It's essentially a
continuation of our February concert of Rameau, Arne, Mozart
and Haydn, picking up where we left off with more Mozart, and ending with
the thrilling Symphony No. 8 of Beethoven (which replaces the
Mendelssohn
Symphony No. 8 which was originally scheduled).
And, yes.....this may be our best concert ever.
The music is loaded with historical and stylistic details that criss-cross
throughout
the program. The opening work is a Gavotte (French folk
dance) by G.B. Martini,
an Italian who happened to be one of the young Mozart's teachers. It's a
delightful
work that many musicians recall from their student days, since there have
been
many different arrangements of it over the years. The orchestration we are
playing is by a French composer, to which I have added some extra woodwinds
and horns for a more "rustic" sound.
We are also performing a French art song by another Martini--Jean Paul,
who was
really German, though he lived and worked in France. It may
be confusing,
but there's no need to be concerned: the music is gorgeous. AND, as a matter of
fact, the song -- titled Plaisir d'amour ("The
pleasures of love") has something very
special about it which I think most of you will recognize immediately. I won't
give
it away now, but I think most of you will experience one of those "hey,
I think I
know that tune!" moments when you hear it.
In addition to the novelty of the music itself, Plaisir d'amour will be
performed in
a brand-new version which I wrote especially to complement the
exquisite singing
of our guest artist, the lovely and extremely talented young soprano Melinda
Alberty. I will only say that the quality of her singing is
something rare indeed.
Melinda will also perform two concert arias by Mozart, one of which
will actually
end the program; why? Because Mozart himself wrote it for a singer
(actually his
sister-in-law) to sing as a direct address to the audience as the final
number on
a concert---so we will honor the tradition. It's unbelievably lovely music, and
will
be sung directly to you.
Did I mention that we are playing TWO COMPLETE SYMPHONIES---one by
Mozart and one by Beethoven?! The Symphony No. 34 by Mozart is
perhaps
my favorite of all of his works in this form and, not surprisingly, it is not
that
well-known. It's in 3 (not 4) movements---the second, a lovely serenade
for
strings only, and a brilliant finale that seems to me a sentimental
tribute to his
early visits to Italy, where he studied with G.B. Martini. Very few, if any, of
our
players are familiar with it, but after two quick work-throughs in rehearsal,
they are playing it as if they have known it all their lives.
Then there's Beethoven's rollicking Symphony No. 8, one of the
"lesser" of
his output (yeah, right....) and the one in which he seems to be looking back
very lovingly but very humorously at the classical era of Mozart and Haydn.
Fascinating, especially since he himself was primarily responsible for the
demise of the classical style, as his own music became ever more bold
and dynamic....leading us into the Romantic style which dominated the
19th-century.
As always, I will introduce the works from the stage and demonstrate
various features of the music for you before we play. This concert has all
the makings of a truly memorable event: a combination of delightful music,
a first-rate vocal soloist, and the fascinating historical framework which
makes it all so much more compelling. And.....in addition to everything
I have mentioned in this column...there just might be one more surprise
that won't be listed on the program; you'll have to stick around at the
end of the concert to find out what it is. And you will be glad you did.
I look forward to seeing all of you this Sunday at 4pm; bring a
friend--
or two---or four!
Thanks for reading,
Larry
Monday, April 1, 2013
Sunday, February 17, 2013
COUNTDOWN to our February 17th Concert - Post #4 Final
Haydn ~ Symphony No. 95 in C minor
Franz Josef
Haydn is known as the "father" of the Symphony, since it
was he who took the various stylistic elements of his time and
essentially codified them into the familiar, 4-movement Symphonic form that became the standard for the next century.
And what wonders his 104+ symphonies contain! They are a vast treasure
trove for the musical world to revel in. Yet very few of his works are heard
at your standard symphonic concert any longer, which is a true pity.
But not at the NSO--- we play a Major Haydn Symphony every season and,
for some of us, it is the highlight of the year. Mozart's music may provide
a loftier experience, but Haydn's are more fun ---pure enjoyment from
beginning to end. And it shows in our performances.
The great #95 was written at the beginning of Haydn's big super-star
residence in London in 1791, during which time (over the course of
two lengthy residencies) he would compose his final twelve symphonies,
known as a group as the "London" symphonies. And #95 is my favorite of
them, and I've waited a long time to perform it.
It's the only one of the "London 12" that begins by immediately launching
into its opening Allegro, without a slow introduction---and a stormy and
dramatic one it is. But the contrasting secondary theme is light and
graceful--utterly charming. In fact, years ago, I must have walked
around for a whole two weeks with this melody in my head, without being
able to remember what it was; it's that catchy.
