Tag: Classical Music

Review: The Music of Studio Ghibli

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Photos are provided by the Ann Arbor Symphony Orchestra

On Saturday, March 15, and Sunday, March 16, the Ann Arbor Symphony Orchestra gave their highly anticipated performance of The Music of Studio Ghibli under guest conductor Wilburn Lin at the Michigan Theater. The program consisted of music all composed by Joe Hisaishi, including the Symphony Variation: Merry-Go-Round/Cave of Mind (from Howl’s Moving Castle, 2004), Orchestra Stories: My Neighbor Totoro (1988), Kiki’s Delivery Service, and Spirited Away. 

Howl’s Moving Castle is one of my favorite Ghibli films, so I was delighted that its music opened the night. Because Merry-Go-Round of Life is an incredibly iconic piece and so well-known, I was a bit afraid that the performance would deviate from the original score or lack the same musical satisfaction. However, the orchestra’s rendition was beautiful. The canonic melody seamlessly weaved between the different string and wind instruments, and I particularly liked the pizzicato variations from the strings. My only complaint is that it could’ve gone longer, though I might be biased because I love the piece so much. Though the next part of the variation, Cave of Mind, is a piece I don’t often listen to, I got goosebumps because the brass solo makes it a hauntingly beautiful piece, and I could vividly recall the exact scene where this soundtrack is played during the concert.

The performance of Orchestra Stories: My Neighbor Totoro was interesting because the orchestra decided to add Japanese narration, spoken by Momo Kajiwara, to further enhance the storytelling. To be honest, I don’t love this movie because I don’t find the plot to be that engaging, but this addition made me see the film in a different light. The narration was splitinto eight different sections that summarize the movie’s plot with an English translation provided in the program, and it helped paint the innocent and mystical atmosphere of the movie for those who were unfamiliar with it. Furthermore, I love Totoro as a character, so I found it endearing that there was also someone dressed as Totoro to take pictures with.

The next feature was Kiki’s Delivery Service. I was taken aback by how short the piece was (or maybe I just found it so enjoyable that I got lost in time). Nevertheless, the performance of Kiki’s Delivery Service stood out to me among the rest of the program because of the concertmaster spotlight. The violin solo’s melody differs from the main theme, making it a fun addition to the piece as a whole, and the concertmaster played with a beautifully pure and clean tone.

The night then concluded with the Spirited Away Suite. Spirited Away is one of my favorite Ghibli films alongside Howl’s Moving Castle, so I was blown away by how similar the orchestra’s rendition of Spirited Away was to the original soundtrack. Furthermore, the gorgeous and somber piano melody further enhanced the quality of the music. 

Overall, I loved this concert. It was my first time getting to see the Ann Arbor Symphony Orchestra perform The Music of Studio Ghibli, and it will most definitely not be my last.

REVIEW: Stefan Jackiw Plays Tchaikovsky

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Photos are provided by the Ann Arbor Symphony Orchestra

The Ann Arbor Symphony Orchestra’s February 2025 MainStage took place on Saturday, February 22, at 8 PM in the Michigan Theater, and alongside performing Montgomery’s Overture and Shostakovich’s 10th symphony, theyaccompanied violinist Stefan Jackiw who gave a phenomenally clean and vibrant performance of the Tchaikovsky Violin Concerto in D Major.

The Overture was the first piece in the program. It was my first time hearing Jessie Montgomery’s Overture, but it was incredibly enthralling. The piece opens with strikingly dissonant chords played by the entire orchestra that serves as a unique melodic line. These chords continue to be the main feature before the violins begin to take over with faster-moving notes that are then accompanied by changing chords in the brass instruments. Overall, it was a piece that can be largely described as a musical cacophony and served as a great introduction before moving on to the brighter melody of the violin concerto, which was the highlight of the night.

Similar to many other members of the audience, Tchaikovsky was the main reason why I wanted to attend this concert, as it’s one of the most famous violin concertos. The concerto’s grand melody truly makes the violin sing, which requires the soloist to have a high level of technique. The first movement, Allegro moderato, opens with a gentle melody from the orchestra that slowly builds up to the soloist’s entrance, which is low and soulful and evokes a sense of yearning that Jackiw’s strong vibrato captured perfectly. As the melody continues to ascend in pitch, its playful character grows and flourishes with runs before once again blending into a more soulful tune. I particularly admired Jackiw’s ability to bring out a full sound during each note no matter how short while using the full length of the bow, which requires accurate control of the bow’s weight with your hand. 

