James DePreist makes guest appearance in comic book

I've interviewed some young musicians, who will appear as soloists in the upcoming Vancouver Symphony concert, for a preview in The Columbian newspaper. One of the young artists, Nanao Yamada, told me that James DePreist appeared as a character in a Japanese comic book series called Nodame Cantabile. (Note: DePreist is the principal conductor of the Tokyo Metropolitan Symphony Orchestra.) This is a comic book series about a student who wants to make a career in classical music, and it's very popular in Japan. I googled it and found all sorts of links, including one in Wikipedia. Now that's a unique way to promote classical music!

Terrific Richard Paul Fink anchors strong Flying Dutchman production

A magnificent performance by Richard Paul Fink in the title role of Wagner's "The Flying Dutchman" on put a full wind to the sails in the Portland Opera production on Saturday evening at Keller Auditorium. Because I am writing a review of this production for Opera magazine, I can't put it in this blog, but suffice it to say that the strong cast, the top-level playing by the orchestra, and the inventive staging by Christopher Alden combined to create a thoroughly engaging "Dutchman." There are three remaining shows left (Tuesday, Thursday, and Saturday). Get a ticket if you can.

Columbia Symphony concert dishes meat and potatoes with gusto

The Columbia Symphony served up a rich, musical dinner last night in a program that contained the music of three major staples: Brahms, Beethoven, and Sibelius. Led by Huw Edwards, the orchestra performed Brahms' "Tragic Overture," Sibelius's Symphony No. 5, and Beethoven's Piano Concerto No. 2 with guest soloist Susan Chan. Overall, the concert had many satisfying moments, but the effect was marred at times by intonation problems in various sections of the orchestra.
The performance began with the Brahms' great overture and the interpretation by Edwards and his ensemble had plenty of verve to convey the conflicting emotions of hope and loss that run through this piece. The violins exhibited a warm, vibratant tone, but once in a while (for example, at the end of a descending scale) the section didn't agree on the notes. The brass played gloriously, although the horns seemed a little hesitant now and then.
Next on the program came the Beethoven concerto with pianist Chan, who played the piece eloquently, especially the slower second movement. I felt that the last movement, a lively rondo, could have used more spring in its step and need a slightly louder sound, just to give it more contrast. The violins again showed some slippage at times with their notes. The audience wholeheartedly responded to the piece with cheering and a standing ovation.
After intermission, the orchestra performed the Sibelius No. 5. There were some rhythmic roughness in the first movement, but I really enjoyed how the music came to a rollicking end. The ensemble successfully negotiated a number of challenging tempo changes, especially in the second movement. The brass sounded glorious for the most part, but they weren't flawless. All in all, though, the orchestra delivered an emotionally gratifying performance of this masterpiece.

Fun video of Portland Opera's Flying Dutchman set

Portland Opera shows a fun time-lapse video of its intricate and imposing stage setting for the upcoming production of Wagner's "The Flying Dutchman." It's too bad that the accompanying music to the time-lapse video isn't from the opera.

Pianist Susan Chan plays Beethoven with the Columbia Symphony

This Friday and Sunday, Susan Chan, who teaches at PSU, will play Beethoven's Piano Concerto No. 2 with the Columbia Symphony Orchestra. I asked Professor Chan a few questions via email and am including her responses in this posting:

How long have you been practicing this concerto?

I did my initial learning of the piece last fall, from around late September. Then because of solo recitals in December in Portland and in Asia, I put the concerto aside for a few weeks and picked it up again from around mid-January. I find it helpful in this way as it lets the music settle in me, and I approached it again with a fresh mind.

What is the hardest thing about this piece?

Every piece has its challenges and lovely parts. There are a couple of passages in the first movement that are tricky to play technically, when one hand is playing soft and fast sixteenth notes in an intricate pattern while the other hand is playing a completely different rhythm
that includes a dotted rhythm. Then the materials are switched between the hands. When I was studying Liszt's Mephisto Waltz, I said to my teacher of the time, Mr. Gyorgy Sebok, that it was a difficult piece. He responded with deep wisdom and a smile, "It will become easy." It was a little hard to believe it at the time, but of course he was right. The same applies to these tricky passages in the Beethoven concerto, that they have become easier over time. In general, the piece is pretty accessible. We'll see how it goes when rehearsing with the orchestra!

Do you like playing with orchestras more than recitals?

