Premiere...

The Music at Emory Series presented a concert featuring the in-residence Vega String Quartet playing a varied program, including a world premiere.  The program began with Haydn's String quartet in D major performed by the Vegans.  This piece is dominated by the lovely second movement that brought out some sweet and darker sounds from the quartet.  Written in the 1790's, it shows that Hayden was beginning to develop melodies with longer lines,creating a kind of foreshadowing of romanticism.  AMC was a bit concerned during the first movement Allegretto as played here was teetering on the brink of a mini-violin concerto with string trio accompaniment.  It might be due to the composition itself, which gave the highest notes to the first violin with the remainder of the instruments playing in lower registers.  Or is could have been the result of a conscious decision of the performers to perform with this emphasis.  Or, of course, it could have been both.  For AMC it was a bit distracting.

This was followed by the world premiere of  Paul Salerni' String quartet 1.5.  (Scroll down to see AMC's interview with Mr. Salerni concerning this piece.)  This is a wonderful piece of music with  not-too-overpowering dissonances of the first movement and its repeated bowed chords that were slightly reminiscent of "The Rite of Spring."  The second movement, played without break from the first movement, was inspired by an Irish gig.  It totally worked- it was a jig with a classical accent, but a gig none the less.  The fourth movement titled "Intermezzo" is a gorgeous piece of latter-day romanticism.  It really caught AMC's attention with its lush sounds. This is one of those short moments that could easily be rescored for a larger chamber orchestra (or even full orchestra) and a successful stand-alone piece.  The final movement recapitulates the main themes of the previous five. This is a wonderful work that deserves to be heard again and again.   It does not have the easy humor of some of Mr. Salerni's other works, but its seriousness is profound and its soulfulness were touching.

The next piece was Salerni's "Regimen Sanitaus Salerni" composed in 2002.  It is a series of seven songs that were based on the a book of similar title dating from 1066 AD. The lyrics are humorous and even banal, but always fun when put in a modern context.  The soprano soloist was Stephanie Adrian, who was able to bring out the playfulness in the work.  Salerni's music provided a suitable platform the the lyrics.  For example, when the soprano is reciting recommendations for treating seasickness, Salerni captured a rolling sea quite nicely.  The work requires the soloist to sing lyrics quite quickly, and is some instances, quite loudly.  It all worked quite nicely and the piece is a bon mot in spirit and thoroughly enjoyable.

The final work was a transcription of Darius Milhaud's "The Creation of the World" for string quartet and piano.  The program gave no hint as to who might have done the transcription.  The piano soloist was Elenda Cholakova.  While the piece was nicely played here, this arrangement lacked the edge of the origina.  The lack of instrumental color, such as Milhaud's use  of the saxophone in the original, made this performance sound flat.  Milhaud was greatly influenced by jazz, but in this arrangement, the hard edge of that style was discarded in favor of less complex sounds.  Finally, too many passages sounded like warmed-over Gershwin (not one of AMC's favorites).  AMC's advice- stick to the original!

In unexpected places...

Here are brief reviews of two sort of unusual concerts.  They were unusual in that they were held in sort of unusual venues.

• The Atlanta Baroque Orchestra (ABO) had a "pop up" concert at the Museum of Contemporary Art in Atlanta.  Here is a description provided by the ABO:"The Atlanta Baroque Orchestra, the city’s preeminent ensemble for early music, is thrilled to announce the opening of its seventeenth season. On September 20th, 2014, the ABO will pop­up at in Atlanta’s foremost contemporary visual arts complex, MOCA GA, bringing together old and new in a celebration of Atlanta’s burgeoning arts scene. ABO Artistic Director Julie Andrijeski joins forces with Atlanta natives Evan Few and Antonia Nelson in a program of fiery, kaleidoscopic works for three violins and continuo by the likes of Gabrieli, Marini, and Purcell. Guest artists harpsichordist Adam Jaffe, also originally from Atlanta, and cellist Anneke Schaul-­Yoder bring the continuo (improvised harmonies and bass line) to life and complete the musical picture. " The room in which the concert hall was large, hard, and reverberant.  The displayed art was excellent and the ABO sounded wonderful. The first piece used "off-stage" strings, the sound of which was compelling.  Unfortunately a detailed program was not available, but maybe it did not really matter since the baroque catalogue is so large that much of it is unfamiliar to AMC and maybe others in the audience. But, the music of the Baroque is so wonderful, charming, and warm- and the ABO performs it so beautifully.  The most familiar piece was the final one- the Pachelbel Canon and Gigue.  Each member of the ABO described each piece before it was played, which was a nice touch.  There were about 300 people in attendance- maybe because the concert was without charge to the attendees.  Apparently the musicians were donating their time for which AMC is grateful.  Here are some photos: 
  
