bond.

That terrible day in 2011, I certainly needed beauty and order, but what I needed most was connection – connection to the past so that I knew that the future would be just fine. I found that solace of humanity and perspective in Bach.

This Sunday’s concert, at the Richmond Symphony’s second home of Randolph Macon College, shows us just how interconnected we are – and how far back in time these connections go. Bach wouldn’t have written his Mass in F without the inspiration of Medieval chant. (You’ll hear a few snippets of chant in the first movement of this delightful miniature mass:



– it’s a bit hidden in the bass. I’ll point it out on Sunday.) Mendelssohn relied on the model of Bach to add an intellectual component to his otherwise youthful and springy Italian Symphony. Listen to the last movement, and you may hear a little bit of Bach peeking through. (You’ll hear it at about 2:30 in this huge, over the top rendition by the Simon Bolivar Youth Orchestra.)



Of course, we wouldn’t even know much about Bach if it weren’t for Mendelssohn’s discovery of the St. Matthew Passion in 1829! Thank you to Felix, and the connection he made for us! In addition, Aaron Jay Kernis, whose music is fresh, new, and current, has relied on the model of his predecessors. A favorite of his is Bach, but in this particular piece, Musica Celestis, he relies on the spacious chants of Hildegard von Bingen. (Listen to these stunningly beautiful phrases – you’ll hear this type of sound come through in the Kernis.)



The connections in this concert aren’t confined to the inspirations and interweaving stories of these three composers, or to the performers during those cherished “aha-moments” in rehearsal. We are only a small part of the joining together of several centuries of humanity and culture. YOU, the audience members, are instrumental (so to speak) in making this music, this history, and this bond live in the present day and carry into the future.

I hope to see you this Sunday, September 25th at 3pm at Randolph Macon College for a treat for the ears, brain, and soul. Bring a friend and deepen the connection that music can bring! (Come at 2pm for a preconcert discussion with me and Jim Doering, professor of music at RMC).

Cheers!

Erin

Musician Profile: Ellen Cockerham, Current Acting Concertmaster and Principal Second Violin

Can you speak a little about your responsibilities being Principal Second Violin as well as your current role as acting concertmaster? How do the two compare?

It certainly has been interesting to switch between the two positions. Both present their own challenges and require different creative energies, but I think I enjoy both equally. When I am concertmaster, I am constantly making decisions that will affect the entire string section (and sometimes the entire orchestra). Principal second violin is a unique position within the orchestra in that it is the head of a section (the second violins), but it is also part of a larger section (the violins). When I am principal second, I am constantly working to maintain a balance between supporting the first violins and fearlessly leading the seconds.

My responsibilities as acting concertmaster include certain housekeeping tasks, such as making sure the orchestra tunes. Then there are the behind-the-scenes duties, such as determining what bowings to use. All of the string principals have to do this, but the concertmaster's decisions are copied throughout the strings section for uniformity. And people aren't just looking to me to know which direction to move the bow, they are watching to see what kind of bowstroke I am using, when to start or end a note, which string I am playing on, even what kind of vibrato I am using. It is also my responsibility to make sure that everyone is, in fact, paying attention to all of these details. And occasionally, I must emerge from the section to play a solo.

As principal second, I also have the (very) occasional solo, but I keep a lower profile in general. My role is to confirm everything the concertmaster is doing and to provide grounding for the stratospheric first violin lines. The big challenge is to know when to break away from the firsts and become an independent section. When I study a score in preparation for being principal second, I pay close attention to the ever-changing relationship between the first and second violins. Are we playing the same thing? Do we enter a measure before them? Is this an inner-voice (violas and second violins) figuration? Are the second violins the lead voice here? This is why, when I am principal second, you will see my eyes darting around from concertmaster to conductor to the other string principals. And sometimes to my music.

When did you first become interested in music?

I became obsessed with the idea of playing the violin at the age of 5. I went to a concert that featured a violin soloist and it stirred something in me that hasn't gone away since. I do love music, but I can't really see myself playing a different instrument. I've always felt a special connection with the violin.

What pieces or composers do you find most inspiring?

I think I am most inspired by music of great clarity (Bach cello suites, Schubert Symphony No. 5, Stravinsky L'histoire du Soldat) and music which sounds natural and improvised (Mahler symphonies, Bartok string quartets). And I will be eternally fascinated by the string quartets of Beethoven, which sound absolutely divine yet so utterly human.

What do you enjoy doing besides playing music?

