Musings on a Pops Program

Last Wednesday the Phil reconvened to rehearse for our upcoming Pops Benefit Concert. The concert, for those of you that don't know, will be Friday August 6th at 8pm in Queeny Park. Tickets are $10 for bleacher seats and $20 (which is a special Anniversary price!) for seats at a table. The program includes some real crowd-pleasers: Sousa marches, a John Williams medley, several Mancini charts, show tunes, and an Armed Forces salute.

It's a funny thing about pops concerts. As a musician you've probably played the tunes before but even if you haven't then you've certainly heard them. This is especially true with John Williams' movie scores (I mean come on, who hasn't heard the Star Wars or Indiana Jones themes for decades?). Despite the ubiquitousness of a lot of the music on a pops concert, most of it is still Just Plain Hard for many of the instruments. Certainly the brass get to show-off their best qualities but often the strings are scurrying around in high positions and leaping up and down the fingerboard while the woodwinds "noodle" as fast as they can. Ironically, the rehearsal period for pops concerts is usually much shorter than for a "normal" concert because.

What this means is that when we hit the ground on Wednesday night we were running at a full sprint. I don't know about the other musicians but I, for one, have got a lot of practicing to do this week so that Star Wars and Indiana Jones sound like Star Wars and Indiana Jones.

Filling the Gap: 3 Easy Ways to Enhance your Concert Experience

Since the Phil is on summer break right now, I thought I'd repost an excellent entry by a fellow blogger on what you, The Audience, can do to enhance your concert experience. The author, Josh Cutchin, blogs for the Cobb Symphony Orchestra in metro Atlanta and is a trained musicologist, journalist, and tuba player. Here's what he has to say:

“You can play the symphony on original instruments, with informed performance practices and in the actual hall it was premiered. You can even place lice in the hair of the audience. The one thing you cannot do is eradicate the listener’s memory of all the music they have heard since. You cannot take away their experience of Stravinsky or Jimi Hendrix.” – Maestro Esa-Pekka Salonen on remaining in touch with classical music tradition and engaging the audience

In the great debate of recorded music versus live performance, the latter is often burdened with the role of underdog. Since albums may be enjoyed in the comfort of ones home, paused, and replayed time and again, it follows – especially to younger generations – that the experience of attending live music be sufficiently justified.

When Jelly Roll first started thumping away at the piano, that justification was musical improvisation, accompanied by the knowledge that the live performance was unique and could never be repeated. When the Fab Four started touring, improvisation’s appeal was overshadowed by many factors including star power and the communal concert experience. Now, when the Stones take to the stage (in all of their Methuselahean glory), the draw of live performance is tied in part to that time-honored trifecta: sex, drugs, and rock n’ roll.

But what about before Jelly Roll? What was the draw in the days when Mozart was “playing sold out concerts”? Certainly not improvisation – orchestral music is (generally) a fixed medium. The audience experience is also much, much more conservative than that of a rock concert, and the notion of selling beer in a concert hall makes anyone snicker a bit. While popular music often brings a set of distractions to the table, classical music asks for you to accept it on its own terms – music for music’s sake.

What is it that compels concertgoers to seek out live classical music, especially when “the performance is identical” – to a layman’s ears – to that of a recording?

Classical music places a higher value on subtle virtues. To a trained ear, tempo variations and changes of phrasing can carry as much exciting “you-have-to-see-it-live!” verve as any improvised solo. Sadly, however, many of us don’t notice these changes, and American interest in orchestral performance has largely waned.

While many have debated over the years over how to revitalize and improve concert attendance, the truth of the matter is that American orchestras have gone well out of their way to ensure that performances remain entertaining in today’s culture of low-attention spans – from pops concerts to guest artists, to inventively fresh programming and even snazzy multimedia presentations. But the people in the seats, not the quality of the music, is what has changed. The onus therefore lies upon us, the audience, to engage with the music as fully as possible.

As per this charge, here are three simple ways to fulfill that obligation and, as a natural result, enhance the enjoyment of attending orchestral concerts:

1. Become familiar with the music. This is, perhaps, the easiest and most effective way of enhancing a classical performance. The aforementioned subtleties of phrasing and tempo are most obvious to those who have listened to the piece in question time-and-again. Popular music is easy to familiarize oneself with because of songs’ tendency to be short and repetitive; classical music takes more work, but the rewards are greater as well. By listening repeatedly to a composition prior to seeing it performed live, the differences between your “favorite recording” and the version presented at the concert become starkly apparent… and, honestly, you are much more capable of discerning what you did and didn’t enjoy about an ensemble’s interpretation. With the digital age bringing music to our literal fingertips – often for free, via such sites as pandora.com and grooveshark.com (my personal favorite, with music à la carte) – there is no reason why many of us, myself included, can’t become more familiar with classical music.

