Kansas City Symphony Finale: Mozart and Strauss

Two grand symphonic statements by Mozart and Richard Strauss comprised the final program of the 2012-2013 subscription season of the Kansas City Symphony. Mozart's late masterpiece the Symphony # 40 in g K 550 and Strauss' last symphonic poem, a monument to his beloved Alps, the Eine Alpensinfonie op 64 of 1915. Michael Stern was on the podium.

Mozart's Symphony # 40 in g K 550 was completed on July 25, 1788 in that remarkable summer which also produced the 39th in June and the monumental 41st in August. Although fairly short and, with the exception of the revised version with the added clarinets, very conventionally scored, Mozart was looking on to Beethoven and Schubert, not to the past. With this symphony and its brothers, he was creating the standard for symphonic works that would stand for a century.

Stern was not in anyway trying to recreate the symphony as Mozart may have heard it. This was Mozart in the mode of Bruno Walter or George Szell, big, bold and symphonic.

The deservedly popular and familiar first movement was nervous and charged, brimming with restless energy. The weight and heft of Beethoven was present in the The second movement, somewhat on the brisk side, still sang and flowed with just the right sigh of regret.The minuet danced, to be sure, but there was more than a touch of the more complex and substantial scherzo feeling in the performance. The finale was taken at a fair clip, charged with anguished intensity, which fit in with the generally quick tempi of the other movements.

The orchestra was well blended and responsive throughout. Stern led with great clarity and focus, free of sentimentality and fussiness. The usually fine winds were also in great form as were the pair of horns, especially clear and blended in the trio of the Minuet. Not the most subtle and elegant Mozart I have heard, and rightly so, this is Mozart at his most dramatic and almost romantic. A vital and valid performance.

Strauss' ultimate symphonic poem is not a symphony in the formal sense nor is it a piece brimming with long, developed melodies and motifs. An Alpine Symphony is tone painting and musical story telling at its epitome. For this sprawling work to be a satisfying musical experience, it simply can not sound like a series of vignettes and unrelated episodes or just a  great deal of noise from a huge  orchestra. It is a journey through a day above all, albeit a rugged, colorful and exciting adventurous day; from a slow, misty morning, through the sunrise, the climb, the mountain top, storm and descent to a quiet night.

The atmospheric opening (marred a touch by some iffy brass intonation) set forth an exciting and well paced performance that never bogged down. The brass certainly redeemed their minor foible with a commanding, burnished sound even when heard en masse with the Wagner tubas, extra tubas and trombones. The large off stage brass contingent was well co-ordinated and just distant enough to make its affect and yet be totally audible. The winds were at their best, even the rarely heard or seen heckelphone. The organ, when called upon, blended well and provided the deep, resonate foundation that is required.

Now and then we heard some strained entrances and the brass and winds overwhelmed the strings occasionally. But the percussion fueled storm raged, the sun glinted in high woodwinds and trumpets from the icy summit and he sun set with poignancy, fading quietly and hauntingly into the night.

Maybe 4-5 seasons ago, the orchestra would not have been able to handle such a monumental work. Of course, most of the orchestra would not have fit on the old lyric stage, there would have been a feeble electronic organ and the sound muddled. Then also, the level of playing has risen annually as to where one has to remember we are in Kansas City and not say New York or Chicago.

A most glorious way to end a fine season of music with one of the nation's finest orchestras.

Kansas City Symphony: Berg, Schubert and Ruggles

Two “greats” from different eras comprised the penultimate and highly anticipated program of the 2102-2013 Kansas City Symphony season. Michael Stern, Music Director, conducted. The first half featured the Violin Concerto by Alban Berg, Gil Shaham as solo. The last half was comprised of Schubert's last symphony, the glorious C major number 9.

As a bonus, Maestro Stern selected American composer Carl Ruggles’ brief yet haunting “Angels” for muted brass to open the evening. This strange, ephemeral work blended brilliantly with the mood and tone of the Berg. The brass intonation was a tad off in spots and the entrances were a bit ragged, but the over all effect was achieved. As the final note of “Angels” faded, the lights illuminated the whole orchestra and soloist Gil Shaham launched into the equally ephemeral opening passage of the Berg concerto, barely at audible level. A fine piece of programming.

If any work can convince a skeptic that the twelve-tone school of composers did not always write “ugly music” it would be the exquisite Alban Berg Violin Concerto from 1935. A touching and glowing instrumental requiem for Manon Gropius, daughter of Architect Walter Gropius and Mahler's widow Alma, the Violin Concerto has emerged as Alban Berg's most popular work. It was also his last completed work.

Berg carefully chose the notes of his tone row; which frequently teeters on the edge of tonality, placing the work between the Vienna of Beethoven and Johann Strauss and that of Schoenberg and beyond.

In that light, Stern correctly read the concerto as a requiem cast as a grandly unfolding waltz laced with Bach and folk song.

Berg conceived his Concerto in two movements, each then subdivided into two parts. The opening Andante presents the twelve-tone row on which the concerto is based, immediately establishing a tonal and contemplative mood. The more animated second half, marked Allegretto, serves as a scherzo with two trios and was described by the composer as a portrait of Manon Gropius. In this section, we hear music associated with the vivacious young actress including folk dances, waltzes, and even a section that is to be played “Wienerisch” or 'Viennese”. With the entrance of the folk song, the movement quickly becomes bitter and colder; death is approaching.

From this nostalgic and wistful movement, we plunge into the more dramatic and funereal second. The allegro first section, which the composer designated “Catastrophe,” serves as the concerto's dramatic cadenza, building to the work’s climax. After the shattering climax, the work relaxes in a mood of resignation. Berg quotes a Bach chorale “Es ist genug,” (It is Enough) from his cantata O Ewigkeit, du Donnerwort ( Eternity, you thundering word), a cantata of farewell and acceptance of death.

The conclusion, marked “Deliverance,” develops the chorale theme into a rhapsodic “Requiem for Manon”. Themes from earlier sections are quoted, reflecting times past.

The performance was leisurely, thoroughly Romantic and lush, one that took time to explore and highlight the torrent of melodic cells, harmonic nuances and rhythmic vitality inherent in Berg's masterpiece. Shaham was a sympathetic soloist, completely absorbed in the concerto's message of life, death, and deliverance. His tone bit and snarled as required in the agitated passages and just as easily sweetly sang when called upon. The second movement's opening cadenza had an appropriately improvisatory feeling. In the quiet final moments, some of the most sublime music ever penned, both the orchestra and the violin were shimmering and luminous; a glimpse of transfiguration.

