Kelly Corcoran is Music Director and Conductor of Intersection Contemporary Music Ensemble in Nashville, and Former Associate Conductor and Choral Director of the Nashville Symphony. Kelly attended the Boston Conservatory and Indiana University and is currently the conductor for a world tour of National Geographic’s Symphony for our World. Her guest conductor credits include The Cleveland Orchestra, and the Atlanta, Detroit, Houston, Milwaukee, and National Symphonies. UnderMain’s Tom Martin talked with Kelly for WEKU’s Eastern Standard program as she prepares for a marathon weeklong audition for the position of music director and conductor of the Lexington Philharmonic. Click on the image to listen.
You may not be familiar with the tragic love story of Tristan and Isolde, but I would wager that you could conjure up a quote or two from Shakespeare’s Romeo and Juliet, the play that inspired composer and conductor Leonard Bernstein’s West Side Story which catapulted him into the limelight as the music man for all seasons and confirmed his unique sensitivity toward popular culture, philosophy, literature, religion, and the politics of his times.
His 100th birthday (August 25, 1918) is currently being celebrated (until August 25, 2019) by orchestras, singers, and dancers in cities throughout the world, and Lexington, Kentucky has joined the party. In keeping with his genius, Bernstein said: “To achieve great things, two things are needed; a plan, and not quite enough time.” Tempus fugit I thought as I sat in the Singletary Center and listened to the University of Kentucky Symphony Orchestra’s (UKSO) April 20th Season Finale: Bernstein at 100!
Maestro John Nardolillo presented a remarkable program showcasing some of Bernstein’s greatest achievements, sharing the stage with five conductors, four choruses, eight soloists, and the UK Jazz Ensemble. Even the audience got in on some of the action. As Nardolillo opened the evening’s tribute with the Overture from Candide, it became clear to all present that “tonight, tonight, won’t be just any night.”
The Candide Overture is the shortest sonata form (ABA) I have ever heard. It commenced (A) with a tremendous burst of frenetic energy initiated by the brass and percussion, and rapidly spread into the strings and woodwinds as if it had gone viral. Then this structured chaos transitioned into a hymn-like movement (B) introduced by the strings and passed on to the other instruments before returning to the more energetic dance-like rhythms established by the horns and timpani at the outset (A). The piece was a single movement less than five minutes long but it packed a wallop, ending with a whimsical whimper and a bang. UKSO’s delivery helped assure its immortality.
Before the performance of the second work, Benediction from Concerto for Orchestra conducted by Sey Ahn, Nardolillo provided some context for what was not originally a part of the Concerto but later became its final movement. Benediction was written in 1986 for the grand reopening of Carnegie Hall where Bernstein had debuted 43 years earlier as a substitute conductor for the New York Philharmonic when he was asked at the last minute to step in for conductor Bruno Walter. The personal prayer he uttered to himself that night before raising his baton became Benediction.
The Benediction began with the brass, sounding at first like a call to arms but then a soulfulness prevailed building steam as it progressed from the oboe to the clarinet and the strings. At the conclusion, baritone Taeeun Moon’s contemplative vocalization of Bernstein’s prayer, in Hebrew, asks God to keep us safe, shower us with his grace and light, and bless us with peace. It seemed like a blessing for the evening’s program as well.
The remaining three works prior to intermission played strongly to Bernstein’s musings on philosophical and religious ideas and texts, with John Nardolillo (UKSO) conducting the Serenade and Three Meditations from Mass, and Jefferson Johnson conducting Cinchester Psalms, sung by four choruses: the UK Choristers (Elizabeth Wilson), the UK Women’s Choir (Lori Hetzel), the UK Chorale and the UK Men’s Chorus (Jefferson Johnson).
Bernstein’s philosophical Serenade, based on Plato’s Symposium, is a lively musical exchange on the subject of love. The conversation began with an eruption of discord and dissonance as all the instruments tried to speak at once. But then guest violinist Daniel Mason (Concertmaster of the Lexington Philharmonic) inserted himself into the squabble and engaged in a dueling duet with the principal cellist as both expressed their views with equal gravity.
Mason appealed to reason with his deftly rendered solo passages even though the xylophone and drums kept playfully interrupting the discourse. Near the end, however, all the instruments seemed to agree to disagree and Mason, with his virtuosic reciprocity, got the last word. So what is love? No one knows for sure. Socrates said the beginning of wisdom comes from understanding the limits of our knowledge. This was Bernstein’s premise as well.
Before the Three Meditations from Mass, Nardolillo announced the presence of two people in the audience who knew Bernstein personally and that guest cellist Benjamin Karp (principal cellist for the Lexington Philharmonic) had played under Bernstein’s direction at Tanglewood. This knowledge intensified the presence of Bernstein’s spirit for the remainder of the program. As for the three Meditations for cello and orchestra, the third movement, Presto, best captured that spirit.
The introspective and ceremonial musical elements introduced in the first two movements of the Meditations culminated in the third and Karp unified them with great strength. His skillful phrasing, subtle dynamics and bold accents were spellbinding. Rhythmic drums paved the way for Karp’s solo ruminations and when the gong sounded, the strings followed his lead into a shamanistic fury of dance, highly spiritual and celebratory. Then Karp imposed a cathartic sense of calm with a wistful melody before he engaged us with amazingly intricate bowing like an oracle intermittently disseminating words of wisdom. The drum and the harp accompanied the fading tones of his good counsel and left me in reverie, wanting to hear more.
When Bernstein composed the Cinchester Psalms, he specified that the second Psalm be sung by either a boy soprano or a countertenor. The voice of a boy soprano imparts a sense of innocence and spiritual purity, and a well-trained countertenor can sing with unrestrained clarity within the vocal range of a contralto or mezzo soprano. His voice resonates a distinct timbre simply because it is a male voice singing outside the limits of its ordinary range.
Although Bernstein’s Psalms are sung in Hebrew, we are all familiar with the biblical text. Jefferson Johnson conducted this demanding choral work as the combined choruses admirably rose to the occasion. The first Psalm calls for us to live joyfully; the third pleads for us to live in unity; the second, bridging the first and third, encourages us to travel through life with faith and courage. And countertenor Joseph Kingsbury delivered this Psalm with mesmerizing articulation, tonality, and agility: “The Lord is my shepherd, I shall not want.”