2. Purchase some opera glasses. A small, unobtrusive pair of binoculars can do marvels for bridging the gap between performer and audience member. Even as a musician myself, I am always enthralled at how fascinating it is to watch musicians play up close. In the back of larger halls, the orchestra members are often so small that the visual component of the performance is practically removed, save for movements that are writ large, such as bowing. Opera glasses allow you to witness some of the smaller movements – seeing an expression of musical reverence on a performer’s face or watching their fingers blister through a passage can bring about chills.

3. Bring a pocket score. Unbeknownst to many, music publishers often issue small musical scores known as “pocket scores,” usually available via the publisher and occassionally from local libraries. These small booklets contain the entirety of a composition, often fully orchestrated. This, of course, is easier if you happen to read music, but the scores can still be followed if one simply follows the instrumentation cues. For non-musicians, this can be an especially entertaining “behind the scenes” exercise. Ever wondered just what makes the music you’re listening to sound the way it does? All of your answers can be found within the binding of a pocket score. Check out Boosey & Hawkes’ extensive pocket score library here: http://www.boosey.com/pages/shop/prod_series_list.asp?seriesID=52

By combining any of the above, it’s virtually guaranteed that the concertgoing experience will be more engaging and enjoyable. Familiarity breeds affection, and by becoming more intimate with the music and the performance – be it through recordings, opera glasses, or following along in the score – classical music can truly come alive.

~ Joshua Cutchin

The original post can be found here. Thanks to Josh for his willingness to let me repost this great article!

Concert Redux

Last night was our final concert of the season. Despite the raging storm (which actually added some on-cue thunder and lightning!), several hundred people joined us for a fun evening of beautiful music.

We opened with the Berlioz Roman Carnival. It was bright, exciting, and quite the crowd pleaser. Next came Candide, which is always a favorite. The wind solos were electric and everyone really meshed for a performance of the piece that went off quite well. On to An American in Paris and That Trumpet Solo. Oh, that trumpet solo. It was like some kind of delicious, thick indulgence for your ears. Bravo to the whole brass section for a spirited and masterfully played rendition of a difficult piece.

After intermission it was Franck's Symphony in d minor. Now, Franck was an organist and I think you can really tell in the way he writes for the orchestra. To me it seemed like he was paying attention to the instruments' colors and ranges when composing this piece. For instance, the first violins often had the same melodic figure in the same range repeated throughout a movement. We were the pipes and stops of the orchestra-organ that made the high, clear sound he wanted for that melody. You could also tell he played a keyboard instrument by the way the violin part jumped up 3 octaves with no preparation or break! It was a tough piece but we pulled it off and the audience responded well.

After the concert Bob quieted the applause to make a special announcement. One of our 2nd violinists, Theodora, is moving. This is significant not only because we're a community and would miss any member who was leaving but also because Theodora has been playing in the Phil for 62 seasons. 62. That's not a typo. If you do the math you discover that she joined in 1948. I caught up with Theodora after our Thursday night dress rehearsal and asked about her experiences in the Phil. Here's what she had to say:

LP: How long have you been playing violin?

TM: Well, I started when I was 5.

LP: What's your favorite memory of playing in this orchestra?

TM: The whole thing is one beautiful memory. We've played with some wonderful soloists and accompanying them was inspirational.

LP: What's your favorite music to play with this group?

TM: Mozart. He's my favorite composer to play. His music is so precise and classical. I especially like the concertos.

LP: How has the orchestra changed since you joined?

TM: Oh, it's much better. The atmosphere has improved, especially under our current conductor.

LP: What will you miss the most about the Phil?

TM: I'll miss playing the music, all the wonderful composers. Every moment here was splendid. It's a privilege to play.

Theodora is a treasured asset to our ensemble and she will be missed. Most of us can only hope that we'll get to spend as many years as Theodora has in an orchestra like the Phil. When I joined the ensemble earlier this year several members told me that this group is special because of members like Theodora. This is an orchestra where people stay. They commit themselves to our community and the result is music made out of joy and love and friendship. I hope that when people come to our concerts they sense that. I hope that when you read about us you sense that too.

A brief update to tide you over

It's concert week and that means extra rehearsals in different places with more people. It also means that I, your faithful blogger, am busier than normal. In lieu of a thoughtful, lengthy post I'll instead update you on some things I mentioned last week.

Apparently when Dr. Macdonald received his gold medal on April 1st there were others at the ceremony also receiving medals. Who was he standing next to? Lance Armstrong, that's who. I think now it's safe to say that we definitely have a celebrity in our midst.

Last night was our third installment of cake (marble with buttercream again!). Our board president, Marilyn, told us not to get used to this kind of thing; I think once you've started down the primrose(ette) path of having cake at every rehearsal there's no turning back. Let's hope I'm right.

Look for a real post later this evening and check our Facebook page for action shots from tonight's dress rehearsal.