Schubert's music, whether instrumental or vocal, is the epitome of song. Thus any fine performance of his music simply must sing. Stern's performance of the “Great” was brisk, with the latent power on full display but under fine control. And yes, it sang... never losing sight of Schubert's long, lyrical lines. The horns were magnificent in their opening call to prayer answered by the solemn alleluia of the strings. The whole first movement progressed like a force of nature from this solemn opening to the ecstatic final measures. The andante second movement was beautifully shaped and again on the brisk side rising to a most terrifying but not hysterical climax. A well proportioned scherzo with a lyrical, waltzing trio and a gone-like-gangbusters stomp of a finale completed this colorful, energetic and stylish performance.

The whole concert, the iffy brass in “Angels” an exception, featured some of the most committed playing from all sections of the orchestra this season. And what can serve as a better finale than this? The grand and glorious Strauss “Ein Alpensinfonie” concludes the season June 7-9.

Kansas City Symphony: Fisch Conducts Mozart, Mahler and Brahms

Israeli conductor/pianist Asher Fisch, long time music director at the Vienna Volksoper and Israeli Opera and soon Music Director of the West Australia SO, returned to Kansas City this weekend, May 17-19 with one of the more interesting and unusual concerts of the season. The concert opened with Mahler's gently lyrical “Blumine” once part of the first version of the Symphony # 1. The first half concluded with the Piano Concerto # 17 K453 by Mozart with Fisch as soloist and conductor. The program concluded with the Brahms Piano Quartet in G op 25 as orchestrated by Arnold Schoenberg.

In “On the Horizon” I discussed the background of the Mahler and Schoenberg, noting that performances of these pieces are not exactly everyday occurrences.

Lucky for those in attendance, Fisch led a gentle, flowing, detailed and overall very successful performance. The mysterious opening for tremolo strings was pure atmosphere, barely at audible level, a texture and feeling more than just mere notes. This was a restrained “Blumine” as it should be, a pastoral interlude singing and a touch melancholy. Special kudos for principal trumpet Gary Schutza's lyrical and tonally beautiful which is the backbone of this fine little tone poem. The final moments of the work, with hushed strings in the highest register and the final quiet flourish of the harp was magical.

Fisch and the orchestra continued the concert with the alternately mercurial and dramatic Mozart Concerto # 17, written and premiered in 1784. The opening movement is typical of Mozart's gracefully lyric style. Fisch is an accomplished pianist with a singing tone and fine technique. The orchestra winds were in their usual fine form, deftly interjecting and commenting on the piano, especially in the charming and witty opening measures of the movement.

The middle andante, in contrast, is one of Mozart's more dramatic concerto movements. Fisch took the movement at a particularly brisk tempo which could of worked, but with his concentration divided between playing and conducting, it led to a some shaky moments and tentative entrances. Fisch was sensitive to the drama of the movement, accenting and highlighting the more dramatic passages. The Variations-Finale unfolded with the same charm and brisk tempo of the preceding movements.

What was missing was the feeling of unbridled melody and graceful expression that is a hallmark of a successful Mozart performance. Fisch and the orchestra were certainly not flat or dull, but the extra effort in keeping the orchestra and piano together, led to an overall restrained and mechanical feeling.

Fisch and the orchestra relished the Brahms Quartet, revealing the genius of Schoenberg's orchestration and Brahms' sense of form and order. A brisk performance, which is always a good thing in Brahms, Fisch and his forces still took time to luxuriate in the melodies that flowed from Brahms' fertile imagination. Fisch and the orchestra brought out all the Brahmsian character, drama and charm inherent in the Quartet. Fisch's attention to detail aided by Schoenberg's spot lit orchestrations illuminated how Brahms deftly crafted the first movement's melodic content from the opening declamatory motif. The Intermezzo and Trio, functioning as a scherzo, was well controlled yet infused with the right degree of moto perpetuo force. The grand Andante con Moto was swiftly flowing as an movement so marked should be. The concluding Rondo, marked “alla zingarese” was a total tour-de-force, Fisch and the orchestra pulling out all stops for a bravura finale. Even Schoenberg's xylophone and percussion touches seemed totally appropriate and part of the thick, rich texture instead of being a strange afterthought.

A thoughtful program of some off the beaten path works, rare and quite well done.

What I am Listening to Today

Havergal Brian (1876-1972) is one of those composers more notorious and talked about than actually heard.  Every so often, he is "rediscovered" and a new batch of recordings and performances pop up here and there. Then his star fades again for a while... waiting for a new champion.

I have managed to be a fan of this fascinating and quirky composer since my college days. A former University of Illinois music student Paul Rapoport (who went on to be a popular record reviewer with Fanfare Magazine and a noted professor of music in his native Canada) had left behind research and scores in the Music Library which I managed to find while ignoring my more immediate studies. Curious I located some pirate recordings of live performances and at the time the only commercial recording of his music, the 10th and 21st Symphonies.

Devotees of the "Guinness Book of World Records" know Brian as the composer of the longest Symphony, his massive Symphony # 1 "Gothic" written in the 1920's. Instead of quietly retiring, Brian spent his 80s and 90's composing, 32 symphonies in all, 20 of them written after his 80th birthday.

The disc capturing my attention is part of a series of Brian works on Dutton Epoch with Martyn Brabbins and the Royal Scottish National Orchestra. With a Proms concert of the Gothic under his belt, Brabbins is the latest Brian champion. A second disc with the Violin Concerto, Symphony # 13, Third English Suite and the "Tinker's Wedding" Overture is also available.

The 10th Symphony in one movement from 1954 has the frequent dotted rhythms (making the music a bit "Clunky" to some), large orchestra and percussion effects characteristic of many of his symphonies. The sound and performance are miles ahead of the 1972 recording which used a school orchestra, albeit a fine one. Brabbins' performance also seems a bit livelier and concentrated than the 1972 Leicestershire Schools Symphony Orchestra performance under James Loughran, likely due to the more accomplished orchestra.

Receiving its recorded premiere, the Symphony # 30 is a product of  Brian's incredible later years. In 1967, 91 year old Brian had written his 27th, 28th and 29th Symphonies and then completed the 30th. Although it is almost the same length as the 10th, the 30th seems more compact. Chromatic, a bit wild, dramatic and "fantastic", the 30th is a prime example of his late works.  The final coda is worth the price of the disc itself, if nothing else, Brian new how to end a symphony in spectacular and often unexpected fashion; a new recording of the Symphony # 21 would be most welcome as it contains his most interesting and surprising ending.

The 1964 Concerto for Orchestra is a compact 15 minute orchestral tour-de-force in the vein of Bartok and Hindemith's examples of the genre. All the Brian characteristics, the colorful percussion and brass especially, are there in this first recording of this almost unknown work.

The English Suite # 3 dates from 1921 yet is every bit a product of the composer. Colorful, more pastoral than the later symphonies and more Strauss and Wagner influenced than the later works, this is another welcome first recording.

Admittedly, Brian's music, like anchovies and scotch, is an acquired taste. What does it say about me that I like all three?