The second half of the program offered much lighter fare and focused on Bernstein’s compositions for theater, stage, and film which involved collaboration with with several lyricists, the two most notable being Stephen Sondheim and Stephen Schwartz. After Intermission, clarinetist Scott Wright, the UK Jazz Ensemble and conductor Miles Osland took to the stage with Bernstein’s Prelude (for the brass), Fugue (for the saxes), and Riffs (for everyone).
The Prelude was a jazzy, cool, and rhythmic exposition for the brass, drums, and bass. The mellow saxes teased each other unmercifully in the Fugue but were provided full support, be it point or counterpoint, in their individual and collective fugal moments. The Riffs ensued when Scott Wright (Professor of Clarinet at UK) took the lead with the big band sound as he masterfully interacted with everyone, fully engulfing the call-response format near the end that garnered the well-deserved acknowledgement he received from the ensemble and audience alike. I felt as if I had just been to church while heeding the call of the wild.
In the next segment, Nardolillo playfully interacted with the audience in a little practice for our participation in two numbers from the Symphonic Dances from West Side Story. Along with the chorus, and before the orchestra came back on stage (he wanted to surprise them), he had us snapping our fingers in the Prologue and yelling “Mambo” in the fourth movement by the same name. We followed through and did no harm—Bernstein would have approved.
The orchestra, of course, brought West Side Story back to life with these eleven Symphonic Dances. It made you want to sing and dance. Fortunately, no one tried but it set the tone for What a Movie from Trouble in Tahiti with Logan Blackman conducting and mezzo soprano Audrey Adams as soloist; Three Dance Episodes from On the Town, and Glitter and be Gay from Candide with James Burton conducting, and soprano Jessica Bayne as soloist.
Audrey Adams and Jessica Bayne both were both spectacular in their respective roles. They teased, they flirted, and cajoled with voices and drama worthy of both Broadway and the Metropolitan Opera.
Maestro Nardolillo conducted the final number of the evening’s performance, the heart-rending chorale finale, Make Our Garden Grow from Candide, with soprano Jessica Bayne, tenor Michael Pandolfo and Mixed Chorus. This duet between Candide and Cunegonde (characters from Voltaire’s French satire, Candide: Or the Optimist) was Bernstein’s message to us all: And let us try, / Before we die, / To make some sense of life. / We’ll do the best we know . . . / And make our garden grow.
Pandolfo’s and Bayne’s voices were sublime as they shared Bernstein’s impassioned plea full of sincerity and optimism. And as the chorus joined in, magnifying Candide’s and Cunegonde’s emotions, Bernstein’s plan to unite us and give us a glimpse of our humanity will continue long past his 100th. It doesn’t matter that the clock stops ticking, eternal truths keep on truckin’.
Bernstein had a strong affinity for young people and he would not have been disappointed in the exuberance displayed by everyone involved in this community-based collaborative centennial celebration of his music.
If you missed this magnificent Season Finale, you still have an opportunity to pay homage to Bernstein this fall. The Lexington Philharmonic begins its next season Opening Night: Bernstein & Gershwin on Saturday, October 20th at the Lexington Opera House (7:30 pm).
And remember, you can always get a bang for your buck with Maestro Nardolillo and the UKSO when they launch their 2018-2019 season program.
Photos provided by Sally Horowitz Photography
Live performance in any genre is a daunting challenge; for music, it may be particularly so, given the small idiosyncrasies of a hundred different categories that can produce massive differences in the audio quality of a performance. In their latest concert, titled Simplicity, the Lexington Philharmonic demonstrated their dedication to their craft, a dedication that is substantially devoted to executing each moment of music so precisely that small idiosyncrasies are banished from the concert hall. The result was an enjoyable, if not ecstatic, evening of music.
Maestro Scott Terrell made the somewhat unorthodox decision to start the evening with Beethoven’s Fourth Symphony (Beethoven is usually held in reserve for the final piece of most concerts, the idea being that the audience will be suitably wowed by the greatest of the composers just as they leave). Terrell, in his pre-concert talkback, noted that the Fourth Symphony is often overlooked, sandwiched as it is between the legendary Third and Fifth Symphonies (the Third being the Eroica, and the Fifth–well, the Fifth has that opening theme, “da-da-da-dum”). Terrell notes that it shows off a lighter side of Beethoven the composer.
As the symphony went on, I found myself focusing on individual performers: the violinist with a bright blue chin cloth, contrasting with the black and white uniform of the orchestra. There was the timpanist, highlighted standing against a deep red rear curtain. I noticed a violinist whose feet never touched the ground when she played. I was drawn back to the characteristic touch of the maestro, who likes to accentuate big strings hits with a magisterial point down in his left hand, arm fully extended like a steel beam, tilted forty-five degrees towards the floor from the shoulder.
There were without question some excellent moments throughout the performance. The moody opening, a low and rumbling B flat that left me looking around the stage in some wonder and not a little bit of anxiety. Immediately following was the first violin entrance, where the high strings give a direction and a sense of purpose to the moody ambiance. Towards the middle of the piece, the orchestra dropped away for the entrance of a solo clarinet, presaged by a rolling horn that stops and sustains a note; the clarinet entered on the same note, and the horn faded away, leaving a woody sound, in turn giving way to a clarinet melody floated over pizzicato strings towards the ears of the audience.
My favorite flourish, though, was an exchange between the violins and the timpani. The strings marked out a quick one-two pattern, answered by the timpani, uncharacteristically for the instrument but delightful nonetheless, rattling and rasping a reply.
Though less performed, the Fourth is certainly Beethoven, wide-ranging and expressive, and at times lyrical; Terrell is right that this is a lighter Beethoven than the brooding image conveyed by the Fifth Symphony or Appassionata Piano Sonata. The Philharmonic was finely tuned and gave a demonstration of the craft that’s required to even attempt a major symphony. But for this performance, though professional and enjoyable, the Philharmonic didn’t quite break above the clouds and reach the mountainous peaks of the truly memorable.
Following a brief intermission, the Philharmonic returned with their soloist for the evening. Mezzo-soprano Sofia Selowsky, a young and upcoming talent in the opera world, was to give her premiere performance of a modern American work, Dominick Argento’s song cycle Casa Guidi.