I love riding my bike around town. I even ride to rehearsals when the weather is nice! I also love to write, so I am trying to nurture that hobby by reading a lot and keeping a blog. I recently started a container garden outside my Carytown apartment, which is something I've always wanted to do. And, of course, I love to cook. My favorite kitchen projects are things which you might not think of making at home such as peanut butter, ricotta cheese, clarified butter, bread, alfalfa sprouts and lattes. Speaking of which, if I'm not at home or at work, you can find me sipping coffee at Lamplighter Roasting Company.

“This Missa’s a Mutha” – Robert Shaw

I’m eagerly (and anxiously) anticipating our final Masterworks concert of the 10-11 season, featuring the Richmond Symphony and Chorus in a rare performance of Beethoven’s Missa Solemnis. I have been interested in (okay, obsessed with) Beethoven’s monumental Missa since I first heard it at the age of 18. I was a freshman at Northwestern, and I thought I would buy myself a ticket to go hear the Chicago Symphony and George Solti do some Beethoven.

Here’s my great confession: I walked away from that performance a bit confused. It was a powerful 90 minutes, that’s for sure, but I didn’t really “get it,” and I wanted to know why! It was only a few years later that the piece clicked.

What made the difference, you ask?

Beethoven.

You see, I came to Northwestern knowing a lot about choral music. I had sung many of the masterpieces of the symphonic-choral repertoire – even Mahler’s Symphony of 1,000! But, I had never really heard a Beethoven Symphony, a Beethoven Violin Concerto, a Beethoven String Quartet, or Fidelio. Once I heard all these individually, then listened to the Missa again, I finally “got it!” In the Missa Solemnis, Beethoven put everything he had – psychologically, spiritually, and musically.

It’s difficult to describe how his soul appears in this music – that’s more easily felt in a live performance. But, I can at least try to prepare you for some of what you will hear musically. 

You’ll hear a master orchestrator – one for whom the woodwinds were just as important as the ever -present strings.
The opening of his Seventh Symphony, for example, features full orchestral chords, followed by lyrical woodwind solos.



You’ll hear a lover of the dramatic potential and lyrical vocalism inherent in opera.
Listen to these two excerpts from Fidelio - the passion of the first and the long, vocal lines of the second appear throughout the Missa Solemnis.

Duet: “O namenlose Freude”
http://www.youtube.com/watch?v=0g-mW8E8RbM&feature=related

Prisoners Chorus: (which you heard in the January Masterworks)


You’ll hear the compositional skill of a technical genius in the many (many!) fugues.
In a nod to the Baroque genius Bach, Beethoven takes the fugue to new heights. (A fugue is a complex round or canon – like “Row Row Row Your Boat” with a PhD). His most famous fugues can be found in his string quartets, like this one:

Opus 59, #3 – last movement:


You’ll hear a concerto composer who could get into the soul of a soloist.
Here’s the second movement of his Violin Concerto, which opens our 2011-2012 Masterworks season, and which also has a kinship to the Benedictus movement of the Missa Solemnis.



These are but a few of the many examples of how the Missa Solemnis encapsulates the powerful, emotional, and intricate voice of Ludwig van Beethoven.

We here at the Richmond Symphony always feel humbled and honored to be able to delve into the music of Beethoven, whether it’s his first symphony or his final mass. And, it is a truly a privilege to share that experience with you - the listener. I hope this blog post helps you get in the musical mindset of this genius. We look forward to seeing you at the concerts on May 21st and May 22nd. Remember to come early for the pre-concert discussion, where we’ll tie all this together and explore why Robert Shaw called this piece one “Mutha” of a “Missa.”

See you at CenterStage!

Erin
Associate Conductor and James Erb Choral Chair

Tai Murray, Violinist

Looking for something fun and exciting to do on the weekend of April 30? Acclaimed as "superb" by The New York Times, (twenty-eight year old) violinist Tai Murray will be performing with the Richmond Symphony on Saturday, April 30 and Sunday, May 1.

Murray is a rising young star within the world of classical music, and only in her early 20s, she has already been rising for over a decade. Known for her beautiful, mature phrasing and graceful bow work, Murray has received critical acclaim from coast to coast. She has also drawn attention as one of the few African-American musicians involved in classical music.

Murray first asked to play the violin when she was just two years old. Finally, just before her fifth birthday, Murray received her first violin. She began to take lessons at the Sherwood Conservatory of Music in Chicago "because I wanted to," she told the Salt Lake Tribune. "I started asking at a younger age, but my mother thought I should wait until I was older. I've always been drawn to music."

Despite her intense practice and performance schedule, Murray finds time to enjoy life. She loves dance, both as an observer and a participant, including tango, salsa, ballet, swing, and modern. She also likes to read, knit, and spend time with her friends. In an interview with the Chamber Music Society of Lincoln Center, she described a typical day: "I like to get in two or three hours of practicing as soon as I get out of bed.… Late afternoon I might take a walk or read a book. I'm a bit of a night owl so after dinner…I like to practice into the wee hours of the morning." Her advice to young musicians: "Practice makes perfect, and quality over quantity."