The symphony continues to amaze and delight throughout, with its graceful,
song-like variation second movement followed by the shadowy and fleetingly
tragic Minuet in C minor...which changes to the Major key for the trio section
in which Haydn awards the wide-ranging melody to the solo cello (expertly
performed, as you will hear, by the NSO's Dan Klingler).
And then there's the fourth movement, my favorite of all of Haydn's symphonic
finales, since I feel it is the most unique and special---- for reasons we will
demonstrate at the concert itself. Let's just say that the Latin inscription
which Haydn wrote on the final page of his works -- Laus Deo--- ("Praise
God") is particularly appropriate here in this finale.
See you at the Concert---- 4 pm on Sunday.
Thanks for reading,
Larry
was he who took the various stylistic elements of his time and
essentially codified them into the familiar, 4-movement Symphonic form that became the standard for the next century.
And what wonders his 104+ symphonies contain! They are a vast treasure
trove for the musical world to revel in. Yet very few of his works are heard
at your standard symphonic concert any longer, which is a true pity.
But not at the NSO--- we play a Major Haydn Symphony every season and,
for some of us, it is the highlight of the year. Mozart's music may provide
a loftier experience, but Haydn's are more fun ---pure enjoyment from
beginning to end. And it shows in our performances.
The great #95 was written at the beginning of Haydn's big super-star
residence in London in 1791, during which time (over the course of
two lengthy residencies) he would compose his final twelve symphonies,
known as a group as the "London" symphonies. And #95 is my favorite of
them, and I've waited a long time to perform it.
It's the only one of the "London 12" that begins by immediately launching
into its opening Allegro, without a slow introduction---and a stormy and
dramatic one it is. But the contrasting secondary theme is light and
graceful--utterly charming. In fact, years ago, I must have walked
around for a whole two weeks with this melody in my head, without being
able to remember what it was; it's that catchy.
The symphony continues to amaze and delight throughout, with its graceful,
song-like variation second movement followed by the shadowy and fleetingly
tragic Minuet in C minor...which changes to the Major key for the trio section
in which Haydn awards the wide-ranging melody to the solo cello (expertly
performed, as you will hear, by the NSO's Dan Klingler).
And then there's the fourth movement, my favorite of all of Haydn's symphonic
finales, since I feel it is the most unique and special---- for reasons we will
demonstrate at the concert itself. Let's just say that the Latin inscription
which Haydn wrote on the final page of his works -- Laus Deo--- ("Praise
God") is particularly appropriate here in this finale.
See you at the Concert---- 4 pm on Sunday.
Thanks for reading,
Larry
Friday, February 15, 2013
COUNTDOWN to our February 17th Concert - Post #3
Mozart - Piano
Concerto No. 15 in B-Flat, K. 450
Imagine hearing the young wunderkind Mozart himself, playing
one of his own brilliant piano concertos.....something which occurred
often during the Lenten season (that is, during February and March)
in Vienna, during the 1780's. Impossible to go back into time for such
an event, I realize.
However, you can experience something similar at Sunday's concert,
as young master Roger Shen takes charge of the proceedings as soloist
in one of Mozart's most delightful, tuneful concertos---a work which
Mozart himself premiered as soloist in 1784.
I will let each of you discover what lies ahead in terms of the pianistic
excellence on this program. The work itself is one of those Mozartean
miracles, every note of which is perfectly conceived and crafted.
The first movement begins with a jolly, jaunty tune played by oboes and
bassoons, which indeed gives the impression that the local town pipers
are on parade. This is only a precursor to the wondrous things which
follow, as the seemingly unstoppable flow of Mozart's genius continues.
The lyrical second movement is both simple and exquisite-- the orchestral
strings play a gorgeous, hymn-like melody, which the pianist
then repeatsImagine hearing the young wunderkind Mozart himself, playing
one of his own brilliant piano concertos.....something which occurred
often during the Lenten season (that is, during February and March)
in Vienna, during the 1780's. Impossible to go back into time for such
an event, I realize.
However, you can experience something similar at Sunday's concert,
as young master Roger Shen takes charge of the proceedings as soloist
in one of Mozart's most delightful, tuneful concertos---a work which
Mozart himself premiered as soloist in 1784.
I will let each of you discover what lies ahead in terms of the pianistic
excellence on this program. The work itself is one of those Mozartean
miracles, every note of which is perfectly conceived and crafted.
The first movement begins with a jolly, jaunty tune played by oboes and
bassoons, which indeed gives the impression that the local town pipers
are on parade. This is only a precursor to the wondrous things which
follow, as the seemingly unstoppable flow of Mozart's genius continues.
