West Coast Third Coast West Coast
Americas and Americans Festival 2010:
Los Angeles Philharmonic
UpBeat Live!
BP Hall, WDCH , Los Angeles: 30 April 2010
Veronika Krausas, Composition Department, The Thornton School of Music, USC
Alberto Arvelo, Director; Guillermo Arriaga, Writer; Maria Guinand, MD of SCdV; Chad Smith , VP, Artistic Planning, LAPhil
Sad News: Veronika announces that Alan Rich has died
The discussion focus on this Festival and on the center piece of the Festival : ‘Cantata Criolla’
Estevez’s ‘Cantata Criolla’ is to Venezuela what Copland’s scores are to the US – loved by all, played over and over. Defining a ‘national’ sound for audiences around the world, Gustavo wanted this presentation to be the center piece of his first year on the job. LAPhil commissioned a long poem, ‘America’, by the writer Guillermo Arriaga and commissioned a film to accompany the Estevez’s music. The film and this evening were directed by Alberto Arvelo, who is the grandson of the author of the poem, which is the text for the Cantata.
The lobbies are equipped with sound and visual projections by Nascuy Linares: “ABYA YALA”.
Chad notes again: “….no music by European composers during this Festival…. and we could do ten more programs …..“
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Americas & Americans Festival 2010:
Los Angeles Philharmonic
Schola Cantorum de Venezuela
Los Angeles Master Chorale
Ralph’s, WDCH , Los Angeles: 30 April 2010
Alberto Arvelo, performance director and film director
Aquiles Machado, tenor (Florentino)
Gaspar Colón Moleiro, baritone (Diablo)
Helen Hunt, actress
Edgar Ramirez, actor
Erich Wildpret, actor
Guillermo Arriaga, writer
Gustavo Dudamel, Cond
It took numerous phone calls and several visits to the Box Office to finally get a ticket. Four performances were scheduled; this was not my first choice for the date, but when it became available, I grabbed it.
No intermission. The commissioned poem, “America”, is interpreted / acted by the 3 actors ::the first part, before the Copland; the second before the Estevez,
Major lighting design; Huge screen for the film / surtitles for the majority of the audience. Extravagant. Way Over The Top. A Big Treat
This was the first time I had a seat in ‘Terrace View’ section — A small, 3-row section, on each side of the organ pipes, above the chorus. Fantastic view of the audience chamber and (the backs) of the musicians and (the face ) of Dudamel. But , to see the film and surtitles, you have to strain to see the small screen above the last row of the balcony – didn’t work very well for me.
1) Copland: ‘The Promise of Living’ from ‘The Tender Land’ (1952 – 1954). Low strings sound like I’ve never heard in this hall. The great reputation of the hall’s acoustics are due to its clarity and sizzling brilliance, not its warmth. Maybe sit her more often
2) Ginastera: ‘Estancia Dances’ (1941). As a result of the tours and CD / DVD of his performances with the Simon Bolivar Youth Orchestra, Gustavo owns this piece now and had a great time at this performance. Since the LAPhil was playing as brilliantly as the SBYO! , mostly he stood back, and smiled, and listened (Barenboim stye). No dancing by the LAPhil musicians however
3) Antonio Estévez (1916 – 1988): ‘Cantata Criolla’ for orchestra, 2 choruses, baritone, tenor, 3 actors, ensemble of 9 angels in the audience chamber, film, costumes and lighting,
The actors were reinforced and there was a loudspeaker aimed at us in the Heavens, so intelligibility was high for the poem. The solo singers ( who started their singing duel in the aisles, one on each side of the hall, before moving to the apron later) were not as intelligible and the surtitles were so small, I could not follow the text). The orchestra and chorus were overwhelming. The 9 costumed angels appear suddenly in a blast of light – (one, right next to me —- frightened me). I couldn’t read all the surtitles, so I don’t know what caused the appearance.
A big, lush score of the 50’s that you would expect to hear in an epic movie. Think “Alexander Nevesky’ in Spanish – what a great double bill idea
75 minute concert; 90% Full, even though it was ‘Sold Out’.
Huge ovation. Great night
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Third Coast Percussion (TCP):
University of Chicago, International House, Assembly Hall:: 1 May 2010
guests: Greg Beyer & Ross Karre, percussion
Cliff Colnot, Cond (‘Tutuguri VI’)
I have looked forward to this concert since it was announced last year. I’ve had the Rihm CD of the complete work for several years, never imagining that it would ever be played live in Chicago. 1,000 Thanks TCP!