There is a certain excitement about playing with an orchestra that comes from the elements of unpredictability and spontaneity, something that is different from solo recitals. When performing with other musicians it sometimes feels a bit like playing a friendly tennis match with a crowd watching you. You are very prepared but need to flexible and respond spontaneously to what comes to you. Having said that, although one has more control when playing recitals, there are often surprises whether we like them or not! Whether it's playing with an orchestra or playing a recital, every performance is a different experience, as Heraclitus the Greek philosopher said, "You cannot step into the same river twice."

Anything else about the emotional content or background of the Beethoven concerto?

The concerto was first written as early as in the late 1780s, when Beethoven was a young composer; in fact, this was actually the first concerto he wrote but was published after the C major 'Concerto No. 1'.

There is a certain freshness and youthfulness about the work. Rather light hearted and elegant the first movement is Mozartean in character, although Beethoven's 'fingerprints' are already clearly found. For example, the piece opens with a forte blocked chord followed by a broken chord, something that is a very Beethovenian statement. The listeners may discover some stylistic differences in the cadenza, which Beethoven wrote in around 1809 for his pupil, Archduke Rudolph of Austria. This middle-period cadenza starts in fugato style, uses much counterpoint, and has an extended trill section. All these characteristics actually foreshadow his writing style in the late period. The gorgeous second movement is profound and prayerful. The finale is a witty rondo where the main theme has syncopated sforzandi.

Thanks Susan!

Susan Chan makes her debut with the Columbia Symphony Orchestra on a program that includes Brahm's Tragic Overture and Sibelius' 5th Symphony. For more information about this concert see, the Columbia Symphony's website.

Also, you can hear Professor Chan on a outstanding recording called East West Encounter. She plays the following pieces on a Fazioli piano:

- Ning-Chi Chen's "Cherishing Thoughts of Red Cliff"
- Alexina Louie's "Warrior" movement from "Scenes from a Jade Terrace"
- Ludwig van Beethoven's Sonata in E minor
- Franz Liszt's "Mephisto Waltz No. 1
- Cesar Franck's Prelude, Fuge et Variation
- Frederic Chopin's Sonata No. 3 in B minor

I know that Classical Millennium has this CD for sale.

Oregon Symphony 07-08 Season

For the past two years the Oregon Symphony has tried to alternate some regular concerts on just two nights rather than the old standard of three nights (Saturday, Sunday, and Monday). For example, the upcoming concert with the Portland Symphonic Choir is on Saturday, March 31 and Monday, April 2, but no concert on Sunday, April 1. It looks like that experimental scheduling didn't work out. Next season, all of the regular concerts are on back to Saturday, Sunday, and Monday. That will make things easier for the folks at the box office.

Also, it's interesting to note that the Classical A series offers more guest soloists than the B series. The B series, does offer Mahler's 9th and Mendelssohn's "A Midsummer Night's Dream" with the women of the Portland Symphonic Choir. I'm pretty sure that the orchestra has only done the instrumental version of the Mendelssohn, and I'm not sure that they've done Mahler's 9th. So, I'm glad that they've scheduled these works.

If you have some comments about the upcoming Oregon Symphony season (artists, repertoire, scheduling) , please make a comment.

Oregon Symphony does have kids concerts planned!!!!

I just talked with Michael Kosmala, VP of Marketing and Community Engagement at the Symphony. He said that a brochure is coming out this weekend for the family/kids concerts scheduled for next year! So, this is great news! This separate brochure will be targeted toward a specific audience that might differ from the audience intended with the initial, regular brochure.

Launch of Counterstream Radio

A new internet radio program called Counterstream Radio will be launched on March 16th. But the site is up and running with samples of new compositions by a variety of composers. I enjoyed a Bryan Johanson (composer, guitarist, and Portland State University music prof) recording a couple of days ago. So check out the web site!

The real opening ceremonies are slated for March 16th a 3 pm with an exclusive conversation between Meredith Monk and Bjork.

Cutting back on music for kids - errata

See posting on March 13th!
I've modified this posting to reflect that the kids/family series needs some attention!

Unfortunately the kids concerts series have not been well attended at all. My friends just heard to the Tall Tales concert on Sunday and said that it was delightful. In particular Ja'Ttik Clark's tuba piece was a real hit. But the Schnitz was less than half full.