  
  
  
  
  
  
  
  
  
   
• The second concert was Emory's "Bach Under the Stars" with the Vega Quartet playing in the Emory Planetarium.  AMC, as a child,  loved going to a planetarium so this concert had an appeal.  The program began with the composer's familiar prelude to Suite for Cello No. 1 played competently by cellist Guang Wang.  Similar to the ABO concert, this one proceeded without benefit of a program.  Solo pieces were also played by Jessica Shuang Wu (violin) and Yinzi Kong (viola).  But the star of the evening was Domenic Salerni who played the Bach Chaconne.  Salerni plays with confidence and accuracy.  His stellar performance was made thrilling as the lights went down and the Zeiss star projector arose from the floor.  He continued to play in the total darkness.  It was the brightest performance AMC ever heard in the dark.  The acoustics of the planetarium were interesting.  In such a high- domed room, one might expect to hear odd reflections but since there are heavy velvet curtains surrounding the auditorium the sound almost became anechoic. The acoustic environment was warm but not reverberant so any poor bowing or intonation problems were highlighted.  fortunately, this was a minor issues for the Vegans.  Thanks to Will Ransom for getting AMC a ticket.  It was greatly appreciated.  Photos: 
  
  
  
  
  

Glass experience...

AMC attended Emory's Creativity conversation with Philip Glass.  In his mid 70's Mr. Glass has a world of experience and his oeuvre continues to grow.  He may be one of the most prolific and honored composers of the last half century.  He said that when he is asked what kind of music he composes he says he responds with "soundtracks" since most people can relate to that rather than if he said "string quartets."  Of course, he has composed for many films, including:

The Truman show:

        

Mishima:

       

Kundun:

       

Mr. Glass talked a great deal about his experiences with Nadia Boulanger, the legendary French composition teacher who influenced so many modern composers.  to find more about Ms. Boulnger, click here:  http://en.wikipedia.org/wiki/Nadia_Boulanger.  Glass seemed to have a tumultuous relationship with his teacher- he describes her as creating exercises that were frustrating and exhausting.  yet he stuck with her as did so many others who complained of her approach.

Another major influence on his style was Ravi Shankar (http://en.wikipedia.org/wiki/Ravi_Shankar) who had Glass transcribe into Western musical notation his Indian music.  Glass would indeed transcribe a part, give it to a musician, who then played and improvised on the written material (please forgive AMC for being less than facile with this description).  This became the mechanism that Glass used in his early music with the Philip Glass Ensemble- he would compose a line and then the musicians would elaborate on it.  By his own admission, he felt that Mr. Shankar had more warmth and heart than Ms. Boulanger.

Mr. Glass also spoke of his working relationship with musicians.  While an experienced musician himself, he is not as familiar with the challenges of playing each instrument.  Thus, when he composes he must rely on feedback from soloists regarding what works, and what doesn't.  He particularly called out Julian Lloyd Weber as one musician who was particularly helpful in given feedback about Glass' cello concerto.  He also noted that his Sixth String Quartet has been with the Kronos quartet for sometime as they try to iron out of its technical difficulties.

This conversation was guided by Richard Prior of the Emory University faculty.  Mr. Prior, a composer himself, will have his  '…of shadow and light…' (incantations for orchestra)  premiered by the Atlanta Symphony Orchestra on October 3, 2013.

 Mr. Glass has so much knowledge and experience that he can start a sentence a meander quite far afield and sometimes returning successfully to where he began, but not always.  It was wonderful to hear from such a great composer who has influenced modern music in so many ways.  Thanks to Emory for making this possible.

On September 27, 2013 at the Carlos Museum, the Vega String Quartet will  perform Twentieth-Century string quartet Masterpieces including works by Ravel, Bartok, Shostakovich, and Philip Glass’s Quartet No. 5. Contact Name: Arts at Emory Box Office. Contact Phone: 404-727-5050.  That evening, Mr. Glass and violinist Tim Fain will be presenting an evening of chamber music.  Fortunately (if you have a ticket) and unfortunately (if you do not), this concert is sold out!.