Check out Tai Murray's Barber Concerto Presto:

Find more Tai Murray songs at Myspace Music

For ticket information, please call our Patron Services Hot line at 804.788.1212

Why Sing In the Richmond Symphony Chorus?

This season we are celebrating the 40th Anniversary of the Richmond Symphony Chorus.  It's an all-volunteer ensemble that you must audition for...so they're pretty good!  Read a couple of reflections from members of the Richmond Symphony Chorus on why they love it! 

"Why do I sing with the Symphony Chorus?  At least two reasons.  First, because I love to wrassle.  Emily Dickinson, in a poem set by Elliott Carter that we’ve sung with the Symphony, wrote that “Musicians wrestle everywhere.”  I know that’s true here in Richmond; the Chorus is in the Rhythm Hall most Tuesday evenings, grappling with music for upcoming concerts.  We are privileged, highly, to learn, polish and perfect compositions that are well-worth the struggle, pieces that repay the hard work many times over.  The Richmond Symphony Chorus—a great wrestling squad.

Second, we get absolutely the greatest seats in the house.  The Chorus is perched back there over the players’ shoulders, and we see up-close the effort, the physicality, and the tremendous skill that they devote to bringing music from the score, right there, in the moment.  And yet quiet moments are some of my most favorite.  For many concerts over the past two decades, I’ve sat just behind Jim Jacobson, our superlative timpanist.  He commands the most room-shaking instrument, but I love to watch him work during passages when the kettledrums aren’t called upon at all.  Timpani must be frequently retuned; the temperature and humidity in the room—the insistent breathing of all those darn singers—are critical and ever-changing factors to which Jim must react.  Watch closely, and you’ll see him, bent low over a drum, cheek nearly grazing the surface, tapping the drumhead ever so lightly with his fingertips, listening and tuning, listening and tuning.  The contrast between those watchmaker-fine adjustments and the bomb-burst explosions that follow continues to delight me."    ~Andrew J. Dolson, Bass

"The joy of singing with the Richmond Symphony Chorus centers around the talented singers and our conductor. It's stirring to hear the other sections polish up their parts in rehearsal.  It adds incentive to one's own preparation.  Erin's deep understanding of Beethoven's Missa brings great excellence to the process of preparing it.  She is helping us merge our goals with those of the composer.  It's humbling to be in the presence of such genius, both now and from the 19th Century."    ~Bob Blinn, Tenor

Hear the Richmond Symphony Chorus at the Carpenter Theatre in the last concert of the 2010-11 season sing Beethoven's Missa Solemnis on Saturday, May 21 at 8PM or Sunday, May 22 at 3PM. 

An Update from Down Under

In January, musician Mary Bowden was ecstatic to announce that she had won a position with the “Youtube Symphony” and would be going to Sydney, Australia in March to perform with Michael Tilson Thomas. We were eager to catch up with her and get an update from down under!

"Last month, I had the opportunity to perform with the YouTube Symphony Orchestra 2011 under the direction of Michael Tilson Thomas at the Sydney Opera House in Australia. The live streamed Grand Finale was the largest stream ever on YouTube-the previous leader was U2 live on YouTube. Here you can see the concert as well as clips from the week and interviews:

http://www.youtube.com/user/symphony

Musicians from 33 different countries came together for this week in Sydney, some even taking leave from their current orchestra jobs for a week. The orchestra was a very high level, and rehearsals were intense and often all day. I performed in two ensemble concerts during the week as.  You can read my longer story on my blog:

http://marybowdentrumpet.blogspot.com/2011/04/australia-2011.html

I'm really happy that this event generated a lot of excitement for classical music. The orchestra got a lot of exposure and I hope that it sparks the interest of some people who may not have paid attention to orchestras before."

Trust, Respect and Engagement

A Harmonious Experience

Kelly Hart, Intern at the Richmond Symphony

Sometimes getting along with your coworkers can be a grueling task. Following orders from a totalitarian leader who doesn't care about you is beyond frustrating. Working with people who get by with the skin of their teeth is enough to make you go insane. Why do so many organizations have these problems in the first place? It's always easy to point the finger and place the blame, but a chunk of the problem is missing the big picture. The view from the top is significantly different from the office cubical.

So the real question is, how do we see the big picture and create a more pleasant work environment?

The Music Paradigm, a nationally known workshop program initiated by conductor Roger Nierenberg, is a truly unique, interactive professional and leadership development opportunity that can benefit professionals from any field. The dynamics of a symphony orchestra are used to bring a variety of workplace issues to life.