Argento, who spent a good deal of time in Florence, where Elizabeth Barrett Browning spent most of her married life, wrote this song cycle to express his deep connection to the city, and to the poet.
The composer, now 90, explained this connection to Maestro Terrell in an email, excerpts of which Terrel, in turn, read to the audience before the performance. Argento, whom Terrell calls “extremely sincere in his music-making,” taught Terrell, and the two were later colleagues at the Minnesota Orchestra.
Maestro Terrell chose Ms. Selowsky, a “consummate artist,” in his view, to perform with the Lexington Philharmonic after working with her at the Aspen festival.
Ms. Selowsky is obviously a dedicated professional as well as an empathetic artist. Speaking of Argento’s composing technique, she was quick to note that the music “fits the voice and fits the language in a really beautiful way.” She has an obvious affection for the piece, despite the fact that she had only recently learned it.
Ms. Selowsky, unfortunately, struggled somewhat in working with the orchestra. Throughout the cycle, but in the first two songs especially, the orchestra tended to overwhelm her voice. This made the whole form of the piece somewhat indistinct.
The third movement, however, with a quieter orchestra, permitted Selowsky to shine. She had a clear affinity for the quieter moments in the piece; as she told me in a pre-concert interview, the quality that drew her to this piece is that “the poetry is so intimate, even when you have a whole orchestra behind you.”
That expressive feeling eventually came through, as Ms. Selowsky leaned on some clearly well-developed dramatic chops, as well as an open and clear mezzo voice.
The fourth song was expressive and moving— a high and scratchy scoring in the violins lent a haunting and disquieting air about it, appropriate to a text that dealt with the pain of Barrett Browning’s estrangement from her father.
Sadly, the fifth and final song suffered from the same balance problem as the first two songs— when the orchestra shone, it easily eclipsed the soloist, whose voice couldn’t soar over the instrumentalists.
After a mixed performance of a modern piece, the concert ended on its strongest note, with a delectable performance of the Prokofiev Classical Symphony. The Philharmonic delivered it like a cupcake: perfectly fun, light and airy, with lots of sugary frosting on the top. Prokofiev has written some challenging and complex music— his Classical Symphony is neither. An example: the end of the third movement includes a cheeky button that elicited a soft chuckle from the audience. Prokofiev wrote a straightforward homage to the by-then bygone era of Haydn and Mozart, and it demands a disciplined touch to create the pleasant effect.
The Philharmonic’s craft and clarity of playing were remarkably well-served by the final piece. The opening movement was a light romp, a perfect palate-cleanser to start off the final piece of the evening. The slow second movement was a chance for the orchestra to display its lyricism and soulful spirit, and an easygoing melodious feeling filled the hall. A gavotte, a kind of moderately quick two-step, gradually turned up the heat in the third movement. With a breakneck dash to the finish line in the fourth movement, resting almost entirely on the nonstop violins, the Philharmonic finished the evening with a lovely send off for the audience.
The evening was not an unequivocal triumph. Throughout the performance, however, the Philharmonic played with a consistently high standard of quality, and there were plenty of moments where every element congealed into a flash of euphoria.
Even with its flaws, the Philharmonic remains an excellent orchestra always worth a listen.
President Trump’s proposed Make America Great Again Budget Blueprint eliminates funding for both the National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH). Both entities – created by the National Foundation on the Arts and the Humanities Act of 1965 – are being lumped into a category of programs ‘that just don’t work’, according to White House Budget Director Mick Mulvaney.
“A lot of those programs that we target, they sound great, don’t they? They always do. They don’t work. A lot of them simply don’t work. I can’t justify them to the folks who are paying the taxes. I can’t go to the autoworker in Ohio and say ‘please give me some of your money so that I can do this program over here, someplace else, that really isn’t helping anybody.” – Mick Mulvaney.
Also included in the list of programs that ‘just don’t work’ are the Corporation for Public Broadcasting (CPB), Environmental Protection Agency (EPA) and The Institute of Museum and Library Services (IMLS).
For the moment, let’s focus on the NEA. According to Americans for the Arts, the NEA’s annual appropriation supports a $730 billion dollar arts and culture industry, 4.8 million jobs and a $26 billion trade surplus for the nation. For Kentucky, the elimination of funding for this entity would result in a cut to programs supported by the Kentucky Arts Council – which, according to Nan Plummer, President and CEO of LexArts, would mean “a dramatic overall decrease in funding for the arts in Lexington, Kentucky.”
The Kentucky Arts Council (KAC) receives state partnership funding from the NEA (the only agency that so authorized). The KAC grants a combination of state monies and these NEA funds in the form of unrestricted operating grant to support to fifteen Fayette County organizations:
- Carnegie Center for Literacy and Learning
- Central Kentucky Youth Orchestra Society
- Central Music Academy
- Explorium of Lexington
- Headley-Whitney Museum
- Institute 193
- Kentucky Ballet Theatre
- Lexington Art League
- Lexington Ballet Company
- Lexington Chamber Chorale
- Lexington Children’s Theatre
- Lexington Philharmonic
- Lexington Singers
- and the Living Arts & Science Center.
Plummer further notes that while “these are not necessarily large percentages of these organizations’ budgets, a typical KAP grant of about $20,000 represents half a salary, which may represent an entire position. No people, no programs.”
Plummer acknowledges that we have been fortunate here in Lexington to have received a number of direct grants from the NEA. “In the last few years LexArts has been the successful applicant for funding for public sculpture and creative place-making like NoLI CDC LuigART Makers Spaces.” Other area organizations receiving NEA funds directly in recent years include Central Music Academy and Lexington Children’s Theatre.
The influence of art and the humanities is seen, heard and felt throughout the economy. An example is the Lexington marketing and branding company, Bullhorn Creative. Brad Flowers is its co-founder (along with Griffin Van Meter) and oversees day-to-day operations. He spoke with UnderMain’s Tom Martin:
Jane Chu is the 11th appointed Chair of the NEA nominated by Barack Obama and confirmed by the Senate in 2014. She states, “We are disappointed because we see our funding actively makes a difference with individuals of all ages in thousands of communities, large, small, urban and rural, and in every Congressional District in the nation.”
