Tag: classical

REVIEW: Mendelssohn’s Elijah

musicalsoup Leave a comment

The Chamber Choir is the most distinguished choir at the University of Michigan, led by the incomparable Dr. Eugene Rogers from SMTD. They consist of mainly vocal performance majors but admit select students from other schools in the University. This concert is leading up to the Chamber Choir’s international tour to La Plata and Buenos Aires, Argentina.

The choir began the concert with two pieces including Thomas Tallis’s motet, O Nata Lux (1575), and a unique reprise entitled O Nata Lux (after Tallis) from 2020 by composer Daniel Knaggs. This was an interesting representation of music from the past and present, reminding me of how we respect and modify tradition through art. Knaggs stated (in the program notes) that he wrote the reprised work as a response to the original motet. He used the 3-note motive from the original work, adding free and sporadic hums to reflect the text’s closing prayer. Both works were brilliantly conducted by Katherine Rohwer, a freshly named Doctorate of Musical Arts in Choral Conducting.

For the following hour and a half of the concert, the chorus performed Felix Mendelssohn’s epic oratorio, Elijah. (An oratorio is a composition with a dramatic narrative or text usually constructed for orchestra, choir, and soloists.)

The lengthy Elijah follows the Prophet Elijah from 1 Kings and 2 Kings of the Old Testament in the Bible, with all the text coming from the book itself. There were six soloists from the choir including Andrew Smith (Elijah), Juliet Schlefer (Widow/soprano), Tyrese Byrd (Obadiah/tenor), Amber Rogers (soprano), Katherine Rohwer (Queen Jezebel), and Ella Peters (Angel). The soloists were outstanding, performing with equally cultivated drama and vocal integrity. Smith performed the bulk of the piece (singing the titular role of Elijah), overpowering Hill Auditorium with his wonderfully silky baritone voice.

I am always extremely impressed with the versatility of the Chamber Choir singers. Dr. Rogers brings in a selection of styles to his choirs and has a clear vision for each new piece the chorus confronts. Last spring, the combined choirs at U-M performed a concert of spiritual-inspired compositions by the acclaimed composer Stacy V. Gibbs, and in the fall prior performed Wynton Marsalis’ All Rise with the Jazz at Lincoln Center Orchestra. The choirs take on many styles in a range of periods with cohesion and care along with high-level instruction and outreach of the events from Dr. Rogers.

 

Image thanks to the SMTD website.

REVIEW: Viola Senior Recital by Kirsten Riggs with Pianist Naki Kripfgans

Himaja 1 Comment

Before we dive in, a disclaimer: I played the cello in an orchestra in high school and therefore am hopelessly biased toward the superiority of that instrument.

HOWEVER! I am here today to begin to build an appreciation for the thousands of other instruments out there, starting with….the viola.

The viola gets made fun of a lot. Often mistaken for a violin, it’s actually slightly larger with a deeper sound and often plays the “inner voices” in a symphony. They’re crucial for harmonies in music composition but their voices are harder for the ear to pick out when playing in a symphony in between the deeper voices of the cello and bass and the melody voice of the violin. Over six year of playing in an orchestra, I can remember playing exactly one piece where the violas had either a melody or a solo part. They were very under-appreciated by music composers until the 20th century when more viola soloists came to prominence and people realized they should really write better music for this beautiful instrument!

PROGRAM
Suite No. 4 – Johann Sebastian Bach: https://youtu.be/70hcPBdzD1c

Sonata for Piano and Viola in E flat major op. 5 no. 3 – Johann Nepomuk Hummel: https://youtu.be/cFZyCna2vQA

Sonata for Viola and Piano op. 11/4 – Paul Hindemith: https://youtu.be/NxN2vrDeFjk

The performance venue was the McIntosh Theatre in the Earl V. Moore music building. The recital hall had a lot of seating and was acoustically resonant. Kirsten Riggs, the violist, had a great stage presence and seemed completely absorbed by the music. A stand with sheet music was set up in front of her but she hardly seemed to need it and often closed her eyes while playing. Something I noticed was that she would sometimes breathe in the pauses between phrases or at the very beginning of a piece before she played the next note. I thought it was interesting because it’s the same thing I was taught to do as a cellist when I played in an ensemble to help with keeping rhythm and synchronizing with the other players.

My favorite was the very last piece by Hindemith. It was so INTERESTING and dark and twisty, with a mood and tone that seemed to gain new dimensions every minute. Give the part from 10:25 to 11:30 in the video linked above to see what I mean. The piano part played by Naki Kripfgans paired gorgeously with the viola, and both musicians coaxed such a variety of moods out of their instruments. I loved their interpretation of the emotions.

I’ll be honest and say I don’t understand some of the stage mannerisms for classical music performances. For example, between each piece the performers would walk off the stage to a side room. Then a different person would walk out, remove the sheet music from the stand, and walk back. Then after a minute the performers would walk back on stage, set up their new sheet music, and resume their positions to start the next piece. It seemed like a lot of unnecessary walking to me! If there’s some important history behind this ritual and I have offended every classical soloist on Earth, please educate me so that I too can be in on the secret.

Tune in next time for when Himaja appreciates even more non-cello instruments! Up next….harp? tuba? kazoo? You decide!

REVIEW: Kittel & Co.

hcobrien Leave a comment

I found myself back at the Ark Sunday night, listening to the five piece band that goes by the name of Kittel & Co. Combining elements of classical, jazz, celtic, and bluegrass music, the group played music spanning from Bach to Charlie Chaplin, adding new arrangements and spin to these pieces. They also played many new compositions which can be found on the band’s album “Whorls.”