The lyrical second movement is both simple and exquisite-- the orchestral
and embellishes. That's basically all that happens in this movement....
and that's all you'll need to float off into Mozart's own vision of heavenly
bliss.
youthful font of genius---there are comic sequences, a miniature
bird-song exchange between flute, oboe and piano and at the very last minute,
a coda in which Mozart turns the entire orchestra and piano into a brisk and
articulate military marching unit, as the music concludes in a burst of festive
brilliance.
this was a work to make the pianist "sweat". It is indeed a mighty challenge
for a young soloist -- or any soloist (Leonard Bernstein considered it Mozart's
most difficult!). But I must say that, having rehearsed this great work in
detail with young Mr. Shen, you will definitely hear a performance of great
technical and expressive achievement. You might even imagine that you are
in the presence of the the young Mozart himself, as Roger Shen's ten fingers
duplicate exactly what Mozart had written for himself to play ....way back
in March, 1784.
Thanks for reading.
Larry
(Bernstein)
Countdown to the Concert of Sunday, February 17th - Post #2
Arne - Symphony
No. 4 in C minor
The attitude of England toward its own 'home-grown" composers has
been curious...over the course of 200 years (roughly 1700 to 1900),
the Brits have treated their native composers somewhat harshly, preferring
instead to import composers from other countries (Handel, Mendelssohn,
Dvorak, and..of course, Haydn, whom we will hear from later in our
concert).
Thomas Arne was a prolific and popular English composer whose contribution
to his country's own "classical" era was remarkable. He was known primarily as
a composer of stage works, many of which were produced at London's Drury
Lane Theater. His instrumental output is rather small, and his FOUR SYMPHONIES
are dated as a group from 1767.
This in itself is interesting, since Arne's 4th Symphony is a rather surprising work
in that it clearly points ahead some 35 years to the late classical or even the early
Romantic period. It's first movement is rather dark and stormy, with marvelous
contrasts in dynamics and texture.
The middle slow movement is also noteworthy for its austere beauty; during
certain passages, the music seems to "hover" as the gentle voices of flutes
and oboes gradually emerge and form themselves into lovely melodic phrases.
The Finale is light and gracious, and very "sweet" in its sound. And yet, there are
frequent reminders of the somewhat wistful, dark sound of the first movement,
prior to the symphony's vigorous and joyous conclusion.
Was it possible that Arne knew any of Haydn's early symphonies...some of which
are also dark and dramatic? It's not likely, since Haydn's strikingly bold early
scores were brand new when Arne composed his 4th. It's possible that Arne
was a more original and forward-looking composer than he is given credit
for....at least that's the impression created by this wonderful work.
I would guess that Sunday's performance of Arne's 4th Symphony will be
a Chicago-area first; the only performing version available was published in
1973, and I doubt that there's been any particular rush to play it. So,
as usual, the NSO is providing audiences an opportunity to hear an overlooked
but deserving work brought to life in performance---if only for its
brief "15-minutes" of fame (the approximate length of the symphony).
Thus far, the NSO has performed Arne's 1st and 2nd symphonies, leaving
only #3 for a future date. I love doing the "second-tier" works of this period,
providing that they have something uniquely beautiful about them. Arne's
4th is definitely in that category, and I can assure you that our performance
will be a superbly crafted and extremely committed one--- like everything
else the NSO does. We approach this work as if it's the greatest piece known
to man.....because for the 15 minutes in which we are performing it, it is.
Thanks for reading; see you Sunday!
Larry
The attitude of England toward its own 'home-grown" composers has
been curious...over the course of 200 years (roughly 1700 to 1900),
the Brits have treated their native composers somewhat harshly, preferring
instead to import composers from other countries (Handel, Mendelssohn,
Dvorak, and..of course, Haydn, whom we will hear from later in our
concert).
Thomas Arne was a prolific and popular English composer whose contribution
to his country's own "classical" era was remarkable. He was known primarily as
a composer of stage works, many of which were produced at London's Drury
Lane Theater. His instrumental output is rather small, and his FOUR SYMPHONIES
are dated as a group from 1767.
This in itself is interesting, since Arne's 4th Symphony is a rather surprising work
in that it clearly points ahead some 35 years to the late classical or even the early
Romantic period. It's first movement is rather dark and stormy, with marvelous
contrasts in dynamics and texture.
The middle slow movement is also noteworthy for its austere beauty; during
certain passages, the music seems to "hover" as the gentle voices of flutes
and oboes gradually emerge and form themselves into lovely melodic phrases.
The Finale is light and gracious, and very "sweet" in its sound. And yet, there are
frequent reminders of the somewhat wistful, dark sound of the first movement,
prior to the symphony's vigorous and joyous conclusion.