Havergal Brian
Symphony # 10 in c 1954
English Suite # 3 1919-1921
Concerto for Orchestra 1964
Symphony # 30 1967

Martyn Brabbins
Royal Scottish National Orchestra
Dutton Epoch CDLX 7267

On the Horizon

With the Mahler 6^th, Rachmaninoff “The Bells”, Scriabin “Poeme of Ecstasy” and Carmina Burana in the history books, one might think it is all down hill now with the 2012-2013 Kansas City Symphony season. But still to come in May are these incredible, lesser known gems that a serious concert goer should not miss. Stick around in June for the finale, the massive Richard Strauss “Eine Alpensinfonie”,

Mahler "Blumine"  (1889)

May 17-19, 2013, Asher Fisch Conducting.

Mahler’s first symphonic essay took a circuitous route in both form and content before emerging as the familiar and popular Symphony # 1 in D major.“Blumine” was once a part of this symphony but was discarded by Mahler after a few performances. After its rediscovery in 1966, it has occasionally been performed as a part of the Symphony but more frequently as a separate piece, as in this case. A little history lesson is in order so as to understand how this movement disappeared for 70 years.

Mahler first conceived of this work as “A Symphonic Poem in Two Parts” when it was premiered in Budapest in 1889. “Blumine” (although not yet labeled as such) was the second movement of this early form which is recognizable as the First Symphony but with many differences in orchestration and form. This performance was not well received so Mahler made some extensive revisions for a second performance in Hamburg in 1893. Now entitled “Titan, a Tone Poem in Symphonic Form”, the movement gained the title “Blumine” (Flowers) and remained as the second movement.

Only a couple of performances were given of this version before a  fouth performance in Berlin in 1896 where Blumine was formally struck from the score. All traces of the program and the name “Titan” were removed. The work was published in its current form in 1899 titled Symphony # 1 in D Major.

Blumine remained unperformed and lost until it was discovered in a copy of an early manuscript donated to Yale University. Benjamin Britten performed it soon after and the enterprising New Haven Symphony under conductor Frank Brieff performed and recorded it, interpolated into the definitive score as the second movement. Since then, several performances have been given and recorded of the early Budapest and Hamburg versions.

So what of the music? Mahler biographer Henry-Louis de La Grange was not too kind:

“There can be no doubt as to the authorship of ‘Blumine,’ and yet few other arguments can be stated in its favor. It is the music of a late-nineteenth-century Mendelssohn, pretty, charming, lightweight, urbane, and repetitious, just what Mahler’s music never is.”

Frankly, I kind of like the early versions with Blumine If one enjoys the lovely Adagietto of the 5^th Symphony, the short interlude will also come as a quiet, simple respite among the otherwise emotionally charged atmosphere of the symphony. I do agree with de La Grange that it is a bit like Mendelssohn scored with a decidedly late 19^th century palate. However. it looks forward to Mahler’s grander creations such as the aforementioned 5^th  Adagietto and the 3rd’s posthorn serenade.

Several fine recordings of the Symphony with Blumine are available, most including Blumine as an appendix, notably Zinman/Zurich Tonhalle on RCA and Neeme Jarvi/Royal Scottish Orchestra on Chandos. Haydn House, an LP to CD reissue source, has the original Frank Brieff/New Haven recording, for the most curious.

Brahms/Schoenberg Piano Quartet (1861, orchestration by Arnold Schoenberg 1937)

May 17-19 Ascher Fisch conducting.

On the same concert as “Blumine”, Ascher Fisch has programmed another rare and unusual work, the 1937 orchestration of Brahms' Piano Quartet # 1 in g composed in 1861.

When asked why he orchestrated this piece Schoenberg replied:

“My reasons: I like the piece. It is seldom played. It is always very badly played, because, the better the pianist, the louder he plays and you hear nothing from the strings. I wanted once to hear everything, and this I achieved.

My intentions: To remain strictly in the style of Brahms and not to go farther than he himself would have gone if he lived today. To watch carefully all the laws to which Brahms obeyed and not to violate them, which are only known to musicians educated in his environment."

Schoenberg famously considered Brahms a more “progressive” composer than Wagner or Liszt and relished Brahms' ability to create a large scale work or movement with a limited amount of material. Although every note is Brahms', Schoenberg's orchestration is considerably more colorful with deft use of percussion and brass. Schoenberg uses this augmented orchestration to bring out harmonic relationships, motifs and inner voices that are hidden in the more monochromatic Piano Quartet version. Schoenberg was a master orchestrator and his jewel like arrangement really does allow the listener to “hear everything”. As in the scene where Dorothy wakes up in Oz, Schoenberg's color brings the work to life.

Robert Craft's classic recording with the Chicago Symphony is still around on Sony and Simon Rattle has made a specialty of the piece with both his Birmingham and Berlin orchestras.

Berg Violin Concerto “To the Memory of an Angel” (1935)

May 31-June 2 2013 Gil Shaham Violin, Michael Stern Conducting.

If any work can convince a skeptic that the twelve-tone school of composers did not always write “ugly music” it would be this exquisite concerto from 1935. A touching and glowing instrumental requiem for Manon Gropius, daughter of Architect Walter Gropius and Mahler's widow Alma, the Violin Concerto has emerged as Alban Berg's most popular work. It was also his last completed work.

In contrast to the craggy but colorful Schoenberg and the minimalist Webern, Berg carefully chose the notes of his tone row; teeters on the edge of tonality. He also incorporated fragments from an Austrian folk song and a Bach chorale that springs almost naturally from his chosen sequence of tone.

Berg conceived his Concerto in two movements, each then subdivided into two parts. The opening Andante presents the twelve-tone row on which the concerto is based, immediately establishing a tonal and contemplative mood. The more animated second half, marked Allegretto, serves as a scherzo with two trios and was described by the composer as a portrait of Manon Gropius. In this section, we hear music associated with the vivacious young actress including folk dances, waltzes, and even a section that is to be played “Wienerisch” or Viennese. With the entrance of the folk song, the movement quickly becomes bitter and colder; death is approaching.

From this nostalgic and wistful movement, we plunge into the more dramatic and funereal second. The allegro first section, which the composer designated “Catastrophe,” serves as the concerto's dramatic cadenza, building to the work’s climax. After the shattering climax, the work relaxes in a mood of resignation. Berg quotes a Bach chorale “Es ist genug,” (It is Enough) from his cantata O Ewigkeit, du Donnerwort ( Eternity, you thundering word), a cantata of farewell and acceptance of death.

The conclusion, marked “Deliverance,” develops the chorale theme into a rhapsodic “Requiem for Manon”. Themes from earlier sections are quoted, reflecting times past.

There are many great recordings of this work to choose from, starting with the 1936 live broadcast with the original soloist Louis Krasner with Anton Webern conducting the BBC SO. Isaac Stern, Pinchas Zuckerman, Itzhak Perlman and Gidon Kremer have all had turns at the work, all recommended.