On Tuesday March 22,  participants were able to sit among the musicians of the Richmond Symphony onstage at the Carpenter Theatre.

As a previous musician and current intern with the Richmond Symphony, I was able to sit back and watch as the audience members experienced the power music has to offer. In my adolescence I played numerous instruments including the guitar, piano and clarinet. Of all the instruments, my passion was the clarinet and I played it for ten years. When I graduated high school and moved on to VCU, my clarinet stayed at home and collected dust. It wasn't until three months ago, when I started interning with the Richmond Symphony, that I realized how much I missed playing music.

I find that there are a lot of misconceptions about musicians and often a negative stereotype of being "nerdy." But what people don't understand is the intelligence, passion and brilliance that musicians must have to create music. What interested me most about the Music Paradigm was the fact that non-musicians could really witness the creativity and genius it takes to be a musician. From the sidelines, I smiled as the audience members went through exercises to help them understand what being a team player is all about.

One exercise the audience members were asked to do was pick a musician, watch them as they played, and analyze what they were doing. One woman said it was almost as if the instrument was part of the musician; it was a very intimate experience.

Of all the metaphoric examples that were shown, one woman's comment stuck with me the most. In this woman's particular company, their core values are trust, respect and engagement. Listening to the symphony perform together with such ease left her thinking that these three values, which are often put on the back burner, can be used effectively to help an organization build a stronger connection.

Trust:

• Can you build a harmonious workplace without trust? The answer is, no.
• The Richmond Symphony uses trust to carry each other through when there is no leader (conductor).
• As the symphony demonstrated, the musicians were able to perform a piece without a conductor. How did they do this? They trusted each other. The musicians have enough confidence in each other that they are able to lean on one another for support.

Respect:

• Leadership is about giving back. If the leader is not respectful of their employees, there is no order.
• In the symphony, respect is acknowledged throughout the performance by listening to others and creating one voice.
• In order to create one voice, the musicians must be respectful of each others own unique sound.
• If there is a problem, approach it with curiosity. Asking questions like, "What is the deal?" or "Why are you messing up?" are not effective ways to get an appropriate answer. Rewording them with curiosity allows the leader and the worker to talk rationally. Examples, "How can I help you fix the problem?" or "I feel that something is off, are you OK?"

Engagement:

• I feel that this value is often neglected in the workplace.
• Often times, people are so focused on being an individual and receiving praise, they forget how important working as a team is.
• To get things done effectively, you must communicate

Creating Harmony in Your Business (The Music Paradigm)

My Music Paradigm Experience with the Richmond Symphony

Bobbie Barajas
Music Director, WCVE Public Radio

I have attended concerts by and have “conducted” (Celebrity Maestro) the Richmond Symphony.  I have hosted live broadcasts by my favorite orchestra.  I’m happy to say I’ve even become personal friends with members of the orchestra and its staff.  My last symphony wish was to one day sit within the body of the orchestra as they played.  On March 22, 2011, my wish came true when I experienced The Music Paradigm with the Richmond Symphony. 

What is The Music Paradigm? In a nutshell, it proves what I have always believed; that there are lessons to be learned through music and music makers and that these lessons can be applied to every aspect of our lives including our careers.  Conductor Roger Nierenberg, the creator of The Music Paradigm, recognized this too and created a program to help businesses learn to “play” as sweetly as any talented orchestra.  The analogies between orchestra and conductor to business staff and managers are tremendous and obvious to all who attended, whether musically inclined or not.   

Here’s how it worked.  Attendees were invited to sit in designated chairs spread throughout the body of the orchestra.  We weren’t sitting along the perimeter of the orchestra; we sat elbow to elbow with musicians.  From this vantage point, we could appreciate the skill of the individual.  At the encouragement of Maestro Nierenberg, one noticed the skill of each section.  You could see the non-verbal communication that takes place between players.  It became apparent to the eye and ear that each section took turns supporting the other when the whole of the orchestra made way, for example, for the flutist to take her solo.  Most of all, you began to realize that although playing very different parts, the individuality of the players came together in perfect harmony to create the kinds of sounds that can transform the soul.  Once you snapped out of the musical trance, you couldn’t help but think of your office.  Do we communicate well?  Do we reference our managers?  Do we support each other and our fellow departments allowing them to shine?  Is the work we do as a team transformative to our companies and to the communities we serve? 