Apparently, a number in Congress feel the same. As noted in ArtForum, a bipartisan group of 24 Senators submitted a letter to the President calling for continued support of both the NEA and the NEH.
“Access to the arts for all Americans is a core principle of the Endowment. The majority of NEA grants go to small and medium-sized organizations, and a significant percentage of grants fund programs in high-poverty communities. Furthermore, both agencies extend their influence through states’ arts agencies and humanities councils, ensuring that programs reach even the smallest communities in remote rural areas.” -from the letter written by twenty-four bipartisan United States senators
The NEA and NEH cannot advocate for themselves as independent agencies of the federal government. We must do it for them. Arts professionals around the world are uniting in protest to Trump’s Make America Great Again Budget Blueprint. Americans for the Arts has issued a ‘Save the NEA’ Action Alert, encouraging each of us to contact members of Congress and reminds us that it takes only a few minutes of our time to do so.
President and CEO Robert L. Lynch states, “President Trump does not yet realize the vast contribution the NEA makes to our nation’s economy and communities, as well as to his own agenda to create jobs ‘made and hired’ in America. We know that the work on the FY2018 budget will continue until at least October 2017. Along the way, there are many points in the process where Americans for the Arts, with arts advocates and partners from across the country, will be united in communicating with Congress and the American people to make sure they know the impact of the arts in their states and districts and in our nation.”
The American Association of Museum Directors (245 art museum directors in the U.S., Canada, and Mexico) has also put out a statement in support of cultural organizations for whom these funds are vital.
“The arts are a shared expression of the human spirit and a hallmark of our humanity. Art touches people throughout their lives—from toddlers first learning about the world, to those with Alzheimer’s disease reconnecting with someone they love. Museums offer art programs to help teachers and homeschoolers prepare lessons, to train medical students to be better doctors, to ease the suffering of veterans with PTSD, and to share with people across the country the best of creative achievement.” – AAMD.
UnderMain is interested in your thoughts and comments, particularly if you are an arts professional working in Kentucky. Here are just a few additions; we will update as they arrive.
“Trump’s plan to eliminate funding for the National Endowment for the Arts, directly reflects his careless treatment of our country and all that we hold dear. The Arts provide an important space where diversity, inclusion, creativity, innovation, and risk-taking are celebrated and encouraged. Art is a reflection of our country and all of its people in the purest form. To cut funding for the Arts, is a statement on what this administration values, as they try to eliminate the very source of brilliance that has defined civilization since its very beginning.” – Stephanie Harris, Director (Lexington Art League)
“For half a century the American government has been using the NEA to fund and promote our best artists, writers, musicians, dancers, performers, filmmakers, educators, and an ever-widening class of creative thinkers. It is an honor to receive support from the NEA, which has helped to foster generations of artists who admire the US government for contributions toward strengthening American culture. The agency is a vital tool for maintaining positive relations with our most imaginative citizens. It would be a massive loss to our cultural legacy to see it lay dormant” – Joey Yates, Curator – KMAC (Kentucky Museum of Art and Craft)
Naked existence again.
Night encourages aggression.
Nothing engages anthem.
Nipple event announced.
Nausea exhibition anticipated.
Never endure absence.
New entertainment atrophies.
No excrement available.
Nudge abstract eating.
Nitwit executive asphyxiated.
Now eagerly applaud.
– Stuart Horodner, Director, University of Kentucky Art Museum
The Lexington Philharmonic continues the season November 13 at the Singletary Center for the Arts with Mozart and More. As the title indicates, the centerpiece of the evening is Mozart’s magnificent, mature and oft-performed 40th Symphony. Referred to many times as “the Great G Minor symphony,” this classic piece, composed near the end of Mozart’s 35-year life, stands in contrast to his 25th symphony, “the Little G Minor Symphony,” his only other symphonic work in a minor key. For this performance, Amadeus Mozart is in the company of Felix Mendelssohn, Dmitri Shostakovich and John Corigliano.
Joining UnderMain contributor Chip Sebastian for a chat about Mozart and More and the experience patrons can anticipate is LexPhil Conductor, Scott Terrell and musicians Stephen Campbell and Pei-San Chiu.
UM: Mozart and More. Just the title makes me curious. Why “More?”
ST: As ever, we’ve tried this season to offer a wide range of listening, showing many aspects of music and the wide range of the Lexington Philharmonic. In the course of a season, we wanted to establish a balance. We did Mahler, then went American with Time for Three. There are moments when we want to feature our artists, and this upcoming evening is certainly one of those times.
UM: If you needed a word to sum up the entire evening, what would it be?
ST: If I had to sum it up, it would be “Voyage.”
UM: Why “Voyage?”
ST: Well, the Corigliano piece itself is entitled Voyage, for starters. Mendelssohn’s Hebrides Overture is one of his finest works and it was composed while he was traveling through the Hebrides Islands. The whole evening has the sense of taking a journey.
Hebrides was composed by Felix Mendelssohn in 1830. Also known as “Fingal’s Cave,” the work was inspired by Mendelssohn’s trip to Scotland. The ten-minute piece, an overture, was dedicated to Frederick William IV, then Crown Prince of Prussia. The work was revised by Mendelssohn at least once after its premiere in London, and has been featured in many literary works and films.
UM: Hebrides is the first piece on the docket, correct?
ST: Yes. This is one of Mendelssohn’s most beautiful pieces. Dark, rich, and very different from say, Shostakovich, who can be very angular, percussive, dissonant.
UM: Mendelssohn always seems rich and textured.
ST: Yes. Like most composers coming from the Romantic Era, he has a full, rich sound. Emotional.
UM: A contemporary of Beethoven.
UM: It seems the programs are trying to balance the more harmonious with the more dissonant. Would that be fair to say?
ST: It’s more of a thematic thing. What pieces fit together to make a very interesting and dynamic evening. Like a good meal.
UM: Shostakovich’s Piano Concerto No. 1. Another interesting piece.
ST: Shostakovich will bang you over the head, while the others draw you into their worlds.
UM: This first piano concerto was completed in 1933, not so long after the Russian Revolution.
ST: Yes. Shostakovich had a bit of a slap on the wrist from the Russian aristocracy about an opera he had done not long before. He was trying to stay in good graces with this piece.
