Tag: Hill Auditorium

REVIEW: The Philadelphia Orchestra

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Call me biased, but one of the best parts of being a violinist has to be the concertos. They’re iconic, flashy, and for the musician playing, career-defining. The Bruch Violin Concerto No. 1, in particular, has a special place in my heart, so I was delighted to hear that concertmaster David Kim would be performing it alongside the Philadelphia Orchestra at the Hill Auditorium in concert last Saturday evening. A quintessential staple of violin repertoire, the piece truly comes alive with the many different interpretations by its players.

Opening the concert, however, was a more avant-garde piece by contemporary composer Missy Mazzoli. The Sinfonia (for Orbiting Spheres) sneaks in with a distinctly soft, grainy texture provided by violin and harmonica before expanding to bellowing slides in the lower strings. A mixture of serene and ominous, the composition gives off the impression of irregular, interfering sound waves to convey the vastness of space. Due to its unique instrumentation, they had to take some time to switch out quite a few instruments before the following concerto!

If I were to give one word to describe each movement of the Bruch, I would say intense, longing, and triumphant. However, what makes the concerto so compelling is the complexity of emotion that lies within each category. The violin enters the first movement with a subtle, unassuming G, before erupting into crisp double stops and finger gymnastics. The orchestral passages here, a textbook example of tension-building, are somehow just as attractive as the solo. David Kim’s version had an unmistakably sweet quality, which particularly shined when he got to the slower second movement. From the balcony, I had a great view of his precise bow control which allowed for both a timid, “held back” sound and an unhindered singing voice above the orchestra. In contrast, Kim’s third movement was light, clean, and playful despite the heaviness of all the chords. It was a pleasure to be able to hear in person.

Concluding the concert was Schubert’s Symphony No. 9 in C Major. I had never heard it before, but a particular amusing comment written by Doyle Armbrust of the Spektral Quartet in the program guided my listening: “Franz Schubert wanted to be an opera composer with all the desperation of a hollow-eyed film school grad shopping a script from his garden-level studio in Burbank. My take on him is that he would have been a lot like that one friend — you know, the one who appears to have taken up permanent residence on your couch, but is somehow redeemed by his charisma in conversation?”

The symphony interestingly begins with just horns. A lighthearted melody gets passed around the orchestra like a breath of fresh air—this is later bolstered by bass drum and big, operatic tuttis. Nathalie Stutzmann conducts with an infectious swagger, which I enjoyed watching here. My favorite movement was probably the second one, opening with a plucky oboe solo over a quirky, mysterious, tiptoeing base of strings and interrupted with sudden outbursts of emotion.

Overall, the concert program brought forth a lovely combination of familiar and unfamiliar sounds. As expected, the Philadelphia Orchestra did justice to these works!

REVIEW: Jazz at Lincoln Center Orchestra with Wynton Marsalis

Madison Krumins Leave a comment

One of the best parts of living in Ann Arbor is its many performance venues, which draw performers and artists from around the world. I’ve been a fan of the Jazz at Lincoln Center Orchestra since high school when I myself played in jazz bands, and it’s been a treat to be a student with such easy access to concerts such as JLCO’s nearly annual appearances. This Sunday, I took my seat in the packed Hill Auditorium and waited with anticipation for this year’s Jazz at Lincoln Center Orchestra experience.

Holiday music, at least the popularized songs I always heard on the radio as a kid, are rooted in the big band and swing style, evoking a certain kind of nostalgia when hearing familiar tunes. But that’s exactly what jazz happens to be, a musical oral history passed down from those who came before. Trumpet player and co-director Wynton Marsalis embodied this with his in-between-song banter, telling stories of the legendary jazz musicians and the rich histories of the popular songs we often take for granted.

JLCO was joined by jazz vocalist Alita Moses, who dazzled the audience with her smooth, warm vocals and joyful stage presence. Moses led the band in the spiritual “Mary Had a Baby,” showcasing her beautiful, crystal-clear voice and also giving the band a chance to sing some, too. I thoroughly enjoyed a Coltrane-inspired arrangement of “My Favorite Things,” where a saxophone section completely comprised of soprano saxes each took a whirl at solos, and a killer piano solo had me laughing in my seat. Near the end of the performance, a more emotional moment came when the band debuted a new piece composed by co-director Marcus Printup titled “I’m Still Here This Christmas,” written in memory of those we have lost in the past few years in the pandemic.

