skip to main |
skip to sidebar
Sani ol-Molk (1814-1866), Scheherazade and the Sultan, 1849-1856/Public Domain, commons.wikimedia.org
Bravo! Bravo!
That was the response from the sold-out, standing audience at the conclusion of two Scheherazades played by the Baltimore Symphony Orchestra at the Music Center at Strathmore.
Listeners were spellbound by Scheherazade.2 by John Adams (b. 1947) and Scheherazade by Nicolai Rimsky-Korsakov (1844-1908).
Mr. Adams wrote Scheherazade.2 for his longtime friend and collaborator, Leila Josefowicz, the BSO guest artist who was Scheherazade at the concert.
Marin Alsop and the Baltimore Symphony Orchestra/Baltimore Symphony Orchestra
Like Rimsky-Korsakov's composition, Scheherazade.2 was thrilling and captivating, almost as if the audience became peeping people, witnessing private, dangerous events.
Fortunately, although contemporary, Mr. Adams's Scheherazade.2 lacked harsh clashes and stifling pauses which afflict many modern works.
Both Scheherazades are poignant masterpieces, played with large orchestras, using almost the same instruments with the addition of Mr. Adams's celesta and cimbalom.
An Arabic manuscript of the 1001 Nights by Unknown/Public Domain, commons.wikimedia.org
In both performances, the cello and bass captured the tensions and fears caused by the sultan, evident throughout the music which contained agonizing combinations, as the imaginary, ruthless dictator practices torture, but gradually succumbs to the
magic of Scheherazade.
Ferdinand Keller (1842-1922), Scheherazade and Sultan Schariar,
1880/Public Domain, commons.wikimedia.org
Wearing a sleeveless, colorful tunic, Ms. Josefowicz played her violin with gusto, occasionally stomping her foot, standing in the shape of a Z, mostly perpendicular to the audience and adjacent to BSO's conductor, Marin Alsop, who complimented Ms. Josefowicz's ability to perform without notes.
Sometimes the violinist threw back her back as if to taunt her invisible captor, the 15th century sultan.
According to legend, Scheherazade (also called Shirazad, Shahrazad, and Shahrzad) was the name of the last bride of the murderous sultan who, over 1001 nights, killed 1001 women, one by one on their wedding nights, fearing their unfaithfulness.
That is, until the last bride, Scheherazade, who regaled the sultan night after night with stories and endings she left until the next night and the next and the next...for 1001 nights. By then, the sultan was enraptured and made Scheherazade his queen to live forever in the pages of 1001 Nights.
At evening's end, Conductor Alsop recognized the principal musicians, the soloists in the Rimsey-Korsakov, the first violinist and concertmaster, Jonathan Carney who played like it was his last concert, and cellist Dariusz Skoraczewski, another evening star among many.
Indeed, Rimsey-Korsakov brought my friend and me to tears, emotionally wrought by his compelling Scheherazade.
For both composers, their creations began with art.
Mr. Adams visited the Monde Arabe (the Arab World Institute) in Paris where he saw renditions of cruelty and brutality inflicted upon women beginning with illustrations from the 15th century. (Additions from the 21st century: Trump, R. Kelly, Harvey Weinstein, Bob Kraft, Bill O'Reilly, Matt Lauer, Mark Halperin, Tucker Carlson)
On International Women's Day weekend, Conductor Alsop called Mr. Adams "probably the biggest feminist I know."
Wikipedia says Rimsey-Korsakov had an interest in the Orient and the pictures from 1001 Nights helped drive him to his greatest composition.
Although Rimsey-Korsakov's version ends happily with Scheherazade able to prolong and save her life through her marvelous story telling, Conductor Alsop said Mr. Adams's composition leaves it up to the listener to decide the outcome.
In which case, (thank you, Mr. Adams) with her bow, Scheherazade pierces the throat of the cruel dictator whose streams of blood turn into coral snakes which the heroine rides to the torture chambers. There, snake-strangled guards loosen their grips on chamber keys which our heroine scoops up and unlocks prison doors, freeing all captives.