Was it possible that Arne knew any of Haydn's early symphonies...some of which
are also dark and dramatic? It's not likely, since Haydn's strikingly bold early
scores were brand new when Arne composed his 4th. It's possible that Arne
was a more original and forward-looking composer than he is given credit
for....at least that's the impression created by this wonderful work.
I would guess that Sunday's performance of Arne's 4th Symphony will be
a Chicago-area first; the only performing version available was published in
1973, and I doubt that there's been any particular rush to play it. So,
as usual, the NSO is providing audiences an opportunity to hear an overlooked
but deserving work brought to life in performance---if only for its
brief "15-minutes" of fame (the approximate length of the symphony).
Thus far, the NSO has performed Arne's 1st and 2nd symphonies, leaving
only #3 for a future date. I love doing the "second-tier" works of this period,
providing that they have something uniquely beautiful about them. Arne's
4th is definitely in that category, and I can assure you that our performance
will be a superbly crafted and extremely committed one--- like everything
else the NSO does. We approach this work as if it's the greatest piece known
to man.....because for the 15 minutes in which we are performing it, it is.
Thanks for reading; see you Sunday!
Larry
Thursday, February 14, 2013
COUNTDOWN to The NSO's FEBRUARY 17th CONCERT--- Post #1
Our next two concerts---Feb 17th and April
7th---are actually ONE
CONTINUOUS CONCERT, since they are in effect a chronological
journey through the latter half of the 18th-century (the "Golden Age"
of the Classical era) into the 19th, the dawn of the grand, Romantic
era.
Our Feb 17th program, like every concert we perform, will delight
and inspire you, I promise. We will perform FOUR works, and I
will "count-down" one work per day for the next four days.
Two Passepieds by Jean Phillipe Rameau
You may recall our opening work on September's French concert, the
grande, enchanting Suite from Rameau's opera Nais. After that experience,
I have decided that, whenever possible, the NSO must play something by
this fabulous French Baroque master, since his music is breathtakingly
beautiful.... I mean, really exquisite stuff!
Last fall, I discovered this delightful little dance from Rameau's tragic drama
Zoroaster ; it was one of those experiences where I had to hit the "re-play"
button on the cd player again and again; this miniature gem lasts less than
2 minutes, and I simply did not want it to end. (The passepied is like a
fast Minuet, and is usually associated with pastoral settings and characters;
this one is scored for 2 flutes and strings only...which is all it needs.)
Problem is, there's no available source for the actual music that I could find.
Luckily, though, we Internet users have a great new resource at our disposal--
an on-line music library which includes TONS of public domain (older) music
that you can view and download free of charge....and there's many of Rameau's
works available. I found Zoroastre in an old, 18th-century French edition, and
thus was able to locate the little Passepieds dance and transcribe it, using
the on-line music and a recording to fill in a few missing parts by ear.
Long story short: we will open our concert with this delightful, breezy little
dance, sort of a belated Valentine gift to our audiences.
Yes, it seems that...among other things...the NSO is now becoming the Rameau
orchestra of the Chicago area; this is music that is simply too good not to
be heard.
MORE tomorrow.......
Thanks for reading,
Larry
CONTINUOUS CONCERT, since they are in effect a chronological
journey through the latter half of the 18th-century (the "Golden Age"
of the Classical era) into the 19th, the dawn of the grand, Romantic
era.
Our Feb 17th program, like every concert we perform, will delight
and inspire you, I promise. We will perform FOUR works, and I
will "count-down" one work per day for the next four days.
Two Passepieds by Jean Phillipe Rameau
You may recall our opening work on September's French concert, the
grande, enchanting Suite from Rameau's opera Nais. After that experience,
I have decided that, whenever possible, the NSO must play something by
this fabulous French Baroque master, since his music is breathtakingly
beautiful.... I mean, really exquisite stuff!
Last fall, I discovered this delightful little dance from Rameau's tragic drama
Zoroaster ; it was one of those experiences where I had to hit the "re-play"
button on the cd player again and again; this miniature gem lasts less than
2 minutes, and I simply did not want it to end. (The passepied is like a
fast Minuet, and is usually associated with pastoral settings and characters;
this one is scored for 2 flutes and strings only...which is all it needs.)
Problem is, there's no available source for the actual music that I could find.
Luckily, though, we Internet users have a great new resource at our disposal--
an on-line music library which includes TONS of public domain (older) music
that you can view and download free of charge....and there's many of Rameau's
works available. I found Zoroastre in an old, 18th-century French edition, and
thus was able to locate the little Passepieds dance and transcribe it, using
the on-line music and a recording to fill in a few missing parts by ear.