As a bonus, Maestro Stern has selected American composer Carl Ruggles’ brief yet haunting “Angels” for muted brass to open the evening. This strange, ephemeral work blends brilliantly with the mood and tone of the Berg. A fine piece of programming.

Darwin

A review of the world premiere of the new chamber opera "Darwin" by the newEar Contemporary Chamber Ensemble. At www.Icareifyoulisten.com


http://www.icareifyoulisten.com/2013/05/newear-evolves-darwin-chamber-opera-kansas-city/

Chihara Viola Music

My latest CD review for I Care If You Listen

Chihara Viola Music

KC Symphony: The Bells, Poulenc and Ecstasy

A capacity crowd in both audience and performers filled Helzberg Hall as the Kansas City Symphony, Michael Stern, Music Director, Conducting, the Kansas City Symphony Chorus under Charles Bruffy, 3 vocal soloists and organist Caroline Robinson presented a concert of three emotionally powerful works.

Although famous even to the most casual of listener for his piano works, Sergei Rachmaninoff was also well versed in the traditions of Russian choral music, especially that of the Russian Orthodox Church. It should come as no surprise that one of his many masterpieces and one of his personal favorite pieces is the massive choral symphony “The Bells”, based on Edgar Allen Poe's poem of the same name. Sadly audiences do not get to hear it all that often since, in addition to chorus plus soprano, tenor, and baritone soloists, the work calls for a huge orchestra with expanded winds and brass, a whole battalion percussion (bells of course), six horns, two harps, organ, piano and celeste. Certainly the stage at the old Lyric Theatre would have sagged under the weight of the massed humanity and equipment.

Cast in four movements similar to an orchestral symphony, “The Bells” chronicles life's journey and the ever present relationship with bells from youthful romance and marriage, through decline and mortality and finally death itself.

“The Silver Sleigh Bells” was perfectly bright and youthful with Stern evoking the movement's kinship to Mahler especially to “Das Lied von der Erde”. The “Golden Wedding Bells” was highlighted by Jessica Rivera's passionate soprano and the chorus' deft accompaniment. “The Loud Alarum Bells” was full of fury, fright and fire from the chorus and orchestra, quite too much from the chorus actually. “The Mournful Iron Bells” brought the cycle to a conflicted close. Death is no longer panic and fear but a resigned and calm passage. English Horn Kenneth Lawrence was his usual fine self in the extensive solos in this movement.

The three soloists Matthew Plenk, Tenor, Weston Hurt, Baritone and previously mentioned Jessica Rivera were all in fine voice, but Hurt seemed to be a bit uncomfortable with his part. The huge orchestra moved deftly when called upon and roared mightily as well; the brass especially burnished and powerful.

The massive chorus, viscerally stunning as it was, frequently overwhelmed all before it and its sheer size rendered it more of a sound and texture than an important vocal component. It was amusing to listen to the intermission conversations/arguments among some patrons as to whether they were singing in Russian, English or even German.

Poulenc's Concerto for Organ, Strings and Timpani (1938) surprised his followers, accustomed as they were to his saucy chamber music and classically inspired concertante works. Shaken by the death of a friend, he turned to his first religious works (Four Motets for a time of Penitence, Mass in G) and the more profound and darker Concerto for Organ.

From the colossal opening chords, evoking both Bach and the great French organ tradition, through the more hymnal episodes and on to the dramatic final measures, young organist Caroline Robinson was in command of the mighty Casavant. She took full advantage of the organ's finely detailed reeds and flutes and never let the organ's overall timbre become brittle and harsh in the fortissimo passages. Stern kept the precise and fluid strings of the orchestra well balanced with the organ and Timothy Jepson's timpani provided firm support to the bass line, as they were called upon by the composer to do. Cast in one long movement subdivided into seven sections, the work can appear episodic and bogged down in the slower passages if the forces are not careful. Stern, the orchestra and Robinson did not succumb to all that and gave the audience a powerful, lyrical and intense performance of this most popular of organ concerti.

The ambitious program closed with the Scriabin “Poem of Ecstasy”, a 20 minute, one movement tone poem often referred to as his Symphony # 4. Written between 1905 and 1908 when the composer was drifting further away from the influence of Wagner, Chopin and Liszt, “Poem” is scored for a large orchestra with organ, 2 harps, and augmented winds and brass. Scriabin, in notes for the premiere performance penned a typically mystic program for the piece invoking the “Cosmos”, the “Joy Of Liberated Action” and “an Orgy of Love.”

A successful performance of this thickly scored, diffusely rhythmic music must not come off as a great wall of hyperactive sound. The conductor has to gently but firmly control the ebb and flow of the music taking us to one high point, backing off a bit to reflect and then plunge head on unto the next. This Stern did to great affect. Stern's performance unfolded with a sense of urgency and forward pulse, aided by fine trumpet and violin solos, impressive percussion, winds and solid strings and brass. (The horns were impressive all evening.) Caroline Robinson was back on the organ providing a solid foundation for the final pages and the shattering final chord. It has been confirmed that this mighty chord did not break any windows, albeit the capacity was certainly there.

newEar Contemporary Chamber Ens. "Strangely Familiar"

My review of the newEAR Contemporary Chamber Ensemble concert of March 1, 2013. Read on I CARE IF YOU LISTEN

2013 Kansas CIty Auto Show: Refinement Rules

We interrupt our music reporting for the annual visit to the Greater Kansas City Auto Show. Even before I loved classical music, I was a car nut. By 6 I could tell you every make and model of car I saw. Usually the year too. It was easier then for sure, but I was still a bit of a prodigy.

This year's theme seems to be "Refinement" since there was little strikingly new. The annual model change, that kept this kid's eyes glued to passing trains, car carriers and car lots in hopes of being to see the latest model, has blurred so much that we saw a lot of this year's cars as previews last March. Noticeable was the lack of concept cars this year and fewer glimpses of 2014 and beyond models.

I do not know why the font on the captions gets all wonky at the end. I tried to fix it, but made it all worse.

Nevertheless, here are some highlights from the show:

Surprise of the show was the snarky new Chevrolet Impala. For some odd reason, I did not snap a picture so these are photos from the net. Sleek, powerful and with optional 4 cylinder engine, economical.

Front view of the new Impala

Slick Impala interior, the center section raises to reveal storage, USB port and power plugs for our mobile device ruled world.

On the other end of the model spectrum is the cute and versatile Chevy Spark. Roomy inside, better value than an IQ or Smart.

The new Buick Encore is a small, luxurious SUV. As many of the original SUVs such as the Santa Fe and the RAV4 have grown, there is room for a SUV like this.

Electrics were all the rage, they even had their own show area. This Tesla Model S is expensive, powerful and quite handsome. Motor Trend's Car of the Year. But some question its abilities and so far availability is limited.

Plug-in hybrid Fisker Karma. Built in Finland, company based in California. Like Tesla, mired in controversy and limited availability. Justin Bieber had a chrome plated one, he and his silly rich kid rappers and screamers wrecked it... twice.