 

The show featured Jeremy Kittel on fiddle, Josh Pinkham on mandolin, Ethan Jodziewicz on bass, Quinn Bachand on guitar and Simon Chrisman on hammer-dulcimer. I had never seen this combination before, let alone seen a hammer-dulcimer in concert, and I was blown away by the skill and communication shared between all of the players. 

 

Kittel & Co. define themselves as a contemporary string band who progressively fuse together elements of folk, classical, Celtic, bluegrass, and jazz. Their first album “Whorls” was released in 2018, and the track “Chrysalis” composed by Kittel, was nominated for a Grammy that year. 

 

Starting off with a set of tunes called the Boxing Reels, the band brought an exciting energy to the stage. The first reel started with the mandolin with the fiddle joining in on the second time around to build up for the much faster second reel. The two tunes flowed effortlessly into each other, carefully building excitement and interest for the audience. 

 

Kittel looked comfortable on the stage of the Ark, having played there many times before. As a U of M grad, his roots tie back to Michigan, and the venue was packed with friends, family and familiar faces. A picture of Kittel hangs on the Ark wall in direct eyeline with the stage which he remarked was the best marketing he could have ever asked for:) He had many stories about their experiences at the Grammys (including a run-in with Cardi B), and really connected with the audience. 

 

As a fiddle player myself, I find Kittel’s tunes catchy and distinct. He is a technical player with lots of control, but sounds free on stage. I am amazed by how he is able to fuse genres and create his own new identity through his compositions. I am excited for what he will compose next and for what’s to come with Kittel & Co. 

 

Band Website:

https://jeremykittel.com/pages/kittel-co

 

Purchase Whorls:

https://store.compassrecords.com/products/whorls

 

Artist Spotify:

https://open.spotify.com/artist/3uRqP5x3yw7M7lLOD4oRLz

REVIEW: Joshua Bell & Sam Haywood

Laura Dzubay Leave a comment

A strange image came to me on Saturday night, while I was watching Joshua Bell walk out across the stage of Hill Auditorium for the first time. The vast auditorium was packed with people — some college-age, many adults — and a sweeping wave of applause rolled across the many rows and balconies at the sight of him coming out. I had been to Hill Auditorium once before, to see the Avett Brothers my freshman year. For some reason, the thought occurred to me of how different it was, watching Joshua Bell walk onto the stage versus watching the Avett Brothers — or any musical group in the popular sphere with a large following — do the same thing. There were no whoops or hollers or screams of, “I love you, Joshua!” He walked slowly and professionally, violin in hand. The thought struck me out of nowhere and seemed like a funny one.

Yet in the world of classical music, Joshua Bell is the equivalent of a rock star. He’s been one of the most famous violinists in the world for years, and has played at numerous enviable venues around the globe. So while they weren’t leaping out of their seats or holding up signs with his name on them, the audience members did burst collectively into a roaring applause when they saw him.

And he didn’t disappoint. The first item on the program was Wolfgang Amadeus Mozart’s “Violin Sonata No. 32 in B-flat Major, K. 454,” which starts out very calmly. I was surprised at the soft, understated nature of the performance, but the piece soon picked up in excitement and speed. And no matter what the mood, Bell and Sam Haywood, renowned pianist and Bell’s fellow performer, were able to handle it with deftness and grace. The violin sonata was at turns playful and dreamy, energetic and tender. It was splendidly interesting to watch as Bell and Haywood appeared to trade phrases of the piece off between the two of them; one moment Bell’s playing would be more pronounced, with Haywood’s piano muted softly in the background, and the next, it would be the other way around.

This pattern continued throughout the rest of the concert. The next piece they played was Richard Strauss’s “Violin Sonata in E-flat Major, Op. 18,” which they approached with the same level of attentiveness, care, and passion. Bell moved around the stage a great deal, seeming to feel the music physically during particularly enlivened moments. Bell and Haywood, who have played together on many occasions during the past, continued to blend their respective sounds together seamlessly, responding to one another in volume and time as if they were having a genuine conversation through their music.

The third piece on the program, and the final listed prior to the concert, was Franz Schubert’s “Fantasie for Violin and Piano in C Major, D. 934.” This piece showcased the same skill and emotion, and it was an added pleasure when, following an encore, Bell announced two additional pieces from the stage. Much like a rock star, he closed out the night with encores and wild applause. When all was said and done, the auditorium was as alive with excitement as it had been waiting for him to come out for the first time a couple of hours earlier. He might not play rock music particularly, but the man is unquestionably a star.

The 100th post: Preview of Swedish Radio Choir :-)

krithika

I am so excited that this is the 100th post for [art]seen. To me, writing about the different art events that I go to, has helped me understand and enjoy the performances even better. Yeah for [art]seen!

So this sunday, FEb 21, the Swedish Radio choir are going to be in town. Made up of 32 professional singers and  sponsored by Sveriges Radio, this choir is one of the world’s best a cappella choirs that have a very wide a cappella and symphonic choir repertoire.They are the go-to choir for all the leading symphony orchestras in the world.

Maestro Ragnar Bohlin
Maestro Ragnar Bohlin

This tour is led by conductor Ragnar Bohlin, a Stockholm native who also serves as choral director for the San Francisco Symphony. He is another choral legend whose accomplishments are so many that it will take a long time to list them. He is one of the best in the field today.

The Swedish Radio Choir made its UMS debut in 2001 and their rendition of Verdi’s Requiem was a great hit. This time, the program starts with the sure crowd pleaser, Alven’s Aftonen (Evening). Also on the program are many choral pieces from various composers like Mahler, Bach and Sandström ,to name a few. This will be a treat for all of you who like a healthy dose of classical music to make your day.

When: Feb 21,2010 @ 4:00 pm

Where: Hill Auditorium

Tickets at the League Ticket Office or online at ums.org.

Yours truly,

Krithika, for [art]seen