It's sad to know that people aren't willing to take their kids to an entertaining one hour program that's reasonably priced. I think that this problem needs some more discussion. There's got to be a good way to reach out to children. Maybe smaller ensembles in other venues than the Schnitz is the way to go. What do you think?

Review of Windscape in the American Record Guide

My review of a concert by Windscape, a superb wind quartet based in New York City, is in the current (March/April) issue of the American Record Guide. The performance took place in late November as part of Chamber Music Northwest's fall-winter-spring series. The American Record Guide offers concert reviews in addition to its staple of recording reviews. The March/April edition also contains a thoughtful analysis of where to buy records and videos, and Portland's own Classical Millennium receives a nice mention on page 45.

Young Musicians to Compete Nationally

Three of Portland's very best young musicians will be competing next week at the National Solo Competition in Detroit. The three are violinist Becky Anderson, violist Matthew Cohen, and harpist Alexis Colner. The competition is sponsored by the American String Teacher's Association (ASTA) .

If you know these three musicians, please wish them well!

March Music - new concert series

A new concert series with free admission is starting in March at the new OHSU Center for Health and Healing (aka the Tram building at South Waterfront). Here are the particulars:

• March 7 at 7 pm - Jessica Black, piano & Sarah Tiedemann, flute

• March 14 at 7 pm - Arnica String Quartet

• March 21 at 7 pm - Janet Coleman, piano & Adam Lamotte, violin

Review of the Vancouver Symphony

My review of the Vancouver Symphony is in today's issue of The Columbian.

Angela Hewitt - at one wtih the piano

Last Sunday, Angela Hewitt breezed into town and gave a terrific recital of music by Bach, Beethoven, Rameau, and Chabrier. Sponsored by Portland Piano International, Hewitt played with sparkling intelligence and inspired artistry before a capacity audience at Newmark Theatre in downtown Portland. She also performed on a Faziolli piano (which is the brand that she favors) that sounded fantastic!

Hewitt began her program with Bach's French Suite No. 4 in E-flat Major. She seemed to shape each passage with elegance and charm. Sometimes she would make the sound in the bass line a little louder than the sound in the treble. Then she would seamlessly bring out the treble line. The music was crystalline but not brittle. It had warmth and elegance, but it was never cold and elitist.

Next came a wonderful interpretation of Beethoven's Sonata No. 3 in C Major. Again, Hewitt's playing was immaculate. I loved the way that she could kick a note with one of her fingers. Her transitions from soft, dreamy passages to stormy ones were effortless and completely natural. She didn't overstate the music in some wild way, but it had plenty of drama and beauty.

After intermission, Hewitt played Rameau's Suite in A minor in a way that made the piano sound like a harpsichord. The intricate closeness of the notes and the delicacy of the music made me think of someone who was braiding hair made of silk. Hewitt's subtle changing of tempi and the colors of sound made this piece fascinating.

The concert ended with two pieces by Chabrier. The first was "Trois Pieces pittoresques" and the second "Bourree fantasque." Again, Hewitt delivered a magnificent interpretation with stunning clarity and joyous lyricism. Her music-making takes you to a higher level, one that leaves you feeling that your life has just been enhanced.

Preview of the upcoming Vancouver Symphony concert

If you are interested in the Vancouver Symphony concert with guest conductor Mark Gibson (who teaches at the University of Cincinnati's Conservatory of Music) this weekend, check my preview in The Columbian.

Vajda steps in for Kalmar and hits a home run!

Gregory Vajda, resident conductor of the Oregon Symphony stepped in for music director Carlos Kalmar last Saturday and did some terrific conducting. Apparently, Kalmar was under the weather, so Vajda directed the challenging program that included Leonard Bernstein's Overture to Candide, Kurt Weill's The Seven Deadly Sins, Aaron Copland's Music for the Theatre, and George Gershwin's An American in Paris.

The concert began with the playing of the Nimrod movement from Edward Elgar's Enigma Variations as a memorial to the two young musicians who recently died in a car accident. I got the impression that Vajda started out with a case of nerves because he rushed as he read from a piece of paper and and asked the audience to refrain from applauding. But once he started conducting the piece, it was unhurried and smooth and full of melancholy. This is a piece that works well for Vadja because he directs without a baton and the calming effect of his hands seemed to make the playing very gentle.

Vadja displayed some energetic conducting when he launched into Candide, and the orchestra responded very well. I think that the softer passages could've been quieter and perhaps there could've been more variation in the tempi, but all in all, this was a real success.