Back to the Future... Tesla Model S and 100 year old Detroit Electric.

Ford C-Max was previewed last show, available now in hybrid and electric models.

Mystery to me... I recognize an oil dipstick. Ford C-Max Hybrid

I think this very same orange Toyota Prius was there last show. No one must have wanted  it... who could blame them?

Remember when a KIA Sportage was a little rat of a car? All grown up and  big for 2013.

Car so ugly only its maker and my friend Sherill who loves funky cars like it. See a lot around for some reason. 

Nissan had been missing from the show for several years, but they were back. Nissans have never lit my fire... ever. Good cars I guess, but just dull.

Greg commented that the $248,000 for the Mercedes SLS AMG Roadster was more than the combined total of the 3 houses he owned.

I see a resemblance to the 53 Hudson in the Veloster's front bridgework.

1953 Hudson Hornet, inspiration for the Veloster's grin?

Lincoln MKS, big luxo sedan. I miss the Town Car. At least they are getting away from the snarly front grille work of the last few years.

Lincoln MKT. To us in Missouri, MKT was a railroad. This big wagon/crossover/whatever is a road locomotive in every sense of the term.

All new MKZ. Grandson of the unlamented Zephyr. Nice.

Greg and I really liked the 2013 Dodge Dart. No one else seems to however, which is a shame.

Fiat's new 500L is a stretched 4 door version. This was pre-production model, even the lady doing the demo was not allowed inside. I did not care for it.

I said the Mini Coupe looks like a car wearing a ball cap. And this guy came along to make it all the more obvious.

The new Bug Convertible.

It pissed me to hell to read about some Hollywood director that blew up four 1949 Cadillacs for some stupid ass movie. Shameful. At least one will survive.

Lord God of the Road, 1931 Cadillac V16. Even the headlights reek of power.

Kansas City Symphony Strauss, Glinka and Tchaikovsky

What timing. A winter storm, quirkily named “Q” by some weather pundits, played a major and unwanted role in this weekend's Kansas City Symphony concert. “Q” wiped out several rehearsals, forced a program change and played havoc with the soloist, the always wonderful Christine Brewer. Brewer crossed the state from her home near St Louis to perform her signature piece, Richard Strauss' “Four Last Songs”. The concert opened with Glinka's “Ruslan and Ludmilla” overture (a substitute for a piece by Christopher Rouse that was dropped) and concluded with the Tchaikovsky Symphony # 2 “Little Russian”. Michael Stern, Music Director was on the podium.

What can one say about the Glinka overture? Every professional orchestra member knows this rollicking showpiece by heart thus it was ready made as a substitute. A fine, brisk and pleasing performance. Possibly the audience appreciated it more than the proposed Rouse, but we'll never know.

As mentioned Christine Brewer basically owns the Strauss Four Last Songs. Her strong, soaring yet subtly shaded and nuanced voice is tailor made for music like this. Written in 1948 by the 84 year old Strauss these unashamedly Romantic and poetic songs take us on a journey from youthful memories to acceptance of our ultimate mortality.

Even under the less than desirable circumstances, Christine was nothing less than musical, communicative and gorgeous. Her emotions ran the gamut from the nostalgic "Frühling", to the world weary “September” and finally the questioning resignation of "Im Abendrot". The orchestra was a willing and sympathetic partner, with beautifully wrought solos from the horns and violin.

Sadly the charming and witty Tchaikovsky Symphony # 2 “Little Russian” of 1872 is not all that common in the concert halls compared to the great final trio of 4, 5 and 6. Inspired by and infused with Ukrainian folk melodies (hence the title “Little Russian”, a term referring to modern day Ukraine used in Tsarist Russia), the rhythmic and charming work maybe structurally weak and short on development, but melodically holds its own compared to the later symphonies.

The symphony was the product of Tchaikovsky's early exploration of Russian nationalism. Only the 3^rd movement Scherzo does not directly quote a folk tune directly yet continues the folk-like character of the other three movements. Its premiere was a great public and critical success. However, Tchaikovsky was not satisfied and made extensive cuts and revisions most notably in the opening movement and the finale. It is the revised version, which many critics and scholars feel is equally as flawed as the original, that is almost exclusively heard today.

Stern and the orchestra dismissed all the academic chatter and gave us a poised and remarkably polished performance, delighting with clear, prominent winds and crisp brass and strings. A few intonation slips and scraggly entrances here and there reminding us that the program was under rehearsed In the Alberto Suarez's opening horn solos was spot on and eloquent as were all the exposed horn passages in the work.

Stern has a tendency towards brisk tempi and this does not hurt in this most extroverted work. The weak first movement comes off well through the well chosen tempo and spotlighting the often mournful nature of the themes. The Andante Marziale is well paced, giving a subtle contrast to the first movement tempo. The Scherzo pulsed along nicely and the somewhat overblown finale did not descend into a cartoonish romp as it can under less steady hands. The strange (yet always fun) gong stroke can seem a “whoops... sorry” moment rather than a part of the works climactic drive. This one was well done and tastefully integrated into the structure. An energetic, tuneful and balletic performance of this problematic yet colorful score.

“Q” may have messed up some plans and played havoc with voices and repertoire but the consummate pros of the Kansas City Symphony came through with an interesting and thrilling program.

KCS Adam Schoenberg premiere, Martinu and Schumann too

Adam Schoenberg, born in 1980, is an Oberlin and Julliard graduate and a member of the “Atlanta School” of composers which include Jennifer Higdon, Oswaldo Golijov, and Christopher Theofanidis among others. For his first effort as Composer in Residence, Schoenberg collaborated with Kansas City's world renowned Nelson-Atkins Museum of Art to create a 21st century recasting of Mussorgsky's “Pictures At An Exhibition”. Schoenberg paid several visits to the museum picking works from the collection to enshrine in sound. The result is a large work for orchestra titled “Picture Studies” given its world premiere performances the weekend of February 1-3. Michael Stern conducted the Kansas City Symphony in the concert that also included the Martinu “Frescoes of Piero della Francesca” and the Schumann Cello Concerto.

Schoenberg's protagonist, in contrast to Mussorgsky's more confident and hurried patron, seems to wander in with his/her head to the sky, trying to take in all the sights and stimulus of an art museum. Instead of viewing one artist's work, the visitor sees a wide variety of works including sculpture, paintings and photographs from artists such as Kandisky, Miró, van Gogh, Bloch, Francis Blake and Rothko.

Two sections were to most effective and original. “Kandinsky” (Rose with Gray 1924) was all angular, busy, tense, vibrant and in your face. As in the painting, the incongruous motifs were cut and pasted, superimposed and even buried in the rich, percussive texture. The all too short “Calder”s World” (untitled sculpture 1936) is a mini masterpiece; as static, balanced, edgy and timeless as the Calder sculpture. Winds and brass paid homage to the metal and wood of the piece while the undulating, almost breathless strings took us to the primal world of time. As in Ives' “Unanswered Question” they seemed to emerge from the background as if they had been there all along then fade to whence they came. A breathtaking example of tone painting at its finest.