Together, the former prisoners and Scheherazade leave the Earth to ride on, ride on the snakes in majesty up to the heavens where they alight from the rocket snakes to step upon starry skies and to this day, wink at us nightly from their pedestals in the universe.
Meanwhile, continuing their journeys, the corals speed through the universe to their temporary residency on the planet Mars, which to this day is known as the Red Planet.
Sometimes, as it were, these kind beasts are yet called upon to awake from hibernation and be born again, to render aid to those on Earth, and descend upon legislators in Annapolis, Maryland who disavow the Bravo Symphony Orchestra's financial needs.
On Earth, the rocket snakes embrace the people's representatives whose skin turns coral red as they become servants in the kingdom of Daniel Sultan, a worse destiny, not yet known.
So ends the tale of a thousand and one nights of pleasure with the Bravo/Baltimore Symphony Orchestra.
You see what music and art can do! The beat goes on.
Next up for the Baltimore Symphony Orchestra:
Appalachian Spring March 14 at Strathmore, March 15 and 16 at the Meyerhoff in Baltimore, and
Harry Potter and the Order of the Phoenix March 22 and 24 at the Meyerhoff, and March 23 at Strathmore.
patricialesli@gmail.com
Hanbing Jia and Sara Matayoshi, violinists for the National Philharmonic Chamber Players/Photo by Patricia Leslie
For the person or persons on your list who is hard to please, who may "have everything," what about a gift subscription to the National Philharmonic at Strathmore?
Some music lovers in Northern Virginia are hesitant about going out to Strathmore, but there is no difficulty, I can assure you, as a frequent customer who finds the Old Georgetown Road exit off the Beltway with a right turn on Grosvenor Lane the easier route, but there is also the Rockville Pike/Tuckerman Lane exit, too.
Strathmore has plentiful free parking at the Metro station garage across the street with an elevated, covered walkway to connect to the music center.
One of the joys of the Philharmonic is its chamber music series where I was able to hear another tribute to Leonard Bernstein's 100th birthday celebration when chamber players performed "What is a Melody?" at the John Kendall Recital Hall at Potter Violins in Takoma Park.
The program opened with a short video devoted to Mr. Bernstein who defined melody as repeating ideas in a simply arranged method, such as birds flying together or the sound of humming bees (if live bees are a possibility).
Two masterpieces by Ludwig van Beethoven (1770-1827), String Quartet in B Flat Major OP. 18 and Grosse Fuge for String Quartet OP. 133 began and ended the program, exquisitely performed by Hanbing Jia and Sara Matayoshi on violins, Lori Barnet on cello, and Colin Sorgi played the viola and directed.
The first movement in B Flat Major started cheerily with an energetic answer to the cello and violins, while the viola seemed content to linger in the background. The violins played in tandem with an emphatic end to the movement.
A strong cello led the second movement with more repetition and energy to introduce the third movement whose mazurka similarities and a demanding violin solo all ending happily enough with the fourth.
Next came Blueprint by Caroline Shaw (b. 1982), a Pulitzer Prize winner whose creation linked to Beethoven's String Quartet.
Exclaimed Director Sorgi: "It really is fun and we hope you enjoy it," and the audience did. It is delightful to hear new compositions, the variations in the outcome, and a millennial's perspective.
In program notes, Ms. Shaw wrote the basis for the work originated as "a harmonic reduction" of Beethoven's String Quartet Op. 18 which she has played many times with friends. "Chamber music is ultimately about conversation without words," she noted.
As in dialogue with friends, there are pauses here, too, but it is a contemporary work which is unobnoxiously modern for this traditionalist (and definitely beyond "millennialism").
Because I am a huge fan of Russian history and culture, the inclusion of String Quartet no. 3 by the Russian Alfred Schnittke (1934-1998) was of keen interest and presented no disappointment despite its stylish sway.