When Vadja gave his talk to the audience about the remaining pieces, he was very funny, and I couldn't help but to recall Murry Sidlin, the former resident conductor of the orchestra. Vadja has a real knack for humor, his comic timing is innate, and he can quickly win the audience to his point of view. I only wished that he had told us who the guest concertmaster was. Perhaps we will find out later.

Vadja then led the orchestra in Weill's masterpiece, which skillfully combines irony and longing with a dash of humor. Soprano Lisa Vroman in the Anna, the woman with a double-sided personality, sang wonderfully throughout, and her German diction was terrific. The men who represented Anna's family sang music that evoked a sort of corrupted barbershop quartet. Bass baritone Richard Zeller, in particular, stood out as the "mother" and wore a French maid's apron over his tuxedo to boot. It seemed to me that when tenors David Gustafson and John Kolbet and baritone Kenneth Smithfield were miked when they sang their solo passages, but I wasn't sure.

Many members of the orchestra got a chance to show off their talents in Copland's Music for the Theatre. I loved Jeffrey Work and David Bamonte's trumpeting, Martin Hebert's elegant oboe passages, Todd Kuhns' woody clarinet, and the sassy brass sections.

Someone in the audience sneezed loudly three times at the end of the Interlude movement right when English Hornist Harris Orem played a delicate solo passage. After the movement finished, Vadja turned around and shouted "Bless you!" What a great response!

The performance of Gershwin's An American in Paris went very well, but it seemed that the slower passages could've been a little bit slower and most of the piece was medium loud to very loud.

All in all, I think that what Vadja accomplished was exceptional, and it's great to know that the Oregon Symphony can call upon him at the last moment to fill some big shoes.

In Memory of Two Musicians

As most of you probably know, two members of the Eugene Symphony, Kjersten Oquist, the orchestra's principal violist, and Angela Svendsen, the principal second violinist, were killed by a drunk driver just a few days ago. Both musicians were tenderly remembered in the Eugene Symphony's concert last night. You can read about this concert in the Eugene Register-Guard and in David Stabler's blog.

In his blog, daily observations, Charles Noble points out that being a freelance musician is very, very difficult and at times dangerous.

Ah, if we could just take some of the funding away from terrible things like the war effort in Iraq or the many private organizations that are benefiting from that war, and give that money to artistic purposes, life would be much better.

Another Profile

In the winter issue of the Portland State Magazine (the alumni magazine for PSU) I wrote a brief profile of Dawn Carter, the concertmaster of the Columbia Symphony Orchestra. I wish that I had had more space to write about her. She is a real dynamo who can juggle family (four kids), students, and a concert schedule. What a treasure!

Choices!

If I could only be two places at the same time! On Saturday evening, I attended Portland Opera's production of "Norma," but I had to miss the Astoria Festival Chamber Players concert because it also took place on Saturday evening. If only I could've detached one of my ears (like Mr. Potato Head) and placed it in concert hall at the Scottish Rite Temple while at the same time attending the opera at Keller Auditorium! Fortunately, I got to hear a terrific "Norma" with the incredible Brenda Harris in the lead roll as the conflicted Druid priestess. Unfortunately, I missed listening to William Preucil, concertmaster of the Cleveland Orchestra, Amy Schwartz Moretti, Joel Belgique, and the other top notch musicians in a special fund-raising concert for the Astoria Music Festival.

Since I write reviews of Portland Opera performances for Opera magazine, I had to witness the tragedy of Druid nation unfold at the Keller. But dang! To miss Preucil in a rare Portland appearance is practically a tragedy for those of us who are addicted to great music.

In the meantime, I found out from Fumino Ando, Oregon Symphony violinist, that her colleagues violist Jennifer Arnold and principal tubist JaTtik Clark have been in Detroit to play with the Sphinx Competition Orchestra. That's wonderful!

Back to Portland Opera -- if you want to hear a great rendition of Bellini's bel canto masterpiece, don't hesitate to purchase tickets to the two remaining performances.

Two more profiles of Oregon Symphony musicians

You can read about Oregon Symphony musicians Jennifer Arnold and JaTtik Clark on the cover of today's issue of The Portland Observer. This is an article that I submitted in December, but it didn't get published until today. I hope that you can find a copy. If not, you can find the article online at the Portland Observer website (www.portlandobserver.com). Just click Features and then Living Black History.