Long story short: we will open our concert with this delightful, breezy little
dance, sort of a belated Valentine gift to our audiences.
Yes, it seems that...among other things...the NSO is now becoming the Rameau
orchestra of the Chicago area; this is music that is simply too good not to
be heard.
MORE tomorrow.......
Thanks for reading,
Larry
Monday, December 17, 2012
POST-CONCERT THOUGHTS......
The Northbrook Symphony joined forces with the Northbrook
Park District,
which sponsors the Northbrook Community Choir, on Sunday afternoon,
December 2, in the grand and glorious Techny Towers chapel for a
concert of seasonal music.
The space is really quite awesome, as resplendent and ornate a cathedral
as you are likely to find anywhere in the area. Its acoustics are also well-known,
with a reverberation time at about 7 seconds---which means that the space is
very reverberant and "live"; the final "pow" at the end of the Nutcracker
"Russian Dance" sounded like a sonic boom during rehearsals, but with a
FULL house (and yes, the concert was sold out and required extra seating installed
in the upper galleries), the sound was more contained, but lost nothing of its
power and depth; the audience reacted with great enthusiasm.
-----------------------------
A concert of Christmas/holiday music is something very special for me;
I select music that has some spiritual and/or sentimental element, and approach
the task it with care, respect, and a certain sense of reverence.
Some years ago, I was called in to program and conduct a pair of Christmas
concerts for a professional orchestra in the area, and was asked to "retool" their
typical concert format into something new. I did. Gone were the slick
arrangements that resemble shopping mall music, gone was the obligatory
visit from Santa clomping down the main aisle with his sack full of lame jokes,
gone were the typical popular sing-alongs ..... we did do a few singalongs
during the concert, but they were arrangements of sacred carols that I had
obtained especially from St Olaf's in Minnesota, where their annual Christmas
concerts are legendary. EVERY piece was chosen because of its personal
story, its warmth, its uplifting and sentimental value...something which was
unheard of in the standard orchestra "pops" routine.
The concert was a HUGE success; to this day, I still run into people who
say "that concert was truly special, unlike anything I've heard since." (it took
place, I think, 16 years ago). And I have found that in every similar concert
experience since then, the reaction been pretty much the same.
This is not idle boasting. My point is that I believe that what most audiences
really want is that rare opportunity to escape from the hassles and hectic
pace of their lives and find that special place where, for two hours, they
can share the warmth, the spirituality, and the sense of love and reverence
for the music of the season which, after all, reaches back into our youth...into
happier, more innocent times. And if the atmosphere and tone of the concert
are just right, that old magic is re-awakened and joins us together--
ALL of us--performers and audience alike.
I believe we achieved that sort of magic on December 2nd, aided in no small
part by the magnificent surroundings of Techny chapel; in fact, the space
demands that sort of respectful approach to both music and listener.
I cannot say enough about the superb performance of the Northbrook Symphony;
the sense of commitment and passion with which they approached Leroy
Anderson's "Christmas Festival" and the Holcombe "Festive Sounds of
Hanukkah" rivaled anything that we have achieved in performing the classic
masterworks of the repertoire. It might sound silly, but it's true. The reason?
I'm not sure, other than to say that if the music touches the human spirit
like these iconic traditional songs do, true musicians will sense it and put their
heart and soul into it.
The audience response clearly indicated that the power and splendor of the
music was amply conveyed. Even the three familiar dances from Tchaikovsky's
"Nutcracker" took on a new life, as the delicate, almost "mystical" sounds
of the Sugar-Plum Fairy and Arabian Dance echoed through the vast, reveberant
space surrounding all of us.
The NSO was also joined by the Northbrook Community Chorus and a number
of guest singers from area churches, performing seasonal music both new and
old.....all of it (except for one number) of an uplifting, spiritual nature. The
choruses delivered all that was asked of them (and believe me, I asked for the
MAX!) with the final, grandiose, fanfare and bell-ringing of "The Awakening"
bringing the performance to a stunning and rousing conclusion.
Again, my heartfelt congratulations to all of the performers, but especially to
my colleagues in the NSO, whose dedication and brilliance continues to
elevate all of our concerts--- popular or "serious"--- to new levels of
excellence.
Have a warm and wonderful Holiday season.
Larry R
which sponsors the Northbrook Community Choir, on Sunday afternoon,
December 2, in the grand and glorious Techny Towers chapel for a
concert of seasonal music.
The space is really quite awesome, as resplendent and ornate a cathedral
as you are likely to find anywhere in the area. Its acoustics are also well-known,
with a reverberation time at about 7 seconds---which means that the space is
very reverberant and "live"; the final "pow" at the end of the Nutcracker
"Russian Dance" sounded like a sonic boom during rehearsals, but with a
FULL house (and yes, the concert was sold out and required extra seating installed
in the upper galleries), the sound was more contained, but lost nothing of its
power and depth; the audience reacted with great enthusiasm.