The van Gogh “Olive Orchard” was Debussy's impressionism as seen through a Copland lens. The movement grew organically to a full climax but chose not to capture the bold strokes and knotty, twisted texture of the olives. Instead we hear more quiet and lyrical music that is “Colorful, full of love” according to the composer's notes. “Three Pierrots” (Albert Bloch “Die Drei Pierrots nr. 2” 1911) with its mallet infused, jaunty rhythms evoked Petroushka and the comedic, slightly clumsy dance depicted in Bloch's painting. The last two movements, both inspired by photographs (one of a vast ocean then other of pigeons in flight) took the work into an extended, ecstatic climax. Any listener familiar with Higdon's “Blue Cathedral” or Theofanidis' “Rainbow Body” would recognize this section.

From the myriad of social media comments and the prolonged ovation given to the performers and composer, Picture Studies' easy going, approachable and colorful style resonated with the audience.

In the spirit of full disclosure, I am a great fan of the Martinu “Frescoes of Piero della Francesca” composed in 1955. A brilliant piece of programming since the work was also inspired by a composer's viewing of visual art, in this case the magnificent “History of the True Cross” by the Renaissance artist Piero della Francesca in Arezzo, Italy. One of Martinu's most imaginative works, it is a little less motoric and neo-classical than many of his works and much more impressionistic and lyrical.

Unlike Picture Studies, these three frescoes are not so much programmatically depicted but provide musical accompaniment to their viewing. Martinu captures the grand scale, the muted colors, the angularity and the mysticism behind the frescoes. Stern and his forces were technically fine in this somewhat cool performance. I wished for a fuller string section in the climatic string cadenza in the second movement but Christine Grossman's fanfare like viola solo leading into the climax was wonderfully executed. Martinu was frequently inspired by jazz and thus the last, battle inspired movement brought more of the rhythms associated with the composer. Stern and company relished this more animated section, perfectly resolving the martial tones into the lush and serene final chords.

Armenian born Narek Hakhnazaryan, 2011 International Tchaikovsky Competition Gold Medalist and student of Mstislav Rostropovich was a stellar soloist for the hyper-romantic and melodic Schumann Cello Concerto op 129. Stern in collaboration with Hakhnazaryan chose brisk tempi for the concerto's three connected movements while still allowing the cello to sing through the torrent of melodies; too slow tempi risks the work turning into a hyperglycemic mess. Hakhnazaryan's tone was dark and rich through out, yet fleet of bow in the cadenzas and the lively concluding rondo. The unusual duo between the cello solo and the principal orchestra cello in the lyrical intermezzo-like second movement was particularly well done.

The Schumann is hardly the most flashy concerto in the repertoire but certainly showcases the instrument's lyrical abilities. Needing fine control of tempo and tone to produce an excellent performance, both Stern and Hakhnazaryan came through, bringing out the organic flow of the work from its breathless opening to its dramatic conclusion.

Kansas City Symphony Mahler 6

“My Sixth seems to be yet another hard nut, one that our critics' feeble little teeth cannot crack.”

So wrote Gustav Mahler to conductor Wilhelm Mengelberg. Mahler's Symphony # 6 in A minor was composed during a more contented period in the composer's life, 1902-1903 but not premiered until 1906. Yet this symphony is among the least affirming of his world encompassing symphonies; it is among his most inward and autobiographical as well. Perhaps because it is a such a tough nut to crack it is, along with Symphony # 7, one of his lesser performed symphonies. With a fine 1st, 2nd, 4th and 5th  under their belts, the Kansas City Symphony under the direction of Music Director Michael Stern have added a most stellar 6th to their Mahler cannon.

Stern took the 1st movement at a true allegro, a welcome change from some of the more recent recordings and performances. The opening exposition, while well executed was somewhat short on drama. Certainly fine, but would not challenge the best of performances. The soaring “Alma” theme was not a sticky, sentimental mess, but a heartfelt and maybe even a bit of a flirty statement, well integrated into the somewhat schizophrenic mood of this movement, unique in all of symphonic literature.

The gentle slower middle section benefited from the usual fine winds and strings of the orchestra. Some listeners may like more forward cowbells; Stern correctly had them as a distant texture, maybe too distant at a few points but they served their purpose to take us back to a cold, clear alpine meadow. This interlude is not “a cow looking over a fence” pastoralism, but a wistful and melancholy respite from the martial exposition and recapitulation. Stern brought out this section's often soaring lyricism but never lost touch with the overall dramatic mood of the movement. If the exposition was a bit slack , the recap was all drama and  everything fell into place. Stern did not rush headlong to the end, but kept the pot boiling letting the work move forth as a force of nature, bringing this monumental statement to a dramatic close.

We could debate for hours over the Scherzo/Andante or Andante/Scherzo question. You almost need a score card to keep track of the players who made the switches over the last 107 years. While most of us “grew up” with the Scherzo/Andante order, Mahler only conducted the work Andante/Scherzo. While some say placing the Andante second spoils some harmonic and thematic connections, it also makes sense. It is more structurally correct in this most classical of Mahler's symphonies and expands on the nostalgic mood of the center section of the first movement. The counter argument says Scherzo/Andante is how Mahler conceived the work and is perhaps more psychologically logical. The andante acts as a balancing intermezzo providing a relaxation of tension between the dramatic Allegro/Scherzo and the monumental half-hour finale.

As Kurt Vonnegut always said whenever he was faced with something unsolvable... “so it goes.”

Stern chose the Andante/Scherzo order for this performance. Whatever order one might prefer, suffice to say Stern's Andante was a supreme achievement. Never overwrought or totally sappy, this movement clearly was Mahler's escape from the torment of the opening movement and the tormented and very real life dramas of the scherzo and finale. Yet Stern wisely kept some tension in the phrasing and tempo, reminding us that the edge was not far away. Translucent strings, wonderful oboe, violin, trumpet, horn and clarinet solos combined with the gentle but insistent flowing tempo made this an especially moving and revelatory performance.

The macabre scherzo with its bone-rattle xylophone (used nowhere else in Mahler's symphonies) jolts us to stark reality as the unrelenting march rhythm returns. The movement is marked “Wuchtig” or “heavy” and Stern took this marking to heart with an appropriately forceful tempo full of accented downbeats. As called upon, the woodwinds, especially the fine clarinet section, shrieked with merciless terror and the brass snarled menacingly. In the trio sections, ironically marked “Altväterisch” (literally “old father-like” or “old fashioned”), Stern let the menace slack just enough for contrast but made sure we knew these episodes of nostalgic glances to the past are the real tragedy of this work, the  brief  reminiscence of “what was and will never be again” that haunted the composer and in reality haunts all of us. The final measures of this most dark movement collapse after a perfectly integrated but climactic tam tam stroke into fitful short motives, with superb contributions from the bass clarinet and contra-bassoon. Stern and Timothy Jepson, principal timpani took care to make the final timpani beats not just an ambiguous ending but hinted at a beginning of a funeral march; which further justifies the placing of the scherzo third as they foretell the return of the hammering fate motive in the finale.