UM: He was well-established by then?
ST: Yes, but in the 1930s, he was still uncertain about being a pianist. Perhaps not as settled as later in his career.
UM: The pianist and the trumpet have major roles here. The featured pianist: Fei Fei Dong. Tell me a bit about her.
ST: Fei Fei was one of six finalists in the prestigious Van Cliburn International Piano Competition. She studies at Julliard and she has had nothing but glowing reviews from the many places she’s played. Her pedigree is very good. This is a real tour de force for a pianist. She’s a young and fresh talent and we’re glad to have her.
UM: The other featured performer, trumpeter Stephen Campbell, plays regularly with LexPhil?
ST: Yes, Stephen’s been around for awhile and he’s another wonderful talent.
UM: Do you feel there is a great story between the piano and trumpet?
ST: Absolutely. Certainly the pieces of this season have a protagonist and antagonist. Story is what makes it all interesting.
Stephen Campbell is the Principle Trumpet with LexPhil
UM: Stephen, what is your sense of the structure and power of this Shostakovich piece?
SC: The Concerto is a wonderful composition on so many levels. It’s one of the first major concertos to come from the Soviet era. Shostakovich was constantly falling in and out of favor with the Soviet censors based on their standards of decorum and aesthetics. One moment, he’d be awarded the coveted Stalin Award, the next he’d be publicly criticized. This is one of the compositions which brought him back in favor.
UM: Because of the focus on trumpet, is this a piece that trumpeters look to as a standard for performance? Something every trumpet player wants on their resume?
SC: The concerto is great for trumpeters because of the dramatic range required for performance. We have everything. The character of the second movement is really low. Someone, bourbon in hand staring off into the middle distance, contemplating life. There’s a real folksy section in the fourth movement, as well as a quotation from one of my favorite Haydn sonatas and a very exciting finish.
UM: You seem to be quite at home playing with LexPhil.
SC: Performing with the Lexington Philharmonic Orchestra is a thrill. I love performing high quality music with friends and colleagues.
UM: Thank you, Stephen.
SC: Thank you.
Resuming with Scott Terrell, we move to John Corigliano
UM: John Corigliano is a name perhaps unfamiliar to many.
ST: Yes. He’s probably most famous for the score to the film, The Red Violin, which featured Joshua Bell on violin.
UM: Great movie.
ST: Yes. John’s very prolific and Voyage is an early piece that demands a great principle flute and we certainly have one in Pei San.
Pei-San Chiu is the principle flute for LexPhil and is featured on Voyage.
UM: Pei-San, what are your thoughts onVoyage, in terms of the flute and the level of performance required?
PC: Voyage is the instrumental version of Corigliano’s choral work based on Baudelaire’s L’Invitation au Voyage. The timbre of flute and strings is very warm and comforting, which gives a new texture and atmosphere to the piece, just as it’s said in Richard Wilbur’s translation, “There, there is nothing else but grace and measure, richness, quietness and pleasure.”
UM: Wonderful to imagine. You’ve been with LexPhil for some time, haven’t you?
PC: I joined LexPhil in 2013 and this is my third season. It’s been such a pleasure to be in the LexPhil and work with my colleagues.
UM: It seems LexPhil has a wider range of endeavors with each passing season.
PC: Thanks to Scott, we’ve done so many great concerts with superb soloists, including classical, opera, film music, works with choral and Pops. As a flutist, I couldn’t be happier to play good music with my colleagues.
More on Voyage from Scott Terrell
UM: Voyage seems to be quite a contrast to Shostakovich.
ST: Exactly. John has done some of the most beautiful music for strings in the last few decades. This is a very warm piece and will work nicely after the dissonance of the Shostakovich. Compositionally, you hear a lot of Barber, Copland and Bernstein in John’s music.
UM: When you have a piece like this, with the artist still living, do you ever have interactions or brainstorming with the composer about the work or the performance of it?
ST: In this event, no. It’s interesting with composers: you never know if they are watching musical scenes around the country and the world to see if their pieces are being played.
UM: I suppose this would help keep the performance true, not knowing if the person who gave birth to the piece is watching and inevitably critiquing the performance.
ST: There is a sense of being true to the work and its composer.
UM: I know this is true with writers, when films are made of their books. There seems to be an understanding that the message or theme of the work, the writer’s original intent, is preserved.
ST: Yes. One can’t help but think about that when a performance is developing. I’ve done some of John’s pieces before. Gazebo, and The Red Violin. It’s all very listenable stuff, very pleasant to the ear.
UM: Do you ever wish you had the artist on standby when you perform pieces by living composers?
ST: That’s always nice, if possible. So often it’s not. I did meet John many years ago, when I was in Aspen as a student. Do I know if he knows the music’s being played? No. I had an experience along these lines with Jennifer Higdon, who is a modern composer, won many awards, etc. I was performing a piece of hers titled On a Wire with a group called Eighth Blackbird out of Chicago. I saw Jennifer at an event and introduced myself and she said Eighth Blackbird had been raving about the experience and she knew that we had performed it in Lexington. I was taken aback. You just never know who’s hearing what when.
UM: I know in dance the circles are pretty small. I would imagine the same is true in, especially, classical music.
ST: Yes. Definitely.
Mozart finished his 40th Symphony in 1788, along with the 39th and 41st in that same year. Even though the three final symphonies were written close together, there are marked differences between them. Mozart composed many other works after the 41st Symphony, “The Jupiter,” living another three years before succumbing to an illness at 35. Scholars still cannot agree on what actually killed Mozart, but it is well-documented that he was bedridden in his final days, and composing to the end.
UM: Mozart’s 40th Symphony is one of his best-known, most-beloved symphonic works.
ST: It’s the linchpin of the evening. Mozart in general is very different in terms of scale and performance. The sound is energetic and profound and really will make for a huge ending to the night. It’s important in any evening that we have that old performance idea of tension and resolution. The audience will certainly have enough tension with the Shostakovich piece with a little steam let off from the others. But the Mozart should really open the floodgates at the end.
UM: A lot of different styles in the evening.
ST: Yes, and the other interesting thing besides the difference in styles is that the composers are at different places in their lives.
