Catapulting into Classical

A headlong leap into music, history, and composing


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Haiku Wednesday: Handel’s Semele

Painting of Jupiter and Semele by Luca Ferrari
“Wherever you walk
There will be trees and flowers,
For you are lovely.”

So said Jupiter
To Semele; she doubted.
You know where this goes.

Whenever humans
Get involved with the Greek gods,
It doesn’t end well.

Tonight, 25 October 2017 at 19:00 CET (GMT +1), operavision.eu and the Garsington Opera will present Handel’s Semele, the story of a mortal woman seduced by Jupiter.  Handel filled this oratorio with wonderful arias.  However, the audience at the premiere was shocked, as Handel presented this sensual story during the solemn Lenten season.

No previews from tonight’s performance are available, but I really wanted you to hear a sample from Semele, so here is a performance of “Where’er you walk” by John Mark Ainsley.

Semele will be available for a few months after the initial webcast.

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Image attribution: Jupiter and Semele by Luca Ferrari [Public domain], via Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Luca_Ferrari_-_Jupiter_and_Semele.jpg

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Free Concert Webcasts: Berlioz, Elgar, New Music, and Opera!

Tomorrow, 21 October 2017 at 8:00 PM EDT (GMT -5), visit dso.org/live for a performance of Harold in Italy by Hector Berlioz, Elgar’s Cello Concerto, and the world premiere of Loren Loiacono’s Smothered by Sky (at link see page 19).

The Opera Platform website, long the home of free opera webcasts, is now Operavision.eu.  Operas typically remain available for viewing on the site for six months after their initial webcast, and some are available with subtitles in multiple languages.  Operas currently available on the new website include Puccini’s Tosca and Madama Butterfly, Handel’s Acis and Galatea, and Verdi’s La Traviata.  Haven’t watched opera before? Check out Operavision’s New To Opera? tab for some helpful information.

Also, opera fans, please note that Operavision will present Wagner’s entire Ring cycle in separate webcasts beginning 28 October 2017, and, on a lighter note, Mozart’s The Marriage of Figaro on 3 November.


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Haiku Wednesday: Sitka Spruce

Photo, looking up at a group of sitka spruce trees

Sitka spruce photo by Peter Pearsall/US Fish and Wildlife Service

Once the wind would howl
Around your supple branches.
You stood, majestic,
Among the tall trees.
A silent sentinel, you
Looked out on the world.

That was not your fate.
To be cut down in your prime
Seems all too bitter,
But keen eyes picked you
To help others see and hear
A whole inner world.

And now the sound swirls
Like snowflakes, landing softly,
Hushed and whispering;
Or hits you like hail,
Ferocious, unrelenting.
You pay it no mind,
As you once did on
An Alaskan hillside; but
Now, Sitka, you sing.

Sitka spruce is the wood most commonly used for piano soundboards due to its resonance, flexibility, and great strength.  Piano soundboards resonate and propagate the sound generated by the strings of the piano.

Today’s haiku was inspired by a documentary.  Sitka traces the restoration of the Steinway grand piano at The Phillips Collection in Washington, DC.  The soundboard of the piano at The Phillips Collection had cracked, and this had adversely affected the sound.  Piano fans will enjoy seeing the inner workings of the instrument, and the meticulous work involved in restoration process.  The soundtrack is provided by Joseph Haydn (performed by Olivier Cavé).

And now, here is Sitka.

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Image attribution: Sitka spruce photo by Peter Pearsall/US Fish and Wildlife Service, https://www.fws.gov/refuge/Cape_Meares/wildlife_and_habitat/sitka_spruce.html


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Free Concert Webcast Tonight! Beethoven’s 3rd and More

Beethoven

Join the Detroit Symphony Orchestra, conducted by Leonard Slatkin, for a free concert webcast tonight, Saturday, October 14, 2017 at 8:00 PM (GMT -5).  You can watch it at this link.  Here’s the program:

Conor Brown: World premier of How To Relax with Origami

Barber: Piano Concerto featuring pianist Olga Kern

Beethoven: Symphony No. 3, “Eroica”

There will be a pre-concert talk with Leonard Slatkin starting one hour before the concert.

Enjoy!


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Haiku Wednesday: Spanish Dance

The candles flicker,
The music swells; a dancer’s
Skirt swirls as she spins.

The faint tap of heels
Echoes against the dance floor
As two move as one,
Each seeing only
Their partner.  They dance, and hope
It will never end.

Today’s musical offering is from Enrique Granados.  Granados wrote a collection of Spanish dances for piano in 1890 (12 danzas españolas, Op. 37, H. 142, DLR 1:2).

During a visit to the US, Granados recorded some piano rolls of his music. Here is Granados playing Danza Española No. 5, Andaluza.  The original piano rolls are reproduced using a Steinway grand piano, so the sound is sumptuous.  In the piano roll Granados takes some lively liberties with his composition; he is clearly not meticulously following the score.

You may also enjoy Granados playing the haunting Danza Española No. 2, Oriental.

