Tag Archives: Ravel


Scene&Heard: LexPhil’s Thunderous Season Opener

As the audience filed into the concert hall, the orchestra onstage made an unholy din. Tuning their violins, practicing one particular phrase on the trumpet, testing out the reeds on the oboes one last time, the Lexington Philharmonic prepared itself to open their 2017-2018 season. Performing at the Singletary Center for the Arts, Maestro Scott Terrell and the Philharmonic presented a program that lived up to the title of the concert, Bright. With a variety of works in several styles and ‘voices,’ the Philharmonic had a glittering evening at the start of their year.

The concert began with a contemporary piece by the American composer Michael Torke. Torke is known for his synesthesia—he sees colors when he hears music. This particular piece, called Bright Blue Music, is a clear and straightforward exploration of that color. The Philharmonic proved a guide through the work, with a performance clear and straightforward enough to direct the listener’s ears to the development and unfolding of the piece. 

Michael Torke | Photo by Brian Hainer

A simple theme developed with a particular rhythmic flair, and the development clear and direct enough that even the most novice listener can follow the progression from one movement to the next. (Whether the listener sees blue a somewhat subjective matter: the whole piece read as rather yellow to me.) The brass would occasionally overwhelm the strings, though whether this was a problem of composer or conductor is unclear. Energetic and simple, but with enough surprises— and banging timpani here, a snap of the snare drums to cut off the winds and emphasize the strings, a screeching wail of the horns and flutes there— Maestro Terrell and the Philharmonic kept the piece from the monotony minimalist and post-minimalist music is often accused of.

The first half of the concert, however, was dominated by the Grieg Piano Concerto. Guest soloist Joyce Yang, a young pianist who is part of an emerging generation in the process of shaking up sometimes stuffy concert halls, took to the front and center of the stage and immediately commanded her instrument.

Joyce Yang | Photo by KT Kim

Yang played with her whole body— hunched over the keyboard for staccato descents, practically rising out of her bench for the dramatic flourishes up and down the keyboard that predominate the concerto. She would keep time by flicking her head this way and that, directing visual attention to an emphasis on a certain chord or progression. Said emphasis was pounded in by the relentless thundering of the keyboard; Grieg is not a subtle composer, and both soloist and orchestra went for the full melodrama. The piano roared, howled, clamored, practically leaped out at the audience. Very little of the concept was played at anything less than full volume and intensity.

While I appreciated it from the back of the house, I did worry about the eardrums of those whose tickets placed them closer to the action. And that action was powerful— at the end of a particularly intense cadenza towards the end of the first movement, Yang slammed down the final chord and her entire body rocketed away from the keys, so intense was the emotion. The audience, somewhat caught up in it, spontaneously applauded between the first and second movement (an unusual breach of symphony protocol, it caught Yang and Terrell off guard, which she covered with a quick bow).

The thundering, however, became a tad monochromatic towards the end of the piece. The keys of a piano cannot be pounded indefinitely without at a certain point pulverizing all sensitivity of some listeners’ ears. While a quiet and subtle treatment took over the beginning of the second movement, it was soon back to a total sonic offensive. And in the last few minutes, the never-ending proclamations of melodramatic stampeding up and down the piano and through the orchestra began to run together. There are only so many crescendos a performer can make before they top out at the height of emotion and intensity.

Regardless of any quirks in interpretation, the performance of the concerto was filled with a kind of wild energy— partly from the slightly strange harmonic progressions of Grieg, which foreshadowed Stravinsky and the chord clusters of modern concept music— but mostly from the infectious power bouncing back and forth between Yang, Terrell, and the orchestra. Soloist and conductor were obviously familiar with each other, as Terrell had only to glance at the piano, and Yang had only to give one of her nods, to open up the bellowing sororities of the full orchestra. The performance was an obvious and immediate crowd-pleaser: Yang and Terrell gave some half a dozen bows to a standing ovation.

After the bows and ovations were concluded, the orchestra took an interval in which the technical crew replaced Yang’s piano with two harps and a handful of specialist wind instruments, a rather large choir joined the orchestra, and I furiously scribbled notes onto a writing pad.

Maestro Terrell dashed back onto the stage and immediately threw himself into the downbeat of the first piece of the second half, selections from Ginastera’s ballet Estancia.

This music was simply tremendous. In writing a ballet about Argentine farmers and cowboys, Ginastera hit upon the muscular and vibrantly beating heart of Latin American concert music, which more than any other tradition (at least to my mind) is written for the average listener to immediately grasp on to and not just understand, but deeply enjoy. While the second half of the evening was entirely ballet music— music written to dance to— Ginastera’s selections from Estancia were imbued with the kind of infectious danceability that quite literally gets people moving.

Even Maestro Terrell was affected, jumping up and down on the podium in his excitement for particular slams of the timpani, never more expressive than when Ginastera pins his entire dance rhythm to the drums. The percussion section as a whole did some really tremendous work with Estancia— using everything from a tambourine to a marimba to a bass drum that literally shook the seats, Estancia was not just a musical but a physical experience.

After the Dionysian delights of Ginastera’s dance music, the concert closed with the more Apollonian music of Ravel.