With true Michigan spirit, Wynton Marsalis opened the performance with talking about the OSU game, and ended it by quoting “The Victors” in a solo during an arrangement of “Go Tell it on the Mountain.” One of the things I love most about jazz is the beautiful spontaneity of it, creating moments like that which carry and twist lines of music like a private joke.

I left feeling happy, warm, and in the holiday spirit, cheered by the energetic, danceable swing of their Big Band Holidays music.

REVIEW: Campus Symphony Orchestra & Campus Philharmonia Orchestra

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Amid the stresses of midterm season一because, let’s be real, it’s never truly confined within a “midterm week”一I did not anticipate the restorative effects of spending a couple of hours in the cushy seats of Hill Auditorium, bathed in ringing live music and the warm glow of stage lights. The Campus Symphony and Campus Philharmonia Orchestras, made up of non-music major students, performed a delightful fall concert last Sunday night. Despite it being my first orchestral concert here, having friends scattered around in the audience and on stage gave the performance a very welcoming, intimate feel. 

The Campus Philharmonia Orchestra opened the concert with a bold, contemporary piece by Chad “Sir Wick” Hughes. Visions of a Renaissance featured many quirky textural elements, blurry meter changes, and grand melodic lines that came together to paint quick snapshots of a chaotic bustling city. As a first-time listen, the piece is shocking and confusing. However, I find that the charm of contemporary music is that you fall more in love with each piece with every listen.

Next, we were rewarded with the familiar haunting introduction to Beethoven’s Symphony No. 7 2nd movement. The lower strings did an excellent job of establishing the rumbling warm, ominous motif for the violins to glide over. However, playing such a widely known piece also comes with high expectations一I couldn’t help but wish for some more delicate phrasing in the exposed melody. 

CPO’s third piece, Dvorak’s Slavonic Dances Op. 46, No. 2, was dark, lively, and distinctly nationalistic. Ensemble-wise, the performance was very cohesive and had a lovely push-and-pull of tempo and dynamics throughout.

The final piece, Edward German’s Three Dances from Henry VIII, was a refreshing conclusion to follow the richness of the previous pieces. Morris Dance featured a march-like drum with a crisp melody weaving through the beats, while Shepherd’s Dance felt more playful with light bass drum pulses throughout. The final movement, Torch Dance, was busy, intense, and filled with tension.

After a brief intermission, the Campus Symphony Orchestra took to the stage with the silky cinematic tones of “Overture” from The Song of Hiawatha. The piece opened with a beautiful harp solo accompanied by soft strings and transitioned into a plush, longing motif that traveled around the orchestra. From my view from the audience, I immediately noticed how every single violinist swayed together to the music.

Following this was Pietro Mascagni’s “Intermezzo” from Cavalleria Rusticana一another pretty piece showing off the ensemble’s lavish tone and phrasing. The introduction was soft, delicate, and purely strings. Soon enough, the woodwinds snuck in echoing the violins, and the low rumble of the basses blended in very nicely. 

Finally, we arrived at the part of the concert I was most excited about: Tchaikovsky’s Symphony No. 5 in E Minor. A feat of musical stamina, the four-movement work was excellently executed and a sound to behold. Some of my favorite highlights were the soaring violin melody in the first movement and the bold, triumphant fourth movement. If you are unfamiliar with the piece, you should definitely give it a listen during your next study session. I also have to commend the soloist for the famous horn solo at the beginning of the second movement. After the final note, the audience immediately launched into a well-deserved standing ovation一though I wished they allowed some time for the last sound to ring!

Again, I’d like to congratulate all the soloists and musicians for their wonderful performance on Sunday. I recommend everyone to come to support them at next semester’s concert!