-----------------------------
A concert of Christmas/holiday music is something very special for me;
I select music that has some spiritual and/or sentimental element, and approach
the task it with care, respect, and a certain sense of reverence.
Some years ago, I was called in to program and conduct a pair of Christmas
concerts for a professional orchestra in the area, and was asked to "retool" their
typical concert format into something new. I did. Gone were the slick
arrangements that resemble shopping mall music, gone was the obligatory
visit from Santa clomping down the main aisle with his sack full of lame jokes,
gone were the typical popular sing-alongs ..... we did do a few singalongs
during the concert, but they were arrangements of sacred carols that I had
obtained especially from St Olaf's in Minnesota, where their annual Christmas
concerts are legendary. EVERY piece was chosen because of its personal
story, its warmth, its uplifting and sentimental value...something which was
unheard of in the standard orchestra "pops" routine.
The concert was a HUGE success; to this day, I still run into people who
say "that concert was truly special, unlike anything I've heard since." (it took
place, I think, 16 years ago). And I have found that in every similar concert
experience since then, the reaction been pretty much the same.
This is not idle boasting. My point is that I believe that what most audiences
really want is that rare opportunity to escape from the hassles and hectic
pace of their lives and find that special place where, for two hours, they
can share the warmth, the spirituality, and the sense of love and reverence
for the music of the season which, after all, reaches back into our youth...into
happier, more innocent times. And if the atmosphere and tone of the concert
are just right, that old magic is re-awakened and joins us together--
ALL of us--performers and audience alike.
I believe we achieved that sort of magic on December 2nd, aided in no small
part by the magnificent surroundings of Techny chapel; in fact, the space
demands that sort of respectful approach to both music and listener.
I cannot say enough about the superb performance of the Northbrook Symphony;
the sense of commitment and passion with which they approached Leroy
Anderson's "Christmas Festival" and the Holcombe "Festive Sounds of
Hanukkah" rivaled anything that we have achieved in performing the classic
masterworks of the repertoire. It might sound silly, but it's true. The reason?
I'm not sure, other than to say that if the music touches the human spirit
like these iconic traditional songs do, true musicians will sense it and put their
heart and soul into it.
The audience response clearly indicated that the power and splendor of the
music was amply conveyed. Even the three familiar dances from Tchaikovsky's
"Nutcracker" took on a new life, as the delicate, almost "mystical" sounds
of the Sugar-Plum Fairy and Arabian Dance echoed through the vast, reveberant
space surrounding all of us.
The NSO was also joined by the Northbrook Community Chorus and a number
of guest singers from area churches, performing seasonal music both new and
old.....all of it (except for one number) of an uplifting, spiritual nature. The
choruses delivered all that was asked of them (and believe me, I asked for the
MAX!) with the final, grandiose, fanfare and bell-ringing of "The Awakening"
bringing the performance to a stunning and rousing conclusion.
Again, my heartfelt congratulations to all of the performers, but especially to
my colleagues in the NSO, whose dedication and brilliance continues to
elevate all of our concerts--- popular or "serious"--- to new levels of
excellence.
Have a warm and wonderful Holiday season.
Larry R
Wednesday, November 28, 2012
Sunday's (Dec. 2nd) Holiday Concert! (Part 1 of 2)
SUNDAY, DECEMBER 2nd ~ 4PM - TECHNY TOWERS/Divine Word Chapel
Part 1 (of two parts)
I assume you are all aware that the Northbrook Symphony is performing our
first-ever collaborative concert with the Northbrook Park District and the
Northbrook Community Choir, an organization founded 25 years ago by
choral director Susan Young.
This is an exciting opportunity for us, especially since we will be performing in
one of the area's most venerable spaces, the massive---and resplendent---
Techny Chapel on Waukegan Road. This venue is, from my standpoint,
ideal for presenting a concert that is both festive and solemn, as
befits the music of the season.
I understand that the acoustics are rather...ummm.....interesting...in that
the reverberation time is perhaps as much as 10 seconds (!) That's a
LOT of echo, folks! We rehearsed last night (Monday) in the big Gym at
Maple Elementary School--orchestra seated on the floor, choir in the
bleachers---and it all worked out very well. So we are now prepared to meet
the challenges of performing in the "Big T" (Techny). Should be
exciting.