The finale leaves us with another question.... two or three hammer blows? But before that becomes relevant, Stern and company pulled out all the stops for a most incredible and dramatic performance of this movement, some of the most humanly emotional music ever penned. The opening ambiguous, harp laced chords literally soar into the commanding statement of the “Fate” theme, plunging headlong into this most indescribable music, both lyrical and tormented. Stern's trademark attention to detail left no stone unturned, the music soared, whispered, marched and ultimately collapsed into despair, The heavy brass was mostly well balanced, only occasionally they got out of hand, but never to the point of annoyance. The all important hammer blows of fate were well done, commanding but not so much as to totally seem out of place. The audience members near me probably wanted to slap me over my  subtle  “YES” with clenched fist pumping when I saw principal percussionist Christopher McLaurin reach for the hammer a third time. Mahler withdrew it, but it just adds that nth degree of finality to this most autobiographical movement. The final statement of the fate motive was shattering, the audience stunned to silence. Stern took his time with the final diminuendo and quiet pizzicato, creating a breathtaking ending where one could often find it anti-climactic.

“The only Sixth, despite the (Beethoven) Pastoral.”

Alban Berg wrote the above to his colleague and composer Anton Webern. I think those who heard these performances would agree.

New Name

Puggingham Palace has a new name, "Pictures on Silence". The name is taken from a quote by the great conductor Leopold Stokowski:“A painter paints pictures on canvas. But musicians paint their pictures on silence.” Since 99% of my posts in the past couple of years have been about concerts, recordings and music, I thought the title needed a change to reflect the blog's purpose.

For the last couple of seasons, I have been featured reviewer and blogger for the Kansas City Symphony, a role I relish since I get to spread the word about our remarkable local orchestra. In late 2012, I began contributing to "I Care If You Listen", a web magazine focusing on contemporary classical music. As this role has grown, I found my reviews quoted, re-tweeted, and referred to by the artists and sometimes the record companies. I always cringed when I saw the "Puggingham Palace" moniker and wondered if  the unusual title lessened my credibility. So a search for a new name was conducted and I found the one noted above by Stokowski.

"Pictures on Silence" just seemed to neatly sum up the glorious art of music. Music is nothing but organized sound, said Edgard Varèse, so silence is the canvas on which the composer and musicians realize their art.Pictures on Silence is music reviews from an audience member's view. I am not a professional musician and do not have a music degree. However, after years of listening (I started listening to classical music around 12 years old and now 44 years later I show no signs of stopping) I think I know a bit about what makes a great performance, what can move an audience to bravos or to boos. I may not be able to point out that the 3rd bassoon did not correctly articulate the dotted triplets at measure 32, but frankly... with the exception of the 3rd bassoon, who really cares?

Most of my concert review posts are from the music scene in and around Kansas City. We may not be the world's Mecca for music like London or New York, but our local orchestra is outstanding, we get some of the best artists in the business for recitals and have an incredible performing arts center that is the envy of many. If I get a chance to hear a concert elsewhere, you will read about it here.Look for a couple of concert reviews coming up with the Kansas City Symphony and a short hop to St Louis in February for a rare performance of the Zemlinsky Lyric Symphony.

Thanks for reading!

DC

Panufnik Orchestral Works

Panufnik Orchestral Works Volume 5

My latest review for I care if you listen

KC Symphony Reference Recordings: Elgar and Vaughan Williams

Ralph Vaughan Williams: The Wasps – Aristophanic Suite

Ralph Vaughan Williams: Fantasia on Greensleeves

Sir Edward Elgar: Variations on an Original Theme (“Enigma”)

Michael Stern, Kansas City Symphony

Reference Recordings RR129

On the surface a rather standard program of English music that has been recorded by practically every conductor ever active in a studio. “Enigma”and “Greensleeves” each have over 130 recordings currently listed in the catalog. “The Wasps” has not fared as well, but the Overture is certainly familiar and a frequent filler in recordings. What makes this release an event is that a “provincial” US orchestra is daring to record standard repertoire in glorious sound, challenging many classic recordings with ease. As with two earlier Reference Recordings releases, “The Tempest” (combining Sir Arthur Sullivan's and Sibelius' incidental music to Shakespeare's play) and "Britten's Orchestra" (Sea Interludes and Passacaglia, Young People's Guide and Sinfonia da Requiem) Michael Stern leads the Kansas City Symphony in a sumptuously recorded and generous all English program.

Vaughan Williams took the overture and 4 episodes from his 1909 incidental music to Aristophanes' play “The Wasps” to create the popular “Aristophanic Suite” in 1912. Vaughan Williams makes no attempt to recreate ancient Greece, but sets the play firmly in turn of the century England. “Wasps” as a play is witty and a bit absurd, thus the music follows suit. The Overture buzzes with all the vibrancy (and even a hint of menace) of a swarm of bees before launching into the swift, sea shanty inspired march. Stern takes the movement at a fair clip, faster than I am used to, but it does the music no harm.

The fine sound brings out all the pointillistic detail of the delicate march comprising the first Entr'acte. The hilarious folk song laced “March Past of the Kitchen Utensils” is suitably witty and absurd, with excellent tempo choices and much good humor. The second “Entr’acte” is in Vaughn Williams' more pastoral vein with languid woodwind and violin solos, lovingly executed and perfectly recorded. Hear the sweet violin solo at about 2:20 into the movement with the subtle wind counter-melodies clearly captured. A masterpiece of recording balance. Stern's final “Ballet and Final Tableau” is a model of swaggering hijinks, absurdity and charm. Stern keeps the schizophrenic music under tight control, but lets it dance and laugh as it needs to. Some performances plow through this section, but Stern's wise tempo keeps it going without a headlong rush.

Since the recorded competition is small but mighty (Boult, Previn, Elder, in the suite plus Handley and Marriner in the overture) this all around well done performance is the one to have.

From the achingly beautiful opening flute solo from Principal Michael Gordon, through the more agitated fantasia middle section and finally the harp laced reprise of the melody, Stern's “Fantasia on Greensleeves” provides a charming intermezzo between the two larger works. Never sappy, the fine sonics allow us to hear each note of the harp beneath the canopy of rich strings. A performance that is as jewel-like as the work itself.

Elgar's Masterpiece of the the variation form Variations on an Original Theme (“Enigma”) was composed in 1899 and immediately gained world wide popularity. The “enigma” is not so much the identity of the person portrayed in each variation, but rather what exactly is the original theme, since it is never actually played. Above all that, Elgar wrote some highly original and tuneful music.