A Major Treat – the whole program, not just the Rihm
All the percussion instruments in Chicago had been placed in the room for this concert – on stage and in the cross aisle between the stage and row of the audience. Ear plugs were available.
Seeing all the acoustic tile on the ceiling and the velour curtains on the windows made my heart stop when I entered the room. But it is a large volume, so not all of the room response was killed and listening here was ok. I would like to see the performers better — what was he doing to make that bird warble? under water?
The first half included 3 pieces for the percussion quartet (David Skidmore, Robert Dillon, Owen Clayton Condon & Peter Martins):
1) David Skidmore: ‘Fanfare for a New Audience’ (2009). A bright and sparkly piece, which we heard last year at Rush Hour Concerts. A great treat to hear it again.
2) Otto Muller: ‘Escoria’ (2010) (World Premiere). Great variety in instrumentation and sounds and feel. Now you begin to understand why they need this massive collection of instruments. They have to move from stage to cross aisle and back to stage to access all the groups of instruments.
3) Marcos Balter: ‘dark rooms’ (2007). No surprise – a fairly dark piece and fascinating variety of sounds: “….. is that baby crying?….” I missed the premiere performances, so this opportunity was greatly appreciated
after intermission:
4) Wolfgang Rihm: “Tutuguri VI” for six percussionists (1981)(Chicago premiere).
This an arrangement , by Rihm, of the final section of “Tutuguri: poem danse” , a large music theatre piece he wrote for orchestra, chorus, and a huge percussion ensemble that solos throughout the composition.
It was not too loud. It was spectacular in its dynamic range and spatial clarity and drama. Based on an Artuad work —- it is serious, grim and exhilarating. Worth the year-long wait
So here is the challenge: write to TCP and ask them to organize performances of the entire composition!.
While you are writing, ask that they repeat all these pieces. One hearing is not enough.
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Southwest Chamber Music (SCM):
Ascending Dragon (Thang Long) Music Festival and Cultural Exchange – Spring 2010
“When the Dragon Meets the Clouds, Peace is at Hand”
The Colburn School: Zipper Concert Hall : 3 May 2010
7;30p:: Pre-Concert Introduction: Jeff von der Schmidt, AD & Conductor; Composers: Alexandra du Bois & Vu Nhat Tan.
This four-year long project concludes with tonight’s concert, but Jeff says , in reality, this is the beginning of the next Phase. There will be a lot more exchange with artists from Viet Nam over the next years.
He notes that SWCM has opened the door – he hopes that many other ensembles around the country will now investigate Vietnamese new and traditional music and the musicians
The program tonight is possible only because they found the one and only harmonium in Southern California. Schoenberg included it in the two transcriptions on the first half of the program. (These were not programmed in the concerts in Viet Nam)
Last week, Schoenberg’s grandson hosted a lunch for the musicians and presented the Vietnamese group copies of several of Schoenberg’s scores to take home.
For many of the Vietnamese musicians, tonight’s concert is the first time they have played any of Stravinsky’s music.
The original name of the City of Hanoi was: Thang Long (Ascending Dragon). This the 1000th anniversary of its founding.
8p:: Concert:
The same mix of Vietnamese and LA musicians
soloists: Lisa Edelstein, flute; Jan Karlin, violin; Alison Bjorkedal, harp; Lynn Vartan, percuss; Le Thu Huong, flute; Nguyen Quoc Bao, clar; Doan Mai Huong, percuss; Ta Quang Dong, piano; Nguyen Trong Binh, violin; Bui Thi Mien, cello
1) Claude Debussy, arr by Schoenberg : ‘ Prélude à l’après-midi d’un faune’ for harmonium, piano, dbass, string quartet, oboe, clar, flute, percuss. As lush as the full orchestral version; beautiful in this space
2) Tôn That Tiet (1933-):: ‘ Poèmes’ for harp, flute, viola and Vietnamese voice & instruments on tape. Poem by Li Po (U.S. Premiere). A member of SWCM reads the poem, live, at the end of the composition. Very delicate music and very beautiful
3) Arnold Schoenberg, arr by Schoenberg:: ‘Five Orchestra Pieces Op. 16′ for harmonium, piano, string quartet, dbass, flute, clar, oboe & basso. Again, a rich ensemble. Seems more accessible in this version than the full orchestral version
4) Appalachian song / John Ritter; arr Alexandra du Bois: ‘I Wonder as I Wander’ for alto flute, harp, hand drum (West Coast Premiere). Lovely and clever arrangement
5) Tôn That Tiet:: ‘Niem’ for flute and harp (U.S. Premiere). Another delicate and beautiful piece.