 

References

https://en.wikipedia.org/wiki/Enrique_Granados

http://www.pianola.org/reproducing/reproducing.cfm

https://www.researchgate.net/publication/232823598_Piano-roll_recordings_of_Enrique_Granados_A_study_of_a_transcription_of_the_composer’s_performance


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Plein Chant: The Challenges of Open-Air Singing

Choir singing in open air being menaced by sun, bugs

I haven’t been posting much lately because it has been a busy choir season.  Recently, we had the privilege of singing at an open-air event.  It was wonderful, with several choirs and soloists performing, fine speakers, overall, a truly memorable event.

However, there were certain aspects of open-air singing that I was not prepared for, so, as a public service, I thought I would alert you to some of the hazards that you might have to confront, and provide you with some helpful tips.

The Sun

The venue in which we were performing had a roof, but all four sides were open.  The sun, which at first was a pleasant, cheerful presence, over time became the blindingly bright, searing ball of flame that it is.  The highly reflective white music pages became hard to see, a situation made worse by burning, salty sweat dripping inevitably into the eyes.  It would have looked weird to don sunglasses, even if we had them, so that was not an option.  Or, for that matter, a sweatband, never elegant under any circumstances.  In addition to the threat of heatstroke, some of us were treated to the musical equivalent of a trucker’s tan.  I’ll call it a tenor’s tan, the sunward arm bronzed from the tip of one’s short sleeve to the wrist, the hand remaining ghostly due to its sheltered position beneath the music binder.

Note: bring water.  Long sleeves, while counterintuitive in hot weather, are not necessarily a bad thing, and are useful for mopping the sweat out of one’s eyes.

Bugs

Thankfully, no one inhaled a bug while prepping for a dramatic forte note.  I’m sure it has happened.  Instead, we were visited by the occasional wandering insect of the stinging variety.  On-stage decorum precluded frantic arm waving (or running away, or wildly swinging one’s music binder).  Instead, I mentally intoned the mantra I typically use when encountering snakes while hiking, “I’m a tree, I’m a tree…”, hoping they’ll somehow get the message that I am not something to bite.

Note: forget bug spray; singers would rather inhale a bug than smell that all afternoon.  Be brave.

Risers

We were seated (thankfully) on risers, standing when it was our turn to perform.  But there were no railings behind the back row.  There was a fear that some poor bass would fall off, into the deep end you might say.  A basso profundo indeed.  I am happy to report there were no incidents.

Note: be aware of your surroundings at all times.  Especially edges.

No feedback

When you sing inside, you always have some sort of reflection of your sound, either from a wall behind you, or across from you, and it helps to evaluate your sound in comparison to others.  But outside, with no walls, the sound escapes from your lips…and keeps going.  You might be able to hear the person next to you, maybe the person behind you, but, if you’re toward the back, everything in front of you is inaudible.  Typically, a monitoring speaker is placed facing a choir so they can hear themselves, but this was not the case this day, or if it was, it was so quiet we couldn’t hear it.  More frighteningly, we could not hear our pianist, which meant watching the conductor was no longer optional (note: conductors will tell you it is never optional).  Probably ok, since it was pointless to look down at the music, because we couldn’t see it in the blinding sun anyway.

Note: keep time, read lips when necessary.  And do no harm (drop out if you’re not sure, come back in when you’ve found your place).

I’d like to point you toward a video at this point, or at least audio, but apparently there was a recording problem, and the sound that was captured from anyone who was not wearing a mike (i.e., the choirs) was a weak, feeble whisper not at all representative of what was being produced or transmitted to the live audience.  I think the bees clustering on a microphone would have made a louder sound, though I suspect it would be less four-part harmony, and more George Crumb’s Black Angels.

So, I hope this will help you get ready should you have the opportunity to sing outside.  Be prepared as well for:  thunderstorms, darkness, cold weather, high winds, dust blown by said high winds, audio feedback of the ear-piercing variety, earthquakes…you get the idea.

Just remember to have fun!

 


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Discovery!  Unknown Viola Work by Shostakovich Found in Archives

Photograph of new Shostakovich viola work

Courtesy of mos.ru.

The Strad reports that a previously unknown work for viola and piano written by Dmitri Shostakovich has been found in Moscow.  The discovery was announced on the composer’s birthday (25 September).

The piece is titled Impromptu Op. 33 (Shostakovich later assigned the number to another work).  It was found among the papers of violist Vadim Borisovsky of the Beethoven Quartet.  It is believed it was written for violist Alexander Ryvkin of the Glazunov Quartet.  The duet was written, apparently in one sitting, in 1931.

We do not yet know what this newly-found work sounds like.  Shostakovich wrote one other work for the viola, the Viola Sonata (his last composition), which was written in 1975.  You can listen to it here.

Read the article in The Strad here.

References

https://www.thestrad.com/news/a-new-work-for-viola-by-shostakovich-discovered-in-moscow-state-archives/7151.article#.WctqF1zRpVU.twitter