Overall, Stern's reading is clear, well paced and thoroughly enjoyable. Some highlights are a powerful and energetic Variation IV (W.M.B), an intimate Variation VI (Isabel), beautifully blended woodwinds in Variation VIII (W.N.), a jolly bulldog-gruff Variation XI (G.R.S..and Dan the bulldog) and an evocative, colorful Variation XIII (xxx), with the Mendelssohn quote eloquently done by principal clarinet Raymond Santos. The chugging timpani, evoking the churning of a boat are stunningly captured as a texture as much as a sound.

And the ever popular Nimrod is a very model of English pomp and circumstance (I could not resist). The opening, chillingly pianissimo chorale is captured perfectly in this demonstration quality recording. Stern's Variation IX does not so much accelerate but progresses like a force of nature; the grand conclusion arrives in true British fashion with glory and nobility.. No annoying sentimentality or bombast here. The final variation, portraying Sir Edward himself is a fitting, joyous conclusion, Note the clarion clear organ pedals at the very end, which greatly enriches and emboldens the grand final chords, Maybe one or two of the great English ensembles and conductors have imbued this celebrated piece with a speck more Edwardian nobility, but Stern and KC have issued a modern challenge to the classic recordings of Sir Andrew Davis, Sir John Barbirolli and Sir Edward himself.

Praise and thanks to RR for the most thoughtful and informative booklet, only in English however. Each work is vividly described by Richard E. Rodda and each variation of “Enigma” is identified and illustrated with commissioned drawings by San Francisco artist Joel Fontaine. Readable, enlightening CD booklets are almost a surprise in this day of skimpy multi-lingual booklets or no information at all when listening to a download or music service.

Double praise Reference Recordings usual outstanding state-of-the-art engineering by producer David Frost and recording engineer Keith O. Johnson.

Don't know why, but the brilliant “Britten's Orchestra” release did not stay in the catalog for long, so grab this while you can. Lovers of English music will not want to be without it..

We Three Pugs 2012

It is that time of year again, as we have done since 2007 or so, our annual Christmas Greeting from all of us at the Palace.

We Three Pugs

(to the tune of We Three Kings)

We three Pugs of Orient are

Snuffling low we can not go far

Bellies dragging, tails a'wagging

Hounding the Milk Bone Jar

Oh! Oh!

We love treats and we love hugs

We love all 'cause we are pugs

Licking, sneezing, snoring, wheezing

Guide us to the warmest rugs!

Merry Christmas

Happy New Year

From Puggingham Palace

D & O

Joyce DiDonato: Drama Queens

There is no doubt that Joyce DiDonato is THE voice of our time, a consummate artist (and yes even an entertainer in the best sense of the word) at the very peak of her powers, enjoying every moment and note she sings. Other singers (Anna Netrebko, Angela Gheorghiu, Roberto Alagna, Dmitri Hvorostovsky come to mind) may be more household words, but often for antics outside the concert hall or for controversial, poorly received performances.

Joyce, (I have met her a couple of times; she is so down-to-earth and genuine I just have to call her by her given name) was in her element; she was home and thus gave a heart felt performance that was more an event and a happening than a straight concert recital. Those attending the sold out “Drama Queens” concert at the Folly Theatre are richer for it. Joyce was accompanied (a word that diminishes the contribution of this stellar group of musicians founded in 1979 in Amsterdam) by Il Complesso Baroocco, led by Russian violinist Dmitry Sinkovsky. The ensemble's founder Alan Curtis and Joyce have embarked on a project to resurrect long forgotten but once popular baroque operas. This concert (one of just three stops in the US) is a culmination of the effort, along with the eponymous album recently released on Virgin Classics.

“Why do we adore these queens of the drama?” Joyce writes in the program notes. “The answer for me lies at the heart of why we love opera: we yearn to open hidden doors to the richest, most complex, utterly human and profoundly moving emotions that we may not be able to access when left to our own devices. The crazy plots and extreme circumstances of the operatic universe give us permission to to unleash our often too idle imaginations.” I rarely quote so much from the notes, but this short paragraph so perfectly sums up our experience upon entering the world of the operatic “Drama Queens”. Arias from composers both dear (Handel, Monteverdi) and obscure (Cesti, Porta) feature such grand Queens as Cleopatra and Orontea, Queens of Egypt;  Rossane, Princess of Persia and Ottavia, Princess of Rome were interspersed with instrumental interludes by Scarlatti, Vivaldi and Handel.

Highlights: "Disprezzata regina" from Claudio Monteverdi's "L'Incoronazione di Poppea" of 1643, a virtuoso aria where the Queen of Rome Ottavia spits out her jealously and bitter betrayal followed seamlessly by Giacomelli's “Sposa, son disprezzata”, the wife, Irene Princess Of Tresbisond, who is cheated and abused by the husband she loves. Then there was Cleopatra's aria "Piangerò la sorte mia" from "Julius Caesar." by Handel This aria was probably the most familiar to the audience received a most sympathetic performance. Joyce's runs and trills were perfectly clear and florid but never, never overwrought. Then in contrast was the obscure Giovanni Porta's “Madre, dileta, abbracciami” from his 1738 opera “Ifgenia in Aulide”. Ifgenia's heart and breath-taking aria “Mother, dearest, embrace me, I will never see you again” was grief and bitter resignation personified. Not a dry eye in the house.

Dmitry Sinkovsky, directing the ensemble from the violin, was beyond exemplary. He let the diva have her way yet he and his incredible ensemble were her equal partner. In the instrumental interludes (a couple of Scarlatti sinfonias and Handel’s passacaglia from “Radamisto”) Joyce sat among the ensemble, as if the Queen were enjoying her Consort of Instruments. Joyce let Il Complesso Barocco have the stage to themselves for an insanely vituosic performance of Vivaldi’s violin concerto “Per Pisendel”. Sinkovsky solo work almost (?? yes, probably) equaled Joyce' mind boggling virtuosity with his loosened pony tail and bow almost invisible in their flight. I closed my eyes and thought of Paganini.

Joyce and the ensemble treated the ecstatic audience to several encores, most notably the Orlandini “Col versar, barbaro!” from Berenice, Joyce milking the low, guttural “Barbaro” with her bronze lower range. After Joyce quipped “did you hear his (Sinkovsky's) hoedown in that last piece?” he then accompanied her final encore laced with the open strings of a Kentucky fiddler, bringing both Joyce and the audience to laughing tears.

It was that kind of evening.

Addendum: and the red Viviane Westwood gown was the 3rd star of the evening.

Hijinks! newEar Ensemble

My first contribution to I Care If You Listen a new web magazine devoted to contemporary classical music.

Hijinks! Kansas City newEar Contemporary Music Ensemble.

Cameron Carpenter, Organ

I just have two words to say about this concert:


My dear.