The second movement, Canzonetta: Andante, similarly opens with a slower-moving melodic line from the orchestra. However, the soloist’s entrance remains somber and slow for the majority of the movement, a tasteful contrast to the preceding flightful first movement. 

The opening of the third movement, the Finale: Allegro vivacissimo, is then startling. The orchestra is silent as the soloist’s part features strong, rich chords that Jackiw still manages to play with a clear and bright tone. He retained this brightness throughout the whole concerto, which was especially impressive during the last movement as it’s twelve minutes long, and it’s many character changes. The last section of the finale which consists of fierce spiccato was especially impressive, and spectacularly concluded the end of his performance.

Though I love Shostakovich, it was hard to imagine how the last piece of the program, Shostakovich’s Symphony No.10 in E minor, would make for a more satisfying conclusion to the night than the Tchaikovsky. The Moderato begins somberly slow, but the second movement, the Allegro, picks up and starts to set a frantic, anxious atmosphere that often comes with Shostakovich’s music. The character of the piece was fleshed out even more once the short, staccato notes opened the third movement, the Allegretto. Though the mood this piece evoked was much more different than the Tchaikovsky—much less cheerful—the ending of the finale was just as grand with fast notes from the violins and loud chords from the brass.

Overall, I enjoyed this concert. I am so happy I got to hear the Tchaikovsky Violin Concerto live, and Stefan Jackiw did an amazing job at bringing the piece to life. Though he’s a soloist I hadn’t heard of before I’ll keep an ear out for him moving forward.

 

REVIEW: Pops en Pointe

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April 19 | 7pm | The Michigan Theater

 

 

The Michigan Pops is one of the most beloved student organizations on campus—and don’t ask me. Ask any one of the hundreds of attendees at the Michigan Theater on April 19.

Founded in 1995, the Michigan Pops brings talented musicians from across the University Campus to perform a concert each academic semester. The orchestra is led by music director Luca Antonucci, and associates Nicholas Bromilow and Francisco Fernandez, three fierce Doctoral Conducting students from the School of Music.

“Pops En Pointe” discovered a selection of repertoire surrounding dance (if that wasn’t completely obvious from the title). The first pieces were the non-negotiables in the dance-related classical canon, including Brahms’s “Hungarian Dance No. 5” and Tchaikovsky’s “Nutcracker Suite”, in which a touching “Waltz of the Flowers” warmed my heart. Auruto Marquez’s fiery “Danzón no. 2” featured striking solos across the ensemble.

If you know Pops, they aren’t without their fun. Instrumentalists introduce pieces in mouse hats or bird costumes. They accompany full-length selections with silly videos made by members of the ensemble. And host a mini game show onstage with members of the audience mid-concert. Quirky, engaging bits (that are often too long) are always a memorable part of the Michigan Pops experience.

The slightly underwhelming but charming DJ’s A Cappella group performed selections from ABBA’s “Mamma Mia” after intermission. This is not the first time I’ve heard the Michigan Theater’s sound system being unsatisfactory for vocalists. With boomy mics and offset balance, this performance was no different, washing the voices. Some solos remained intact, but were delivered somewhat unexuberantly, perhaps inhibited by the sound constraints.

The Michigan Pops hosts an annual concerto competition for high school students. This year, stunning young cellist Trevor Nelson from Huron High School was the recipient. He performed a cut from Camille Saine-Saëns’ “Cello Concerto No. 1 in A Minor”, a beautifully dramatic and declamatory piece. A gifted and humble performer, he plays for the Michigan Youth Symphony Orchestra and has brought his musicianship around the world to Spain and Toronto.

Pavani Anand, the Executive Director of the Michigan Pops, closed the concert with a heartfelt speech about her relationship to the cello and her mother, who encouraged her throughout her youth. Equally, her speech emphasized the defunding of arts organizations across America.  Her call to support live music comes at a crucial time as the National Endowment for the Arts (NEA) recinds hundreds of grants to major arts organizations across America.

Music gives us the facility to dance and bring communities together, and without it, who are we?

 

 

 

 

Photos thanks to The Michigan Pops.

REVIEW: Seong-Jin Cho, Piano

Sappy 2 Comments

Photos are provided by Peter Smith Photography

On February 7th at Hill Auditorium, pianist Seong-Jin Cho delivered a phenomenal performance of the complete solo piano works of Maurice Ravel. The concert lasted three hours, yet Cho memorized and played every piece with unwavering precision and passion. Funnily enough, before the concert began, an audience member behind me exclaimed that even a one-hour program of Ravel would be too long; I’d bet money they changed their mind by the end of the night.