Standing on the podium leading both orchestra and audience was Roger Nierenberg, who demonstrated different management styles through his craft as a conductor.  We all spotted the micro-manager in an instant when Nierenberg conducted each and every beat while exaggerating every accent played by every single player.  Annoying!  The lackadaisical “there-in-body-only” manager made an appearance and was quickly recognized.  Members of the orchestra were asked to comment on the various styles of conducting (managing) and the response to this style was “I just started to ignore you and think about lunch.”  It’s easy to laugh about a comment like that in this situation but then you remember why you’re there and wonder “how many of my employees have been thinking about lunch because I wasn’t truly present in a meeting?”  Not so funny anymore. 

The biggest lesson for me was that a leader should be able to provide their staff with a clear vision of where the team is going, providing guidance when necessary, but otherwise, trusting the team to do the job they were hired to do.  In theory, we all know this but when you see it come to life through The Music Paradigm, it’s a whole new ball game. 


Other blog posts of interest on The Music Paradigm experience:
John Bryan, President, CultureWorks
http://www.richmondcultureworks.org/Blog/tabid/85/articleType/ArticleView/articleId/160/Paradigm-Shift.aspx

Olga Molnar, Research Manager, Greater Richmond Partnership, Inc.
http://www.businessfirstrichmond.com/blog/leadership-and-the-music-paradigm/

What's A Good Read or Listen? Steven Smith's Recommendations on Books and Recordings

The Greater Richmond Barnes and Noble store locations will be hosting a bookfair to support the Richmond Symphony this weekend - so if there's that book you've been meaning to buy but haven't had the chance to yet, here's your chance to get it and help your favorite symphony in the process!  (To obtain a bookfair voucher or online code, visit the Richmond Symphony's event page: http://www.richmondsymphony.com/events_details.asp?id=164.)

However, if you don't know what to read or listen to next, Music Director Steven Smith gives you a list of his favorite books and recordings to consider:

For music-related books: 

• The Letters of Mozart
• The Memoirs of Hector Berlioz
• Life of Beethoven by Alexander Thayer
• The Rest is Noise by Alex Ross
• Big Bangs: Five Musical Revolutions by Howard Goodall

For other favorite books:

• Don Quixote by Miguel de Cervantes
• Walden by Henry David Thoreau
• Faust by Johann Wolfgang von Goethe

Recordings:

• Brahms Symphonies, Bruno Walter/Columbia Symphony
• Haydn, Symphonies Nos. 92, 94, 96: George Szell/Cleveland Orchestra
• Berlioz, Les Troyens; Sir Colin Davis, London Symphony
• Dvorak, Symphony No. 7 & 8; Cristoph von Dohnanyi, Cleveland Orchestra
• Money Jungle; Duke Ellington, Charles Mingus, Max Roach
• Nancy Wilson/Cannonball Adderley; Nancy Wislon, Cannonball Adderley
• Nonesuch Explorer Series; Bali - Gamelan and Kecak
• Graceland; Paul Simon

Don't miss your chance to meet Music Director Steven Smith and Richmond Symphony musicians at the Brandermill Barnes & Noble location!  Try out an instrument for yourself at our instrument petting zoo as well!

Behind the Sound: Creating Music Made For You

Friday, February 25 - 7 PM
Barnes & Noble - Brandermill Store
Richmond Symphony Music Director Steven Smith will speak on his position as Music Director and his vision for the Richmond Symphony. He will be available after the talk to meet and interact with the audience.

Richmond Symphony Comes to Barnes & Noble
Saturday, February 26 - 10:00 AM - 3 PM
Barnes & Noble - Brandermill Store

The Richmond Symphony Woodwind Quintet will perform at Barnes & Noble, starting at 10 AM and 11 AM. The Richmond Symphony Instrument Petting Zoo will also be set up in the children's area of Barnes & Noble from 12-3 PM. Children of all ages will be able to see and handle a variety of musical instruments! Don't miss this opportunity to see the Richmond Symphony out in your community!

Erin's Love of Francis Poulenc: A Preview of This Weekend's Metro Collection Reflections

Francis Poulenc – French Composer, 1899-1963

Okay – I’ll say it. I love Francis Poulenc. Sure, he’s been criticized. Some have found his music to be too campy. After all, his uncle was involved in the Parisian theatre and apparently exposed him to “less prim manifestations” of that life. (Can you say “Can-Can”?) *** Others have compared him to his immediate predecessors Debussy and Ravel. (How can you not pale in comparison to such stalwarts of turn-of-the-century French music?) Still more have considered his music simply too simple. Poulenc was not known for complex harmonic transitions or subtlety of orchestral color – qualities you might find in the music of Richard Strauss or Gustav Mahler. When he wanted to change the mood, well…he just changed it.

I however, find Poulenc’s music energetic (not campy), uniquely colorful (not impressionistic, per say, but certainly inspired by the myriad of colors that Ravel and Debussy cultivated), and refreshingly straight forward.

I’m also quite inspired by its variety.