ON THE PROGRAM-----
First, a selection of shorter Choral works, followed by the NSO playing
SIX (6) short works:
1.) The "Christmas Festival" by Leroy Anderson---well-known for his brilliant
Americana-style orchestral miniatures. I believe it was 1950 when, at the
height of his fame, he created this lovely fantasia on Christmas Carols that has
become a staple in every orchestra's holiday repertoire.
Most will regard this work as seasonal "fluff", but I find something profoundly
moving in it, since the carols and customs of Christmas...when treated with
the respect they deserve..embody the true goodness, joy, and warmth of the
human spirit. Honestly.
And wait 'til you hear Mr. Anderson combine "Jingle Bells" with "O, Come All
Ye Faithful" near the end of the piece; it is exhilarating.
2.), 3.) and 5.) --- Three Dances from Tchaikovsky's Nutcracker.
Yes, believe it or not, I love the standard repertoire as well as the rare gems.
You really have to step back and reconsider the "Nutcracker" to appreciate its
true brilliance and beauty. Tchaikovsky was depressed and wracked with his
typical self-doubt when he finished this work; before we play, I think I'll quote his
letter to his brother Modeste, in which he totally trashed his just-completed ballet.
It's impossible to imagine how he could have misjudged his own masterpiece so
completely.
I love working on these familiar dances in order to project their astoundingly
imaginative character: the delicate, shimmery, wistful Sugar-Plum Fairy, the
sinuous, exotic allure of the Arabian Dance and the robust, foot-stomping
(not too fast in tempo!) of the Trepak---complete with THREE (3) tambourines!
4.) -- Alexander Glazunov - Marionettes from Scenes de Ballet
Many years ago, my wife and I were driving around the neighborhood in
Whiting, IN, enjoying the Christmas decorations, with Chicago's former
radio station WNIB on the car stereo. It was then that I first heard
a most delightful orchestral miniature, which seemed to capture
EXACTLY the magical, sparkly joy of the Christmas season; and even
though the work has nothing to do specifically with Christmas, I will always
associate it with that happy holiday listening experience.
Now you can hear it for yourself. Glazunov was the heir-apparent to the
symphonic and ballet world in Russia which Tchaikovsky dominated. But
his music, successful as it was, is rarely heard outside of Russia. A few
years ago, I heard his gorgeous and thrilling ballet RAYMONDA, presented by
the Bolshoi Ballet at the Chicago Auditorium Theater-- and the name GLAZUNOV
was nowhere to be found in any of the ads or reviews! That's ridiculous, since
Raymonda is definitely worthy to stand alongside Tchaikovsky's three big ballets;
it is filled with lovely, tuneful, robust and romantic music.
We will be hearing more of Glazunov's music at the NSO's regular concerts.
But for now, please come hear this charming, delightful little miniature, which
deserves to be included amidst our selection of Tchaikovsky's far more familiar
bob-bons.
5.) William Holcombe - The Festive Sounds of Hanukkah
This medley of familiar Hanukkah songs has become something of a staple
for orchestras in the past decade or so. When I first heard it in concert, I decided
that I wanted to perform it as soon as I had a chance. It will serve as a "bookend"
to the Anderson Christmas Festival with which we began the program, since they
essentially follow the same model: a collection of traditional songs associated with
a sacred holiday observance. Though they can easily be regarded as pops "toss-offs",
I approach this work with a sense of reverence for the ancient traditions and customs
which are embodied in the songs themselves.
This arrangement, by the industrious Mr. Holcombe, is rather overblown in certain
ways; I spent many hours trimming down the orchestration, which was too thick
and "band-like" in many respects. In doing so, I think we have achieved a thing of
great beauty, which the NSO performs with the same sort of care they bring to
the typical symphonic masterworks.
The opening, march-like hymn Maoz Tsur is, as I understand it, an adaptation
of a Protestant hymn; it certainly has a sense of grandeur and solemnity about it.
The music becomes progressively faster and more dance-like in character, with
the familiar Dreidel songs (two of them) in Holcombe's colorful and exuberant
setting. There is also that unique Eastern-European sense of melancholy as the
work approaches its finale, which gradually leads to a majestic, bell-ringing return
of the Maoz Tsur hymn to close the work.
Exciting music, and a joy to present. I hope that you will come.
Larry R.
Part 1 (of two parts)
I assume you are all aware that the Northbrook Symphony is performing our
first-ever collaborative concert with the Northbrook Park District and the
Northbrook Community Choir, an organization founded 25 years ago by
choral director Susan Young.
This is an exciting opportunity for us, especially since we will be performing in
one of the area's most venerable spaces, the massive---and resplendent---
Techny Chapel on Waukegan Road. This venue is, from my standpoint,
ideal for presenting a concert that is both festive and solemn, as
befits the music of the season.