PREVIEW: Campus Symphony Orchestra & Campus Philharmonia Orchestra

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As a self-proclaimed music nerd and lover of free things, I did not require much convincing to carve a space for the Campus Symphony Orchestra & Campus Philharmonia Orchestra’s end of the semester performance in my calendar. Plus, I deserve to enjoy the fruits of my lonely Wednesday nights一the times my roommate is all the way in North Campus for CSO rehearsals. 

The performance will feature two full-length concert programs played by each of the ensembles back to back. In my opinion, some of the pieces to look out for are the Campus Philharmonia Orchestra’s Beethoven Symphony No. 7, mvt. 2, and the Campus Symphony Orchestra’s finale Tchaikovsky Symphony No. 5 in E minor. However, the concert will also incorporate many pieces by less familiar composers such as Chad “Sir Wick” Hughes, Samuel Coleridge-Taylor, and Pietro Mascagni that are bound to be refreshing to listen to.

Come to the Hill Auditorium this Sunday, Nov. 14, at 8:00 pm to experience two great concert programs一all for the price of none! 

Event info: https://smtd.umich.edu/performances-events/events/event/?id=13942

REVIEW: Band-O-Rama

suparnah 1 Comment

A week ago, I ran into an acquaintance in a dining hall. This particular acquaintance happens to be in the Michigan Marching Band, always there at those lively Saturday home games. However, I’m not one for watching football, so I’ve never gone to any of the games. I felt a bit guilty because I’d told this person before that I’d love to see her perform, yet I’ve never bothered to go to a game. So then, I ask her if the band ever has a separate concert where they perform, because I would really like to see them in action.

That’s how I ended up on a damp Sunday evening, holding up my umbrella when I had previously been adamant not to, outside Hill Auditorium. I was ready for Band-O-Rama.

My nice boots are darkened by wetness and I feel a slight sense of trepidation as I walk in. Despite being a musician myself, I had never actually been to a concert before; along with that, there were more families and elderly people than students, making me feel out of place. Nonetheless, I took pleasure in the grand auditorium’s warmth and my elevated seat on the balcony.

The event began with the Concert Band; they performed two pieces: the playful Huapango, followed by the vibrant Aurora Awakens. I often think I’m a better writer than musician, so thinking in metaphors comes easier than thinking musically, which is why to me the beginning of Huapango drew the image of floating birds through its pulsing rhythm. Eventually, there was a quiet pianoforte moment played by the horns and flutes that gave the effect of sound coming out of a radio. Next, came Aurora Awakens, which was described to be inspired by Aurora the Roman goddess of beauty and light, “heralding the coming of light.” The band mimicked such a theme dazzlingly, as they produced vibrations that brought to mind the rising of a dreary dawn. The flutes fluttered like waking eyelashes. Then, the xylophone twinkled like skittering critters, transitioning the lazy dawn into an energetic morning. By the sound of the audience’s applause at the end, it was not hard to conclude that the closing piece was a favorite.

Next, the Symphony Band came in, opening with Festive Overture with triumphant fanfare. At this point, I realized that the flutes may be my favorite with the way they rolled like soft waves and encapsulated the sound of fairies. Soon after, was Come Sunday, which is split into two movements, “Testify” and “Shout!”; the announcer said that the piece is a union of “jazz, blues, and R&B,” and surely, the influence was prevalent. The beginning was marked with a smooth saxophone riff, and later, the flutes repeated it in a manner that mirrored chorusing children (insert more audience applause). The “Shout!” segment moved on from the smoothness into the catchiness that signifies a blues or R&B tune, spurring the audience to clap along. Finally, the Symphony Band ended just as triumphantly as they began with Victors Valiant, a familiar tune to anyone who frequents University of Michigan football games.

There was a brief intermission before the Michigan Marching Band’s turn (my whole reason for coming in the first place), so I took the time to explore Hill Auditorium — or at least whatever was on the floor I was on. In turn, I was pleasantly surprised by the display of many violin and viola-esque instruments (the violinist in me thrilled with interest). The exhibit was titled “Fancy Fiddles” (while I appreciate the alliteration, I still feel the name to be a bit lackluster — but I guess I shouldn’t talk because I can’t think of a better one). Inside glass display cases were many foreign and antique instruments that followed the general theme of having wound strings and bows.