6) Vu Nhat Tân (1970-):: ‘Ky Uc’ (‘Memory’) (1993; rev 1996) for 2 percuss, piano, flute, clar, cello & violin. (U.S. Premiere). Big, flashy, colorful piece and the hit of the second half. I was very amused by the two percussionists that seemed to have wandered in from ‘Tutuguri VI’ wailing away on those drums and tam-tams / gongs.
During the music, the musicians clap hands several times : “…a reverent Buddhist tradition…to wake Buddha up so that one’s prayers and thoughts are heard”.
7) Igor Stravinsky:: ‘Dumbarton Oaks’ for chamber ensemble. Happy End to this chapter of the Festival
http://www.swmusic.org/home/home.html
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Americas and Americans Festival 2010:
UpBeat Live!
BP Hall, WDCH , Los Angeles: 4 May 2010
Veronika Krausas, Composition Department, The Thornton School of Music, USC
Andrew Norman, composer
After her standard introduction to the music on tonight’s program, she interviews Andrew Norman.
What a charmed life he is having! Rome Prize. Now enjoying a year-long fellowship in Berlin. Just named Composer-In-Residence in Heidelberg, where he has been commissioned to write a Theramin Concerto. Now commissioned to write another piece for Green Umbrella next season. Age: 30.
Where is Derek? Where is Esteban?
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Americas & Americans Festival 2010:
Green Umbrella 2009 / 2010 –
Los Angeles Philharmonic New Music Group
Gustavo Dudamel, conductor
Luciana Souza, vocalist
Andrew McKenna Lee, solo guitar
( Note: Edward Atkatz (former CSO percussionist) is in the percussion ensemble tonight)
Ralph’s, WDCH , Los Angeles: 4 May 2010
The last concert of this season.
The first GU conducted by Dudamel.
For the first time, they have sold the chorus seats and the balcony seats, so this is the largest audience I’ve seen for Green Umbrella – estimate 1,600
Deborah Borda, President of the Los Angeles Philharmonic Association, dedicates this concert to Alan Rich. She notes that Mark Swed, placed an oragami flower on Alan’s seat, G 154, last week before the performance of Golijov’s ‘La Pasion segun San Marcos’. She brought another flower and placed it on his seat for tonight’s concert
“…..you will be missed — so I’ve heard…”
Program:
1) Andrew McKenna Lee (1974-): ‘Five Refractions after a Prelude by Bach’, for solo guitar (2004; rev 2008]. [Prelude for Lute, c, BWV 999]. I’ve always been conflicted by the decision to amplify acoustic instruments. There is no reason in the world that a solo guitar could not be heard here. But they thought otherwise. Way way way too loud, so directional realism is totally destroyed – he is seated down there…… and all the sound is coming from over here. Grrrrrh!
2) Andrew Norman (1979-): ‘Gran Turismo’ (2003) for 8 (maniacal) violins. They play standing, in a tight semi-circle around Dudamel’s podium. Yes, the title refers to the video game. This would have been great fun, but the way-over-amplified guitar has shifted my hearing threshold – they sound like they are in another county. Andrew is thrilled. Probably a fun piece if you could here it.
3) Derek Bermel (1967-): ‘Canzonas Americanas’ (2009 / 2010) for vocalist and small ensemble (LAPhil commission; underwritten by the Esa-Pekka Salonen Commissions Find) (World Premiere). I love Luciana Souza. Bermel gave her —- what? —- a 90-second song. I am not happy.
Three disappointments in a row This is the worst Green Umbrella I’ve been to.
Intermission
4) Leo Brouwer (1939 -): ‘Sonata for solo guitar’ (1990). Lovely, delicate music – finally some music!. Massive audience coughing attack. Same over- amplification. Same disappointment
5) Esteban Benzecry (1970-): ‘Fantasia Mastay’ for small ensemble (LAPhil commission; underwritten by the Esa-Pekka Salonen Commissions Fund) (World Premiere). Bright & clever & fun – sort of a ‘Medium-length Ride on a Fast Machine’.
Answer to the burning question1 this week: 6 green umbrellas ring the upstage side and rear walls, mounted on floor stands. No up-lights
Answer to the burning question2 this week: Derek & Esteban come on-stage to accept applause – why did they not appear at UpBeat Live!?
Teddy Dean Boys