UM: This was toward the end of Mozart’s life, but his life being so brief, he would have been approaching middle-age when this was composed, right?
ST: Yes. Noting his early death, there’s still a marked maturity in his later work. A lot more color and nuance that isn’t present to the same degree in the earlier, developmental material.
UM: It seems Mozart never stales, even two hundred-plus years later.
ST: It will always be great to hear and perform.
For information about LexPhil and tickets, click here.
Following strong success in September with Mahler’s 2nd Symphony, the Lexington Philharmonic is at it again. The next adventure is slated for 7:30pm, October 23rd at the Singletary Center for the Arts: American Soundscapes, an evening of (you guessed it!) American composers. LexPhil will open with the more familiar: Aaron Copland’s Our Town, taken from Thornton Wilder’s play of the same title, and George Gershwin’s Catfish Row Symphonic Suite from Porgy and Bess. But then, the program looks to present and future with a performance of Travels in Time for Three, a newer work by American composer and musician Chris Brubeck.
Maestro Scott Terrell spoke to us recently about the upcoming concert, the musicians involved, and his bold vision for our symphony.
ST: Yes. Plus they’ll have a drummer with them that night.
CS: How did this develop?
ST: Four years ago we introduced them here which is a huge undertaking, as they have become their own genre. The audience was blown away by their virtuosity when they were here before.
CS: And this was an opportunity to have them back.
ST: Yes. They are an ensemble that has opened a lot of people’s eyes and brought audiences a different sound. They relax the concert experience as well. When we had them here a few years ago, they did a series of pieces written for them and by them. Since then composers have taken on writing pieces for them, such as Chris Brubeck and Jennifer Higdon.
CS: Brubeck is the composer of Travels in Time for Three, correct? Nice play on the group name.
ST: He was a good choice for someone to write a piece with such an unusual group. Chris composes concert music and is a great trombone player and jazz player. He has pedigree with his father.
CS: Dave Brubeck.
ST: Right. Chris had a one-of-a-kind musical education growing up and he has come into his own as a composer. Chris is deeply trained in Jazz, but this concerto is so broad in its variety of styles. This is his first big piece on our programming. When we had Time for Three here last time, they said Chris had written this piece for them, it was really dynamic and they would like to present this here.
CS: Tell me more about the piece itself.
ST: At times the piece is very baroque, while at other times you might hear a Jimi Hendrix-style sound. Travels debuted in 2010, and calls for the three guys, plus a drummer.
ST: Gershwin was able to absorb the environment and create an opera that is definitely American, but is distinctly Gershwin in character. The honkytonk piano, the hurricane music with the ship bells, etc. All three composers had to adapt to their environment to create something new and fresh. There is also the sense of pushing boundaries away from the already-established.
CS: So, each of the pieces adapts to its times and perhaps pushes then-established boundaries, is that correct?
ST: Definitely. We forget that Copland was a big part of films and TV. Our Town was nominated for an Academy Award. It’s lesser- known Copland, but definitely his sound and color. It’s a lovely piece that doesn’t get performed very much; he adapted to his environment in the same way Gershwin did with Porgy and Bess. One would think Gershwin would not take on this subject-matter, being a composer from New York with so much ability and the experiences of the North. But, once again, we have that stepping-out-of-the-norm mentality, which is a trait that makes all three great.
CS: The pieces complement thematically as well as being new and older Americana.
ST: In all three of the pieces, you get a real sense of honesty. The intention of all three is very clear. They go together very well.
CS: And strongly American.
ST: American music is still Gershwin and Copland and in a newer, still-forming way, Chris. There’s a definite character in the sound world they create. They’re different, but American in their approach. Of course, Copland’s life and his output were tremendous: ballet, film scores, theatre, the versatility is unbelievable. He was also a product of his environment with his pieces for movies, which is where many composers found work and patronage. All three draw the best out of the orchestra. Genres gradually blur in these pieces. Today, Gershwin and Copland sound usual, because everyone has heard them and they have been labeled “The American Sound,” but they were daring in their day, just as Chris’s music is daring and expanding presently.
Below: Technical Sergeant Matthew C. Erickson performs Brubeck’s Concerto for Bass Trombone and Orchestra with the NEC Symphonic Winds conducted by William Drury. Recorded live in NEC’s Jordan Hall on March 6, 2014.
Brubeck is coming to Lexington later this season on New Year’s Eve to perform with his quartet. He’s written a lot of wonderful pieces, including one composed with his father concerning the photographer Ansel Adams.
CS: Travels in Time for Three. A new and different piece, I trust?
ST: The piece is 35-minutes, so it’s decent-sized. It traverses all of these musical styles that are emblematic of the American musical scene. Time for Three started out as students doing their own thing and have spiraled into composers seeking them out and writing for them..
CS: What is so appealing to you about this group?
ST: They’re a very versatile group that is capable of taking the audience through the many genres and the music Chris has created. It’s extremely virtuosic and interesting. You’d be surprised if you saw the three of them in a nightclub without a drum set. They’re all highly-trained musicians, world-class players in their own right. and they defy expectations and they’re committed to the music they perform. This community heard them a few years ago, but I wanted to bring them back for a more substantial collaboration. I like what they stand for. They can jam with anybody. They are comfortable representations of what’s happening in music now.
Here’s a clip of Time for Three at the Heartland Music Festival:
(Note: After 15 years with the trio, Zach DePue, has decided to depart Time for Three in order to to dedicate 100 percent of himself to his role concertmaster of the Indianapolis Symphony Orchestra. Zach’s successor is acclaimed solo violinist Nikki Chooi. According to the Time for Three website, “Nikki is appearing on selected dates with Time for Three during the 2015-16 season, fulfilling his schedule of international concert dates while starting to play as a full time member of the band. In coordination with his duties at the Indianapolis Symphony, Zach will intersperse appearances with TF3 throughout and until the end of the same season, helping Ranaan and Nick make the seamless transition. Nikki will take over fully beginning with the 2016-2017 season.” LexPhil confirms that Zach will be performing with the group in Lexington.)
CS: Can you tell us about other concerts that Time for Three will be performing while in Lexington?