Gold Medals, Cake, and Berlioz

We are an orchestra that likes cake. Luckily we are also an orchestra that has had cake twice since the last concert and will have it once more before our next concert. The first time it was leftover cake from the post-concert reception celebrating our 150th anniversary (marble sheet cake with buttercream!). Tonight we had our second round (orange pound cake!) but it was to celebrate the accomplishments of one of our members.

If you look in the back of the viola section you'll find Dr. Hugh Macdonald contentedly playing whole notes and off beats.* During the day Dr. Macdonald is the Avis Blewett Professor of Music at Washington University in St. Louis. He's made his career studying the music of French composers of the 19th century like Massenet, Chabrier, Lalo, and Berlioz. He's the editor of the 26-volume (wow) New Berlioz Edition and is currently working on an online catalogue of Berlioz's works. In 2006 he uncovered a never-before performed opera by Lalo and prepared a performing edition which led to the opera's premiere. There's a lot more to Dr. Macdonald's biography and this post would be about a mile long if I tried to include everything. So, here's a link to his biography. He's a big deal and sort of a celebrity among Berlioz fans and musicologists.**

Tonight after we finished rehearsing the Roman Carnival our harpist, Sue, stood up and announced that Dr. Macdonald had recently been awarded a gold medal by La Renaissance Francaise, an organization that (according to Dr. Macdonald) "has been around for a hundred years or so and gives medals out to people they approve of." What they approve of about Dr. Macdonald is his life-long advocacy of French classical music. He's one of the first 6 Americans*** to receive this honor. It was bestowed on him April 1st at the French Embassy in DC. Here's a link to a brief article about the honor.

While we were all eating the delicious pound cake I asked Dr. Macdonald if the prize was an actual medal and he said yes, that it "looked like he'd fought in quite a lot of wars." We're hoping he wears it to our concert on the 30th. So if you see something glittering from the back of the violas that night know that it's because we have a celebrity in our midst.

*Because, you know, that's all violas ever play.

**He's also incredibly nice and quite the host.

***Well, maybe people working in America, since he's English.

Some Thoughts on Bernstein

As an undergrad I took a seminar on Leonard Bernstein. We covered his life, loves, successes and failures. I knew how he struggled to decide between a career as a performer, conductor, and composer. I knew that he had problems in his personal life that haunted him until his death. I knew he'd found success suddenly at a very young age but had suffered serious setbacks along the way. I left that class feeling like I really knew Bernstein on a personal level.

Now I'm sitting in the St. Louis Philharmonic and we're rehearsing the overture to Candide for our next concert (April 30th! 8pm! 560 Music Center in the Loop!). I've played this piece before but not since taking that seminar. It's a great piece but I'd never realized how you can see Bernstein in the work. Humphrey Burton's biography of Bernstein (which I HIGHLY recommend reading) gives you the impression that he was someone truly filled with life and vigor, so much so that it spilled out into his music. The Candide overture whizzes by at a mile a minute but still incorporates at least three major themes, a lot of different tone colors, and some really tough technical passages for the instrumentalists. The piece is exciting, lyrical, quirky, and fun. Maybe like Bernstein himself. Only someone as alive as Bernstein could do all the things that he did while life, like the tempo in the overture, was flying by.

For those of you unfamiliar with Leonard Bernstein's career, know that he rose to fame after conducting the NY Phil at a moment's notice when the scheduled conductor fell ill. He was in his 20's at the time. His career was split between conducting and composing, with performances as a concert pianist sprinkled in. He was an advocate for the newly formed state of Israel, a father of 2, the composer of West Side Story (along with several symphonies, a Mass, an opera, and smaller works), and a champion of music education (his Young People's Concerts with the NY Phil are still used in music classrooms). He did everything, saw everything, embraced everything.

Candide is an interesting part of Bernstein's career. It's a Broadway adaptation of Voltaire's satire and it was a flop. The story was too fragmented to work well as a musical despite Bernstein's brilliant score. Luckily for us the overture has become a standard part of the orchestral repertoire and is performed regularly across the country. You can even hear it performed right here in St. Louis by the STLPhil.

It's a fun piece to play. I think everyone in the orchestra enjoys rehearsing it and you'll surely enjoy listening to it. It's fast and furious but has its tender moments too. When you're listening, see if you get the impression that I have- that Bernstein is in this piece like he is in all of his compositions.

1st Post!

Welcome to the home of the St. Louis Philharmonic in the blogosphere!

First things first: The purpose of this blog will be to provide information about the orchestra, the music, and the musicians. This will be your source for everything STLPhil- from upcoming concert dates, to musician biographies, to information about the works we're playing. Check back often for insider information and amusing anecdotes.

Our next concert is scheduled for April 30th at 8pm in the 560 Music Center. The program includes works by Berlioz, Gershwin, Bernstein, Elgar, and Franck. A complete listing can be found at http://www.stlphilharmonic.org . We all hope to see you there!