This composer – who hung with a band of French composers known as Les Six (including Honneger and Milhaud) – started as a “mom-taught” pianist. Much of his music reflects this first exposure to music. Here is his Mouvements Perpétuels, the first by Poulenc I ever played - or heard, come to think of it. Listen to the quick change of mood around 1:43; the rhythmic, pianistic accompaniment throughout; the uncomplicated bits of melody; and at 3:12 the joyous conclusion with startling but unpretentious juxtapositions of character. Is this humor or naiveté?



Poulenc also had a great love for woodwind instruments, and is responsible for torturing, er…I mean inspiring, countless oboe, clarinet, bassoon, horn, and flute players. Here’s the Clarinet sonata. Again – several fast changes of character, dynamics, key, and range.



Early on in his career, he experienced a spiritual awakening and began to find inspiration in the music of the church, specifically the a cappella music of the middle ages and the Renaissance. This is one of my all time favorite choral works – Poulenc’s O Magnum Mysterium. No campiness, no pianistic accompaniment, no fast melismas (runs). Still, even in the beautiful, chant-inspired lines, you will hear quick changes of phrase and mood. Here, these changes of mood aren’t merely composed on whim - they help highlight and clarify the text.



And, he had an affinity for theatre music. (One writer I read called his theatre music “absurd.” Okay…I won’t disagree, but there’s really nothing wrong with absurd, right?) Here’s a film of La voix humaine: a “40-minute solo scena, one side of the telephone conversation between a young woman and the lover who is abandoning her.” Here, his ability to change mood in an instant helps him portray the despair and emotional imbalance of the main character.



Of course, one thing that makes his music so brilliant is his ability to combine all of these styles. The Gloria, for example, is a sacred piece with elements of the Moulin Rouge, tied together with a pianistic-style chordal accompaniment and inspired woodwind writing. Here’s the Laudamus Te:



All of this styling can be found in his Sinfonietta, which we’re performing this Friday at Bon Air Baptist, Saturday in Staunton, and Sunday at Randolph Macon.



No YouTubes for the Sinfonietta – you’ll just have to come hear it.



*** my quotations come from the amazingly useful New Grove Dictionary of Music and Musicians, a 20 volume set of academic articles on music. Consider buying it for the music lover in your life!

...and a word from one of our sponsors, The Cordial Cricket!

What a pleasure it is to write a guest blog post for the Richmond Symphony blog. My name is Elizabeth Howard and I am the owner of retail boutique, The Cordial Cricket, located in Chester, Virginia. Our boutique specializes in custom invitations, stationery and unique gifts for children and adults. We are proud to partner with the Richmond Symphony to sponsor their upcoming LolliPops Concert Green Eggs & Ham on Saturday, February 19th.

In addition to operating a retail store, I also work as a trained etiquette consultant with people and groups of all ages. It works very much in tandem with what we offer at the store since etiquette plays an important role in the proper use of invitations and stationery. We are delighted to share an important etiquette skill with the children and families who attend the upcoming Green Eggs & Ham concert during the pre-concert festival activities. Making sure that children know the idea and concepts behind writing a proper thank you note is something that will benefit them for the rest of their lives. Please be sure to stop by our booth during the pre-concert festival for a fun thank you note primer for your kids, a thank you note activity they can complete and of course a treat! Kids and adults alike can even write a short thank you to the Richmond Symphony musicians to share their appreciation of the concert and festival fun!

As a local independent business owner, it is very important to us to partner with other local organizations that have a positive impact on our community. We are pleased to be a part of this great event for families, and look forward to partnering with the Richmond Symphony during future events. If you would like to know more about our store or etiquette consulting for your organization, school or group please visit our pre-concert festival booth for more information. See you at Green Eggs & Ham!

Elizabeth Howard
The Cordial Cricket
http://www.thecordialcricket.com/

Musician Profile: Ann Choomack, Piccolo

Ann Choomack, Piccolo Soloist for this weekend's Metro Collection concert

Describe yourself in five words.
Silly, shy, competitive, animal lover

What’s the first song you ever remember hearing?
Take Me Home Country Roads written by John Denver, sung by my Dad

If you could only play one composition for the rest of your life, what would it be?
Oh how awful! There is so much great music out there to pick just one! But I suppose if I had to pick one it would the Partita in A minor by J.S. Bach.

What do you enjoy most when not performing music?
I enjoy eating (and occasionally cooking) good food with good friends.

Which composer (dead or alive) would you like to have dinner with?
I would like to have dinner with my old friend and wonderful composer Matt Fuerst. It’s so inspiring to be around people actively creating new music.

Currently, what musical periods or styles do you find yourself most drawn to as a musician?
At the moment, I seem to be most drawn to music that has lush harmonies.