After a fifteen-minute detour, I was back in my balcony seat anticipating the arrival of the Michigan Marching Band. I had only seen them perform once before during a pep rally and I was excited to re-live the experience. The audience seemed hyped as well, as members trickled onto the stage, flexing their endurance with a sequence of uniform high-knees. They played a multitude of medleys that are usually performed during football games. Flags lined the lower audience isles during the energy invoking M Fanfare and the mocking and haunting Temptation. Pop culture significant tunes were included with the likes of Hamilton’s “Who Lives, Who Dies, Who Tells Your Story,” Cascada’s “Everytime We Touch,” and Lady Gaga’s “Born This Way.” The audience was invited to be as sonorous and spirited as the band with claps and dancing.

At some point in the middle, there was a feature performance by the marching band’s drumline. Despite a majority of the whole band being gone from the stage, the drums were just as loud and impressive. The motions of their hands were a spectacle in and of itself.

The show ends with a second performance of The Victors. Later, as I trickled out with the rest of the audience I overheard enthusiastic words of praise to which I silently agree.

When I’m out again, ready to head back to my dorm, it was still raining. Holding up my umbrella was irksome and a hassle against the cold wind, but I found that I really didn’t mind it as much as before.

REVIEW: Vivaldi’s Four Seasons / Max Richter’s Vivaldi Recomposed

Joseph Patrick Raney 1 Comment

Musically directed by the award-winning British violinist Daniel Hope, the Zurich Symphony Orchestra brought the Hill Auditorium to life in a stunning performance of Antonio Vivaldi’s The Four Seasons, and the UMS premiere of Max Richter’s Recomposed: Vivaldi – The Four Seasons.

Without a conductor, I was stunned to see the synchronization of this ensemble as the passages of the music would swell and subside. I observed the seamless communication of the ensemble members and the dynamics that flew to the auditorium ceiling and rolled like a broken wave to the very farthest row of the top balcony, captivating us with every note.

Upon the opening of Vivaldi: Recomposed, Daniel Hope encouraged the audience to enter in, saying “Mr. Richter’s reworking meant listening again to what is constantly new in a piece we think we are hearing when, really, we just blank it out.” From stage he shared the hopes that Richter had shared with him back in 2012: since Vivaldi’s music can be so oversaturated, he dreadfully wanted to reclaim its majesty through a new and awe-inspiring frame.

With a dreamy splash of lighting on the stage, Richter’s creative imagining of Vivaldi’s work cascaded into the audience. I caught myself almost laughing for joy in a state of sheer wonder-struck incredulity. This music lifts one up from themselves and draws them into something deep and grand. While Vivaldi’s Four Seasons was played with only one pause for applause, Richter’s Vivaldi: Composed was swept through without one. In the moments of break in between movements, you could hear thick anticipation hanging in the air.

The evening concluded with multiple standing ovations, so many, in fact, that Daniel Hope led the orchestra through three encore pieces that delighted the audience. We were given the ending of a movement from Vivaldi’s Concerto in A Minor, George Gershwin’s I’ve Got Rhythm, and a warming piece from Kurt Weill’s Knickerbocker Holiday. Each time an encore piece was finished, Hope would walk off stage, only to return with a shrug and a smile. Finally, amidst the grand applause, Daniel Hope played a charming solo rendition of Brahm’s Lullaby, delicately nudging the audience to take a hint and go home. This was a heart-warming moment, however, as each audience member began to gently hum the tune back, filling the auditorium with a wholesome glow.

As I was leaving the auditorium, I overheard an audience member beckon another to exit first as he jokingly remarked, “That’s what Vivaldi does to me.” This nearly imperceivable moment demonstrates exactly how the beauty of music strengthens the benevolence of our souls and encourages the virtues of the heart. My spirit was absolutely lifted by the music of Vivaldi and Richter, reminding me of exactly what a showcase of the arts should be about.