ST: Right. It’s not just the average “drop-in and do the show” visit. They have the ability to connect with people in a very formal way, but also in a very grass-roots way. They are doing four pop-up concerts. One is the National Anthem at Keeneland on October 22. Another will be in the lobby atrium at UK Healthcare’s Chandler Hospital, and then another at Ethereal Brewing. They’re also performing our educational Discovery concert, currently sold-out with over 1400 students at Singletary. These students will experience how interactive and exciting Time for Three is to watch in action. And on Friday, October 23, the day of our concert, UK School of Music will host a Music Entrepreneurship Assembly with Time for Three. So, the Friday night concert is the culmination of many activities and partnerships that take place throughout the week.
CS: LexPhil partnered with UK HealthCare and the Saykaly Garbulinska Foundation for this concert.
ST: Yes, we’ve combined forces on a number of projects. It is really amazing, the connection between music and healing, and UK Healthcare recognizes the power of music and has worked with us for several years to bring live music into the healthcare environment. One of Time for Three’s appearances will be at Eastern State Hospital. The Saykaly Garbulinska Foundation is a supporter for this partnership as well as our bi-annual Composer-in-Residence program which will take place in April. We’re fortunate to have partners who have a deep appreciation for the arts in this community.
CS: It seems to be growing, getting stronger.
ST: We’re fortunate.
CS: Absolutely. Thanks again for your time and efforts, Scott.
ST: My pleasure.
American Soundscapes is October 23, 2015 at 7:30pm at the Singletary Center for the Arts. For the schedule of events and ticket info, please visit www.lexphil.org, phone (859) 233-4226 or email firstname.lastname@example.org.
As 2014 comes to a close, Lexington bids farewell with a welcoming: a special New Year’s Eve performance of the incomparable chanteuse, Ute Lemper.
The program begins with an orchestral Tribute Medley to the Moulin Rouge, concluding with Jacques Offenbach’s famous “Can-Can” from his satirical opera, Orpheus in the Underworld.
Ute Lemper takes the stage to perform classic French songs by some of the nation’s most beloved singers, Edith Piaf and Jacques Brel. After intermission, the show continues with the orchestral and cabaret selections of Kurt Weill and Bertolt Brecht.
On the selection of Ute Lemper as the featured soloist of the NYE Celebration, LexPhil Music Director and Conductor, Scott Terrell describes Ute as, “an internationally acclaimed chanteuse that I am honored to bring to the LexPhil stage this season. Her range of cabaret songs from Edith Piaf to Bertolt Brecht will dazzle the audience for a truly memorable New Year’s Eve!”
Ms. Lemper, a native of Münster, Germany, spent her first eighteen years there, before traveling the world, living in Paris, and finally settling in New York City, on Manhattan’s Upper West Side.
I chatted by phone with Ms. Lemper, concerning her upcoming date in Lexington, her many awards and talents, and what makes her tick.
You lived in Germany until you were 18. What made you leave at that time and pursue the arts?
I was in the original Viennese production of Cats after studying in Vienna in the early 80s. This was after I graduated from the Dance Academy in Cologne and the Max Reinhardt Seminary Drama School in Vienna.
And this led to other opportunities?
Yes. Particularly playing the original European Sally Bowles in Cabaret. This was in Paris. Then Velma Kelley in Chicago. We did that in London and New York, and I won the Olivier Award in London for the performance.
Then voice-overs for films dubbed for German-speaking audiences?
They called me to do the voice of Ariel for Disney’s Little Mermaid and for Esmeralda in The Hunchback of Notre Dame for the German-releases, yes.
But, more than anything, you’ve become known for singing Kurt Weill, Edith Piaf, Jacques Brel, and singers who have seemed absent in the last generation. Is that accurate?
I have quite a bit more in my repertoire, like show tunes and original songs I’ve written. As a matter of fact, I’ve been writing a lot more of my own material in recent years, but I became known for singing the songs of these artists. I put out an album in 1987 called Ute Lemper sings Kurt Weill, and it was a huge success. In the early-90s I followed it with a second album of Weill’s songs and it did well too. I do Weill songs in my performances, among other pieces.
What do you feel is the common thread in your performances? What are you trying to achieve?
One common thread is to make a journey through time, to bring people on an historical journey. Making classical sounds more contemporary. But I have also fallen into this niche of keeping alive many songs that have fallen by the wayside or in some cases were purposely forgotten.
Yes. Like many of the Weill songs, which were abandoned in post-war Germany because they reminded the people who lived through those times of the horrors. It’s only many years later that they can be reflected upon and brought out into the light. The wounds were too deep for decades.
I imagine you feel a strong connection to this, having grown up in post-war Germany?
Yes, it is part of my heritage, but this also happened when I went to live in Paris.
When I lived as a Parisian, I found myself becoming an ardent pupil of the French chanson. As a result, I have incorporated many of Edith Piaf’s songs and Brel’s pieces into my show.
For a sampling, here is Ute performing Piaf’s La Vie en Rose.
So you’ve become something of a torchbearer for these artists who may very well have been left behind?.
I’m not sure if they would have been left behind, but each of them speaks to a certain time and place and the music is very good. I feel drawn to these more cabaret-style pieces. At one point I was a dancer in Maurice Bejart’s company. I paint. I have many creative and artistic outlets, but the song is what I’m really known for and what I do the most. And with my performances, they are a mish-mash of many songs, with many histories behind them. Many of the songs from one artist can sound and feel different, however. Weill is a good case in point. Like so many of his contemporaries, he had the first half of his career in Europe, then came to the States. The songs from later in his canon have a different feel than those earlier songs. This is what cabaret should be: a blending of many different tones and feelings for variety and appeal.
(Ute was part of the German reunification of artists after the Wall was torn down in 1989. She performed in Roger Waters’ staging of Pink Floyd’s album The Wall, celebrating Germany’s historic move toward peace and solidarity.)
You were part of the German unification after the Wall fell?
Yes. It was and still is a complicated process, unifying the artists from East and West. While it’s had its challenges, there has been no other day like it in history. Unbelievable and overwhelming. Most artists had difficulty even expressing the feelings of it in their work, it was so intense and powerful. I wrote a song, Ghosts of Berlin, concerning it.
Do you feel the unification has been good for Germany, 25 years past the demolition of the Wall?
Absolutely. Today we face other issues, like Solidarity tax.