Which composer (dead or alive) do you believe deserves more recognition for their achievements?
I think that the music of Erwin Schulhoff deserves more recognition. He wrote such interesting collections of instruments, including the piccolo, which do not get nearly enough attention!

As a faculty member at the Eastern Music Festival in Greensboro and maintain a private teaching studio, what inspires you to help foster music talents?
What inspires me about teaching is that moment of realization when a student “gets it”. After a period of really hard work, everything comes together and they can really feel the difference. That feeling of accomplishment is so exciting and I feel lucky to be a part of that experience. 

Musician Profile: Mary Bowden, Trumpet

Mary Bowden, Trumpet

Describe yourself in four words.
Motivated, goofy, quirky, tall

When did you first become interested in music?
My two older brothers played horn and trombone, so when I was 10, I decided to join band and picked the cornet so we could have a brass trio. We had a wonderful first teacher, Tim Jones. He would spend hours at our house every Saturday and took us to many Chicago Symphony concerts, brass concerts, and master classes. We were very lucky. I left school in the middle of 8th grade to attend community college and I had a lot of time to practice since I made my own schedule. During this time, I studied with Kari Lee-it was very inspirational to study with a driven talented woman trumpeter. She encouraged me to work on pieces that I at first thought were too challenging and really pushed me to improve. I played in Chicago Youth Symphony before attending the Curtis Institute of Music in Philadelphia.

Describe your favorite concert with the RSO:
During my first season when I was acting second, we performed one of my favorite pieces of all time, Rachmaninoff’s Symphonic Dances. It was a very exciting performance, and also special because Sarah Hatsuko Hicks conducted (I’ve know her since 2000 when she was conducting the Curtis Orchestra!)

What artists influence your work?
To me, sound quality is the most important aspect of a trumpeter. My teacher, David Bilger, at the Curtis Institute of Music and principal trumpeter of Philadelphia Orchestra, has a very beautiful refined tone. Not only does he sound amazing in orchestra, but his solo work is inspiring too. I also played for Swedish trumpeter Hakan Hardenberger, one of my favorite trumpeters this past summer. I’ve grown up listening to his recordings, and playing for him was very stressful because of this, but I learned so much from him. Other favorite trumpeters are Allan Dean (my teacher at Yale University), Chet Baker, and Giuliano Sommerhalder. Ok, enough about trumpet! I don’t JUST listen to trumpeters-I’m also a huge opera fan. I feel that I am always trying to imitate the voice through the trumpet (strange to try to do this through a piece of metal!) I love Birgit Nilsson, Maria Callas, and Karita Mattila. Regina Spektor, Radiohead, Wilhelm Kempff, and David Bowie are also favorites on my ipod.

Playing for Hakan Hardenberger in a masterclass at Chosen Vale Trumpet Seminar, Summer 2010

What piece of music do you find most inspiring?

I love Mahler Symphony No. 9 - really any Mahler Symphony. While performing in Switzerland with the Lucerne Festival Academy this past summer, I was fortunate to hear a live performance of the Lucerne Festival Orchestra, conducted by Claudio Abbado. It is amazing when 100% of the orchestra are giving their all for a concert. At the end, Abbado was silent, and the audience was silent for a good 15 seconds. Such a beautiful moment.

Describe something interesting that happened to you recently.

I recently won a position with the “Youtube Symphony” and will be going to Sydney, Australia in March for performances with Michael Tilson Thomas. The audition process what much different than a real audition-most auditions are done blind-our auditions were posted on the internet for the whole world to see! Then the public was given a chance to vote on their favorites, and the conductor picked the final winners. Here you can see my introduction video:



This is a wonderful tool to promote classical music. The members of the orchestra will be making films along the way before our trip to Sydney, so please feel free to visit my youtube site.

What do you enjoy doing besides playing music?

I am officially a travel addict. Since June, I’ve been all along the east coast, Santa Fe, Banff, Canada, Switzerland, Sweden, Chicago, Florida, and this coming spring I have big trips planned to Belgium, Amsterdam, and Australia. Of course, the trumpet brings me to those places! I’ve started Bikram yoga, which has really helped with my focus. I also enjoy running, reading, spending time with my family in Chicago, writing, hiking, and spending time with my cat and boyfriend in Naples, Florida.

What inspires you to keep yourself motivated?
I have a lot of goals as a musician, and there are still many pieces I want to perform. I like having projects so I never get bored with music. Since I am third trumpet here in Richmond, I have the flexibility to pursue and solo and chamber career as well. I like that I will never reach a point of satisfaction with the trumpet. There will always be aspects to improve, new music to learn, new ideas…

Performing chamber music at the Marlboro Music Festival

What do you have coming up in the future?
At the end of this month I am traveling to Belgium for a trumpet competition in Antwerp. When I return, I am performing the Haydn Concerto with Richmond Youth Symphony w/Erin Freeman on February 19th at the Carpenter Theater! Please come!