Full of coloristic flourishes and effective at creating an entire atmosphere from only a few rich chords, Ravel’s Suite No. 2 from Daphnis et Chloe is a distinctly French take on a Greek story. The impressionistic and almost totally a-melodic music of Ravel immerses the listener into a world of impressions, of not quite distinct color.

The orchestra carried off this task— not the easiest one— with aplomb. Aided by an extensive choir, the piece moved seamlessly from one overstuffed and pregnant bloom of chromatic color to the next. As a set of selections from a larger ballet, and as a more moment-to-moment composition than a more melodically dominated piece might be, it would have been dangerously easy for the orchestra to present a disconnected and incoherent series of flashes in the musical pan. The deft baton of Terrell, however, maintained a clean and clear pace throughout the piece, and his direction charted a course and current that connected the brightest climaxes and the quietest flutters of the flute into a single whole. The choirs, normally a focal point of attention for the listener, blended seamlessly into the tapestry of the orchestra, becoming simply another color in the palette of composer and conductor. The overall effect, while certainly magical, was artfully restrained and balanced. 

With a varied and virtuosic start to the season, the Lexington Philharmonic has proved not just worthy of their hall, but worthy of their audience. 

(Photos by Richie Wireman unless otherwise credited)


LexPhil Ushers in a ‘Culture of Curiosity’

In the grim and gloom of a particularly rainy September, the Lexington Philharmonic prepares to debut their 2017–2018 season. The first concert is titled, ironically, Bright. The season opening, held this Saturday (September 16th) at the Singletary Center for the Arts, has an energetic and bouncy program. In that sense, Bright’s place in the larger 2017–2018 Philharmonic season is like an opening fanfare to a  larger symphony: energetic, full of life, and the right mix of excitement and intrigue to keep listeners interested.

As the orchestra prepares to sound out its audience for the season, I spoke with the lead conductor and Artistic Director of the Lexington Philharmonic, Scott Terrell, about the upcoming concert, and about young people’s place in the concert hall.

The most notable feature of the program for Bright is the age of many of the performers. The featured soloist, pianist Joyce Yang, is a young and rising star in the classical music world, and part of the generation of young soloists who are redefining the concert hall. Maestro Terrell calls her part of “the changing face of music.” Her animated and expressive playing is a far cry from the stentorian proclamations of Gould or the other old masters of the form.

Yang will be playing the Grieg Piano Concerto. Even in a genre that is known for emotive solos, the Grieg is a particularly animated piece. (You can hear a performance of the concerto, in this case performed by Arthur Rubinstein, here to get an idea of the emotional range of the piece.) As Maestro Terrell notes, the Concerto is “a thrilling piece and a challenge for the soloist” to perform.

But Yang will not be the youngest of Saturday evening’s performers.

For the large-scale work Daphnis et Chloe, premiered over a century ago, the Philharmonic has selected the Suite No. 2 to perform. To do so, the orchestra has partnered with several area schools, including Lafayette High School. The collegiate choirs of Asbury University and Eastern Kentucky University are also joining the Philharmonic for the performance of the Daphnis et Chloe Suite. Inviting these choirs to perform with the Philharmonic, Terrell tells me, is “building audiences both on stage and as years progress.”

Terrell thinks of the audience as part of a broader community. While the old-fashioned idea of separation between performers and audience has fallen out of fashion, Terrell wants the Philharmonic to remain “ever-flexible and always relevant” to the wider community. To that end, the soloists for this season collaborate with the orchestra to serve as “ambassadors” to the world for their music, says Terrell. The incorporation of the young choruses for the performance of Daphnis et Chloe is a clear example of this musical diplomacy.

Inevitably, talk of younger performers invites talk of younger audiences. The symphony has an unfortunate reputation as a gathering place exclusive to the elder generation. While the Singletary Center, where the Philharmonic performs, is located on the campus of the University of Kentucky, a symphony is not a social event for the college on the level of a football or basketball game or Greek gathering. Nevertheless, Terrell says that the Philharmonic “is not a museum piece.” He emphasizes that there is an “openness and receptiveness of [the Philharmonic’s] audience” that makes the art of making music exciting. The Philharmonic takes full advantage of that receptiveness, he says, with the goal of creating a “culture of curiosity” among the audience. Toward that end, every concert this season will contain at least one piece by a living composer.

For Bright, that contemporary piece is a (literally) colorful composition. Michael Torke, an American composer, wrote Bright Blue Music in 1985, and the style of the piece—harmonically direct and simple, with a clear single development—reflects the emergence of American minimalism in the late twentieth century. Throughout the program, then, the Philharmonic will undertake a backwards motion, almost like a dive: from the contemporary sounds of Torke, through the early twentieth century impressionism of Ravel, and stop at the unreconstructed romanticism of Grieg along the way. In short, the concert will move quickly through a variety of tastes, and should contain something to satisfy even the most stoic listener.

The Lexington Philharmonic will debut the 2017-2018 season on September 16th, in a 7:30 PM concert held at the Singletary Center for the Arts. Tickets range from $25—$75 dollars, with $11 student tickets available from the day before, and at the door.

(All photos by: Richie Wireman)