Cho’s global reputation skyrocketed after winning First Prize at the 2015 Chopin International Competition in Warsaw. Since then, he has performed with the Berlin Philharmoniker, where Cho is currently the artist in residence, as well as the London Symphony Orchestra, Boston Symphony Orchestra, and more. 

At Hill, Cho’s ability to breathe life into the piano showed why he’s so sought after. He merged with the instrument in body and soul. Even when the music consisted of a single repeating note, it was beautiful and each tone rang with a pure, bell-like clarity. No matter how fast the glissando flew by, you could still hear each note sing. The lyrical lines blended seamlessly, yet I could distinguish which hand played which dynamics, melodies, and harmonies—even with my eyes closed. Cho never once seemed to lose focus or stamina.

The first piece, Sérénade grotesque, had a delicate, elusive character that made its theme hard to pinpoint. Menuet antique felt more tangible. Pavane pour une infante défunte evoked a giddy feeling of raindrops and fairy footsteps from melodic flurries and vast glissandos. Cho then moved into the peaceful Jeux d’eau and ended the first section of the night with the Sonatine, whose three movements featured harp-like textures.

 

 

After intermission, Cho resumed with Miroirs, whose five movements flowed so smoothly it felt like a single movement. In Gaspard de la nuit, I was struck by the soft yet clean notes—something I’ve always found difficult to bring out on the piano. 

Following the second break, Menuet sur le nom d’Haydn became one of the night’s highlights. It immediately captured my heart with chords that built into a dreamy atmosphere. Valses nobles et sentimentales brought me back to reality with dancing energy, especially in the Presque lent – dans un sentiment intime movement, which glittered. The followingPrélude carried a bittersweet emotion, while À la manière de Borodine surprised me with a melody that made me imagine horses frolicking. Similarly, À la manière de Chabrier resembled cheerful skipping. 

The final piece, Le Tombeau de Couperin, offered the most variety. Its six movements formed an emotional arc—sprightly, meek, brash, romantic—culminating in the last movement Toccata. Vif. That movement was especiallydemanding, ebbing and flowing between repeated notes, lush lines, and anxious descents that Cho played with awe-inspiring control. 

I’m glad this performance introduced me to the beauty of Ravel’s piano works. Cho’s ability to freely shape dynamics made him the perfect soloist to perform Ravel’s dreamy musicality. It had been a long time since I attended a solo piano recital, so this performance showed me how a soloist can express more subtle and endearing musical expressions even without the grandeur of an orchestra.

 

REVIEW: Echoes: A Music Journey to the East

Chloe Huang 1 Comment

In the fall of 2019, Qingyun Chinese Ensemble was founded, emerging as the University of Michigan’s first and only Chinese music ensemble and carrying a mission to bring traditional Chinese music to Michigan audiences. Their recent performance at the McIntosh Theater, Echoes: A Music Journey to the East, operates as an extension of their ambitions, focusing on bridging the gap between ancient melodies and contemporary interpretations. With extensive experience in their respective instruments, the members not only displayed technical skills but also a deep pride in representing their culture and heritage. 

Echoes: A Music Journey to the East was divided into three chapters–Journey to the West, Diversity in Harmony, and Life as a Bundle of Spirits– each showcasing a diverse selection of short pieces. Soloists and full ensembles constantly fluttered on and off the stage with their instruments as two announcers enthusiastically introduced each piece’s context and featured instruments. The announcers noted specifics of certain instruments, for example, how the sound of a solo instrument accentuated the intended emotion of the piece, as well as some of the song’s history. Whether or not audience members arrived with prior knowledge of Chinese traditional music, Qingyun ensured they left with a newfound understanding of the genre. 

My knowledge of Chinese traditional music is limited, and perhaps as a result, I found the evening marked by diverting surprises. I was taken at how the performers utilized the entirety of their instruments– for example, tapping on the base of the erhu (Chinese fiddle) or running a stick beater along the ridged encirclement of a dagu (Chinese bass drum)– and at the variety of songs being played. The repertoire ranged from Chinese folk music to more contemporary pieces, to adaptations of music from the video game Black Myth: Wukong, alongside a Japanese song and Mozart’s iconic Turkish March. The distinct sounds each instrument produced were strikingly beautiful, and when the full ensemble came together in the final chapter, their rich harmony was accentuated by individual tones adding layers of texture. I especially loved when the sounds of the dizi (Chinese transverse flute) poked through with its deep, melodic tones. Additionally, many of the traditional songs performed were deeply rooted in nature, a sensation that resonated in the music itself—the dizi evoked birdsong, the muyu (woodblock) mimicked the rhythm of galloping horses, and the guzheng (Chinese plucked zither) gently flowed like water streaming down a mountainside. 