Also visit my website at http://www.marybowden.com/ for more upcoming events!



Mary Bowden with Pierre Boulez at the Lucerne Festival Academy in Switzerland, performing principal trumpet on Mahler 6 and Scriabin's Poem of Ecstasy



Erin Freeman's Preview of "An Evening at the Opera"

Voice and the Orchestra

Sneak preview of "An Evening at the Opera"

By Erin R. Freeman



It's me again, Erin Freeman!  I am Associate Conductor and Director of the Richmond Symphony Chorus!


What a unique treat we have with this weekend’s masterworks program – all music inspired by the original instrument – the human voice (again, I’m biased). On the first half, we have Benjamin Britten’s, “Four Sea Interludes” (orchestra only) from the opera Peter Grimes and Maurice Ravel’s Sheherazade* for soprano and orchestra; and after intermission, we’ll perform selections from great operas by Bizet, Beethoven, Verdi, and more!

You will probably recognize much of the second half, with music such as the Triumphal March from Aida (sorry…no elephants), the languid Cigarette Girls Chorus from Carmen, and “Va Pensiero” from Nabucco. Plus, you’ll get to hear one of my favorite all time opera choruses – the Prisoner’s Chorus from Fidelio. Those of you who think Beethoven’s vocal writing is all about shouting as loudly as possible will come away from this stunningly internal portrayal of freedom thinking that maybe Beethoven did know how to write for singers after all! Check out this YouTube of a Metropolitan Opera production from 2000.



As for the first half, you may not be familiar with this music. These are two underplayed but strikingly beautiful and powerful representatives of the orchestral repertoire. In these pieces, there is a lot to which you, your soul, and your intellect can connect. For example….

You will love the Britten “Four Sea Interludes” if you like…

Lush harmonies: Like those in Lark Ascending by Vaughan Williams.
Clean lines: Like those found in Britten’s other operas (my favorites are the chamber operas: Albert Herring and Rape of Lucretia)
Big, romantic, fiery, full orchestral sound: As in Strauss’ Don Juan or Tchaikovsky Romeo and Juliet (boy…the last movement of the Britten will knock your orchestral socks off!)
Storm Scenes: Beethoven Symphony 6 “Pastoral”, Vaughan Williams A Sea Symphony, Debussy La Mer
Peaceful moments of inner beauty: The third movement (“Moonlight”) is truly one of the more beautiful pieces for orchestra I’ve heard. It reminds me of the most serene moments of a Mahler symphony – perhaps the choral entrance in his “Resurrection” symphony (no. 2) or moments of simplicity in Kindertotenlieder.
Creative Orchestration: If you love the gratifying orchestral colors in works by Ravel (Daphnis et Chloe, perhaps), you will be enchanted by Britten’s “Four Sea Interludes”.

Guest Artist Kelley Nassief, Soprano

Speaking of Ravel, you may love Scheherazade, if you love:

French Flute Solos: The second movement is basically a duet for Flute and Soprano. Think Debussy Prelude to the Afternoon of a Faune with a bit more action.
Pieces for Soprano and Orchestra: Although from different countries, pieces such as Richard Strauss’s Four Last Songs and the final movement of Mahler’s 4th symphony have a kinship to this work by Ravel. The soprano is more than just a soloist - she becomes a part of the orchestra.
Impressionist music: Like the Ravel orchestration of the Debussy Sarabande (performed earlier this year on Masterworks 2).
Exotic orchestral colors: During Ravel’s time, there was a fascination with “The East,” a fairly unknown region of the world. This fascination was often misguided and filled with stereotypes, but it led to the inclusion of some harmonies and orchestral colors that were new to “Western” ears at the time. Another example of what is called “Orientalism” is Puccini’s Madame Butterfly, written 5 years before the Ravel. You’ll definitely hear some similarities. (Want to know more about “Orientalism”? Check out the scholar Edward Said.)
Stories related to Sheherazade: Okay – so Rimsky Korsakov’s Scheherazade is an entirely different musical bird, as is Nielsen’s Aladdin, but if you are a folk tale buff and have an affinity for anything related to the stories that kept the King Shahryar from killing his new bride Scheherazade night after night for, well, 1001 Nights, then this piece may be for you! Poetry is by Tristan Klingsor, who lived around the same time as Ravel.
* By the way, Ravel spelled it Sheherazade, while we usually spell the Rimsky-Korsakov version with a C: Scheherazade.