I understand that the acoustics are rather...ummm.....interesting...in that
the reverberation time is perhaps as much as 10 seconds (!) That's a
LOT of echo, folks! We rehearsed last night (Monday) in the big Gym at
Maple Elementary School--orchestra seated on the floor, choir in the
bleachers---and it all worked out very well. So we are now prepared to meet
the challenges of performing in the "Big T" (Techny). Should be
exciting.
ON THE PROGRAM-----
First, a selection of shorter Choral works, followed by the NSO playing
SIX (6) short works:
1.) The "Christmas Festival" by Leroy Anderson---well-known for his brilliant
Americana-style orchestral miniatures. I believe it was 1950 when, at the
height of his fame, he created this lovely fantasia on Christmas Carols that has
become a staple in every orchestra's holiday repertoire.
Most will regard this work as seasonal "fluff", but I find something profoundly
moving in it, since the carols and customs of Christmas...when treated with
the respect they deserve..embody the true goodness, joy, and warmth of the
human spirit. Honestly.
And wait 'til you hear Mr. Anderson combine "Jingle Bells" with "O, Come All
Ye Faithful" near the end of the piece; it is exhilarating.
2.), 3.) and 5.) --- Three Dances from Tchaikovsky's Nutcracker.
Yes, believe it or not, I love the standard repertoire as well as the rare gems.
You really have to step back and reconsider the "Nutcracker" to appreciate its
true brilliance and beauty. Tchaikovsky was depressed and wracked with his
typical self-doubt when he finished this work; before we play, I think I'll quote his
letter to his brother Modeste, in which he totally trashed his just-completed ballet.
It's impossible to imagine how he could have misjudged his own masterpiece so
completely.
I love working on these familiar dances in order to project their astoundingly
imaginative character: the delicate, shimmery, wistful Sugar-Plum Fairy, the
sinuous, exotic allure of the Arabian Dance and the robust, foot-stomping
(not too fast in tempo!) of the Trepak---complete with THREE (3) tambourines!
4.) -- Alexander Glazunov - Marionettes from Scenes de Ballet
Many years ago, my wife and I were driving around the neighborhood in
Whiting, IN, enjoying the Christmas decorations, with Chicago's former
radio station WNIB on the car stereo. It was then that I first heard
a most delightful orchestral miniature, which seemed to capture
EXACTLY the magical, sparkly joy of the Christmas season; and even
though the work has nothing to do specifically with Christmas, I will always
associate it with that happy holiday listening experience.
Now you can hear it for yourself. Glazunov was the heir-apparent to the
symphonic and ballet world in Russia which Tchaikovsky dominated. But
his music, successful as it was, is rarely heard outside of Russia. A few
years ago, I heard his gorgeous and thrilling ballet RAYMONDA, presented by
the Bolshoi Ballet at the Chicago Auditorium Theater-- and the name GLAZUNOV
was nowhere to be found in any of the ads or reviews! That's ridiculous, since
Raymonda is definitely worthy to stand alongside Tchaikovsky's three big ballets;
it is filled with lovely, tuneful, robust and romantic music.
We will be hearing more of Glazunov's music at the NSO's regular concerts.
But for now, please come hear this charming, delightful little miniature, which
deserves to be included amidst our selection of Tchaikovsky's far more familiar
bob-bons.
5.) William Holcombe - The Festive Sounds of Hanukkah
This medley of familiar Hanukkah songs has become something of a staple
for orchestras in the past decade or so. When I first heard it in concert, I decided
that I wanted to perform it as soon as I had a chance. It will serve as a "bookend"
to the Anderson Christmas Festival with which we began the program, since they
essentially follow the same model: a collection of traditional songs associated with
a sacred holiday observance. Though they can easily be regarded as pops "toss-offs",
I approach this work with a sense of reverence for the ancient traditions and customs
which are embodied in the songs themselves.
This arrangement, by the industrious Mr. Holcombe, is rather overblown in certain
ways; I spent many hours trimming down the orchestration, which was too thick
and "band-like" in many respects. In doing so, I think we have achieved a thing of
great beauty, which the NSO performs with the same sort of care they bring to
the typical symphonic masterworks.
The opening, march-like hymn Maoz Tsur is, as I understand it, an adaptation
of a Protestant hymn; it certainly has a sense of grandeur and solemnity about it.
The music becomes progressively faster and more dance-like in character, with
the familiar Dreidel songs (two of them) in Holcombe's colorful and exuberant
setting. There is also that unique Eastern-European sense of melancholy as the
work approaches its finale, which gradually leads to a majestic, bell-ringing return
of the Maoz Tsur hymn to close the work.
Exciting music, and a joy to present. I hope that you will come.
Larry R.
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