Performance of Erhu Concerto “War Horses Galloping” (1976)

The compact McIntosh theater seated no more than 100 viewers, fostering an easy exchange between the performer on stage and the audience. The ability to see each musician’s fingers move deftly across their instrument, catch subtle expressions, and witness the silent nods exchanged before beginning a piece added a sense of intimacy to the experience. The final surprise song was one of exuberant energy as the behind-the-scenes crew was brought onto the stage and the audience was invited to heartily clap along to the rhythm. After the performance, there was also a ‘Meet the Instrument’ segment where the audience was invited to come up on stage and play the exhibited instruments.

The Qingyun Chinese Music Ensemble continues to provide a space for students to refine their craft while introducing new audiences to the often-overlooked beauty of Chinese traditional music. Their performance was both welcoming and educational, offering an experience that was not only immersive but also deeply personal, reflecting the performers’ passion for their art. 

More information on the ensemble as well as the pieces and instruments performed in Echoes: A Music Journey to the East can be found here: https://qr-codes.io/pkFUwE



REVIEW: The Music of Studio Ghibli

Chloe Huang Leave a comment

Performing on the Michigan Theater stage this March was not only the talented musicians of the Ann Arbor Symphony Orchestra (A2SO) but also a giant, grey, round creature known as Totoro. The audience laughed as the creature suddenly popped onto the stage, waving its arms and pouting as the conductor playfully reprimanded it. This creature, Totoro, is a beloved character from My Neighbor Totoro, a 1988 animated film directed by Hayao Miyazaki and produced by Studio Ghibli, a renowned Japanese animation studio known for its beautifully crafted and nostalgic films. 

For their March Pops performance, Studio Ghibli at the Symphony, A2SO brought the magic of Studio Ghibli to life through music, performing Joe Hishashi’s pieces from My Neighbor Totoro, Kiki’s Delivery Service, Spirited Away, and Howl’s Moving Castle. Studio Ghibli films have found a loyal audience for several generations, reflected in the large number of families that attended. The typical formality of classical performances was immediately deconstructed, evidently with the focus being on media rooted in pop culture, but also in the tone guest conductor Wilbur Lin addressed the audience. Throwing in jokes and placing small stuffed animals of Studio Ghibli characters on his podium made the night much more family-friendly. 

The night opened up with a variation on Hisaishi’s Merry-Go-Round and Cave of Mind from Howl’s Moving Castle, transitioning into a segment intertwining music and narration from My Neighbor Totoro. Momo Kajiwara narrated the film’s story in Japanese, while the orchestra provided a playful, accompanying score, enhancing the tale through sound. Kajiwara’s crisp, sweet voice was well-suited for the role, adding warmth to the performance. However, I found myself straining to read the pamphlet in the dark, as it was the only translation source for her narration. Because the story is such a central aspect of the experience, it would have been helpful to have more accessible forms of translation. 

Momo Kajiwara narrating Orchestra Stories: My Neighbor Totoro

After a brief intermission—during which guests eagerly lined up to take photos with Totoro—the performance concluded with Kiki’s Delivery Service and Spirited Away Suite. The latter was especially expansive, capturing the emotional arc of the film as the music swelled with dark tension before fading into a gentle stillness.

Hearing these pieces performed live evoked a deep sense of nostalgia. The childlike playfulness present in the films was beautifully mirrored in Hisaishi’s scores, particularly through the lively percussion. The tinkling of bells and the warm, rounded tones of the xylophone added a whimsical touch. However, despite Studio Ghibli’s strong appeal to children, the films resonate with audiences of all ages because they explore deeper themes. Miyazaki’s works evolve with the viewer, gradually revealing reflections on childhood innocence, cultural identity, corruption, love, and family.This emotional depth was mirrored in the performance, where moments of lightheartedness were contrasted by sudden shifts in mood. Conductor Lin noted that Hisaishi deliberately used percussion to mark these transitions—an idea that stayed with me as the dark boom of the cymbal echoed through the theater. 

Ann Arbor Symphony Orchestra performing select Studio Ghibli pieces

The evening was a mesmerizing tribute to the timeless magic of Studio Ghibli, bringing the beloved films to life through music. A2SO’s performance not only showcased the brilliance of Hisaishi’s compositions but also captured the emotional depth and whimsical charm that make Miyazaki’s stories so enduring. From the playful innocence of My Neighbor Totoro to the sweeping grandeur of Spirited Away, it was a night that reminded audiences of why these films continue to enchant audiences of all ages.