A Good spring shower...

AMC attended the next-to-last concert in the 11th Annual Madison Chamber Music Festival.  It was held at the beautiful Burge Plantation in Mansfield, GA.  The concert was underwritten, in part, by Donna and Ralph Blanchard, who are charming and generous hosts.

The program was a pastiche of pieces played in various combinations by Christopher Rex, cell, William Ransom, piano, and the Vega String Quartet.  AMC generally does not hearing just portions of works but in this instance, it did seem to work.  It was appropriate entertainment for a warm, overcast Spring afternoon.  The theme of the program was "It Takes a Thief," wherein the various pieces were tied together (very loosely) by the notion that composers and performers steal from themselves and others.

The program began with the Third Sonata  for Cello and Piano by Beethoven.  Click here for a complete perfromance of this work by the legendary Glenn Gould: http://www.youtube.com/watch?v=vUpBCO4TYfM.  AMCV did not particularly like this music.  It is Beethoven at a fever pitch of Sturm und Drang.   It seems like it tries too hard to be revolutionary, including with a lot of aggressiveness.  Messrs Rex and Ransom were effective, but the acoustics in the Burge Conservatory shine a spotlight on the performers and any intonation issues are sort of in-your-face.

The next piece was the first movement of Schubert's "Death and the Maiden" String Quartet.  AMC is a big fan of Schubert's talent in creating beautiful melodies.  Sometimes his music can lurch from one section to another, and   is evident in this piece. Even the false finishes toward the end are example of this, but  the music is melodious and it was played handsomely by the Vegans.  Click here for the first movement: http://www.youtube.com/watch?v=XoZJkkWX8Yw

Following the Schubert was the transcenmembers of the Vega Quartet. the Vegans.  For AMC, Bach's music almost creates the same hypnotic effect that is created by the modern minimalists and it enables one to dissociate- not a bad thing every now and again.   The variations were original composed for harpsichord and were played here using a transcription for a string trio by Sitkovetsky.  See, a reference to thievery. click here for a sample: http://www.youtube.com/watch?v=VtfJ62FeF4o.  This performance was first rate and the integration among the instruments was quite nice, the ensemble was quite good, evn given the acoustical focus of the room.

The first half concluded with a transcription of Delibes gorgeous Flower Duet from Lakme.  This is a thrice familiar work, but never seems to lose its glory, at least for AMC.  Mr. Rex, and Vegan cellist Guang Wang were featured.  Click here for a somewhat similar version: http://www.youtube.com/watch?v=r1EKCpGJ_6Q.  The playing here was beautiful, with each cellist making his instrument sing.  Mr. Wang particularly has a big rich tone.

The Beethoven Variations from Mozart's "Magic Flute" followed the intermission played by Rex and Ransom.  Then came Beethoven's beautiful Allegro appassionato movement from his String quartet in A minor, played by the Vega quartet.   This was followed by the fourth movement of the String Quartet No. 2 by Mendelssohn.   AMC is somewhat baffled by the recent downturn in popularity of Mendelssohn.  His music is melodic seemed to presage the work of later romantic composers.  Nevertheless, the Vega players showed their real strength in these two pieces. They blended very well  and played with such force that it is easy to see that they are not just technically gifted, but also very musically insightful.  Also nature cooperated with a wonderful rain shower, highlighted with peaks of sunlight, while the quartet was playing.  Timing, and location, are everything.

The photo is of AMC in front of the Enescu concert hall in Bucharest. 

The entire program concluded with a performance of a rousing transcription of Enescu's Romanian Rhapsody No 1.  Rex, Ransom, and the Vega Quartet seemed to have a jolly good time playing this colorful music.  AMC visited Romania a few years ago and remembers the pride that Romanians feel of their home town boy.  Everything was spot on in this performance, with all of the players seemingly  investing every ounce of their collective concentration on making this a piece to remember. They reached their goal.  Special recognition should go to first violin Domenic Salerni, who played with vigor, great technical skill, and a warm tone.  He also seemed to enjoy the music as much as the audience.  Click here for the orchestral version of the Rhapsody: http://www.youtube.com/watch?v=BbEM77uO4xA

This was a thoroughly enjoyable concert in a beautiful plantation setting.  What' not to like?  The event was sold out, which in today's classical music market, is quite a nice tribute.

AMC wants to thank all of the benefactors, musicians, patrons, and volunteers that made this program possible.