When the Wall fell, a Solidarity tax was imposed on West Germany to rebuild East Germany. While this was supposed to last only a few years, to get East Germany on their feet, it continues to this day. While West Germans are perhaps bitter about the tax, there is no doubt that the freeing of East Germany, and the money used to rebuild it from the West is nothing but a success story. Sadly, this cannot be said for many similar situations in the European Union.
Do you feel the wounds and ghosts of the past have healed and settled enough to bring out many of these songs in places so affected by wartime?
I did a concert with Zubin Mehta back in 1988. There were at least 50 holocaust survivors, people with numbers on their arms, that attended. One is not sure about the healing and settling, even with sufficient time passing.
What’s the next exciting step for Ute Lemper?
I’ll be doing a 70 years of liberation concert in Rome. I’m showcasing songs that were written in the death camps. Most are in Yiddish and German. I’m finishing up a great project with Paul Coelho called 9 Secrets, from his work, Manuscripts found in Accra. I did the original music for it, so I’m very excited about that.
I also released an album of love songs based on the poems of Pablo Neruda.
Ute, thank you so much for your time. Lexington’s lucky to have you for this special night!
Of course. Thank you!
Tickets to the New Year’s Eve Celebration range from $25-$75 with $11 student tickets as available. Special seating is also available for parties of four with bottle service of champagne at prices of $500 for cabaret tables and $600 for box seating. Price of the special seating includes one bottle of champagne. Bottle service is limited to ticket holders over 21-years of age. Valet parking is available for $10 per car at the Short Street Entrance to the Lexington Opera House.
A New Year’s Eve Dinner at Portofino’s will be hosted following the concert by LexPhil for $75 per person. Tickets include a three-course prix fixe menu and Champagne toast, and must be purchased in advance by December 26, 2014. 20 percent of dinner ticket is tax-deductible, as allowed by law, and will benefit LexPhil.
Ute Lemper will perform at the Lexington Opera House on December 31st at 7:30. To purchase tickets, click here, or call (859) 233-4226.
Physicist Brian Greene
The Lexington Philharmonic recently presented Heroes: Eroica and Icarus in the orchestra’s Lexington Opera House debut. UnderMain music writer Charles Sebastian chatted with renowned physicist Brian Greene who conceived this modern retelling of the Greek myth of Icarus, replacing the sun of the original with a black hole in space.
First, some background: Eroica or Heroic Symphony was composed in 1804 and originally dedicated to Napoleon Bonaparte, though Beethoven later changed his mind. Longer and more richly textured than contemporary symphonic works of its day, the Eroica stands as a breakaway from the classical forms that preceded it. LexPhil conductor Scott Terrell contends that it is for this reason the symphony makes good sense adjacent to the Philip Glass score for Icarus on the Edge of Time.
The novella of Icarus was published in 2008 and sets the well-known story in space with images from the Hubble Space Telescope. The Philip Glass score was commissioned by the World Science Festival in New York, the brainchild of Greene. It has developed a great deal of momentum since its inaugural year in 2008. The film accompanying Icarus was created by surrealist filmmakers Al and Al, with a narrative by Brian Greene and playwright David Henry Hwang, who is perhaps best known for his award-winning play, M. Butterfly. In the Lexington performance, Kentucky Poet Laureate Frank X Walker will provide the narrative.
Here’s Sebastian’s conversation with Dr. Greene, speaking from his office in New York City:
What was the germ of Icarus? The one thing that let you know this was the story?
“The Greek myth had fascinated me since childhood, but the deeper piece is about being willing to go against the norm. Being willing to break out of the box with science or with anything is essential to progress and these are the things that create a whole new world. Science is a great story of adventure.”
Why use the media of film and music for science?
“Melding film and music with these scientific ideas I feel teaches science in a deeper way. The recognition of how science affects our daily lives is essential to the quality of our lives and our knowledge of the world around us and ourselves.”
You’re known mainly for your scientific writings. Are you still teaching?
“Oh yes! I maintain my position at Columbia University as a professor of mathematics and physics and I have my graduate students. Writing was a hobby that took off. It makes for a busy schedule. Then there is the World Science Festival, started by me and my wife.”
What role, if any, does education play in Icarus?
“Icarus fits with the general perspective in all my books, which is that they must make science penetrating. The language of science is math and many people have to have it translated. The ideas of science can be big and hard to fathom, and no one wants to feel stupid. By educating through the arts, these ideas are more accessible to most people.”
Was this your first time working with Philip Glass?
“Yes. I didn’t know what to expect. We met on a panel some time ago, he probably doesn’t remember it, but I do, because it happened to be where I met my wife. I sent him a story after the discussion. That was ten years ago.”
That sounds memorable. What was the collaboration with Glass like?
“Highly collaborative. He really wanted to understand the science behind Icarus. He asked me down to his studio one night around 11 o’clock. He was trying to understand how a black hole functions; he was very thorough with his questions and stayed open to my thoughts. Fortunately, we live in the same city, so it was a quick trip to his place.”
Whose decision was it to bring David Henry Hwang into the project?
“Glass’s. He had used Hwang on many previous projects as a librettist and felt it would add to the overall impact if he had a role in the writing.
How many times has Icarus been performed at this point?
“The Lexington performance is around 25. It’s been around the world in places as exotic as Malta.”
Had you delved into theatre or film prior to this?
“Yes. I developed another show that ran for three performances called Spooky Action, which deals with the concept of quantum entanglement. It premiered at the World Science Festival here in New York.”
What is the main ingredient for Icarus that you feel has made it a popular piece?
“I believe it works on so many different levels. Boys and men like it because it is a hero adventure, but then there is the science that goes along with it, that makes it different than the myth from which it’s borrowed.”
It’s obvious in this case that science is affecting the arts. Do you feel your piece somehow affects science, in reverse order?
“It’s a two-way street. Icarus may open up more avenues in art and it might dovetail back into science and somehow affect processes within it. It’s hard to say, but I would like to think that would be the case.”
How do you find working in collaboration?
“It’s one of the things that most excites me: working in new forms with others. I can spread my own wings in ways that are challenging and new.”
Will we hear more about Icarus?
“A sequel is planned, hopefully to coincide with the 100th anniversary of General Relativity.”