Reginald Gray, (1930-2013), Alfred Schnittke (1934-1998), 1972/Wikimedia Commons
A modern piece by a modern composer with a tense spirit, unpleasant and uncompromising, with hints of Alfred Hitchcock here and there. A sadness and gloom seemed to permeate the structure in which the composer included attention to Orlande de Lassus, Beethoven's Grosse Fugue, and Dmitri Shostakovich.
Mr. Schnittke composed symphonies, operas, ballets, concertos, and scores for more than 60 films (any of Hitch's?). He is buried in the renowned Novodevichy Cemetery in Moscow.
Alfred Schnittke's gravestone with fermata, Novodevichy Cemetery, Moscow/Photo by de Bernutzer: Wwwrathert, Wikimedia Commons
The last selection, Beethoven's Grosse Fugue, was labeled "surely one of the composer's most inspiring achievements" in program notes by Mark Steinberg from Yale's School of Music and a member of the Brentano String Quartet. Certainly, another one which the chamber players performed with precision and flair.
Upcoming dates for the Chamber Players at Potter Violins are:
Feb. 3, 2019: The Road to Paris
Apr. 28, 2019: Musical Atoms
The entire orchestra will perform Holiday Pops, December 7, at 7:30 p.m. at Strathmore.
patricialesli@gmail.com
They don't make 'em like they used to. One of the On the Waterfront posters/Wikipedia
It was a gift for the senses to see and hear the fabulous score by Leonard Bernstein (1918-1990) played by the National Philharmonic Orchestra for the screening of the eighth best American movie ever made.*
The audience at the Music Center at Strathmore swooned to the maestro's only movie score and the 1954 crime drama On the Waterfront, starring the young and fit Marlon Brando (1924-2004) who went on to win the Oscar® for Best Actor for his portrayal of "Terry," a longshoreman beset by the extremes of good and evil.
It was the Philharmonic's film show debut which will certainly not be its last.
The National Philharmonic under the direction of Piotr Gajewski/Photo by Joshua Cogan
Who am I to disagree that a single French horn begins the score when I heard drums and cymbals? I just write what I heard which, in this case, was loud
percussion to open the movie.
At the
beginning, the drums probably were a little too domineering for the
script, but their magnitude soon settled in to the sounds of the docks to match the shipyard visuals in black and white, and scenes in the warehouse
inhabited by conniving union bosses who commandeered crews to handle their heavy lifting.
Soon enough the searing initial musical notes were disrupted by the script and tone which summoned light strings and a welcome shift from hostility and tension to romance.
Marlon Brando in On the Waterfront/Wikipedia
Playing opposite Brando was a new ingénue, Eva Marie Saint starring in a breakout role. (And, at age 94, she is still wooing them.)
On the Waterfront tells the true story of longshoremen, a working class which in those times got short shift when it came to movie subjects, said a film lecturer in a SRO pre-concert program.
Linda DeLibero, senior lecturer in the Film and Media Studies program at Johns Hopkins
University, and David Sterritt, Editor-in-Chief of Quarterly Review of
Film and Video, talked to an overflow crowd about the making of the film which "stands on its own," Ms. DeLibero said, calling On the Waterfront, "the pinnacle" of Brando's career.
(He was nominated seven times for Best Actor and won twice, also for The Godfather in 1972.)
Another On the Waterfront poster/Wikipedia
It "really transcends that time. I really think it's that important," and it carried some improvised scenes. Ms. DeLibero drew the attention of the audience to the "glove scene" which she indicated was improvised. It's a sexy interaction where Brando, early in the romantic relationship, tries on the dropped glove of Eva Marie Saint, and while engaged in conversation, neither mentions the act.
The movie must transcend the time because Mr. Sterritt used the phrase, too, in his remarks: "The movie transcends the moment."
Waterfront was made after the "trauma of [World]war [II]," DeLibero said which was still " fresh in people's minds."
It received 12 Academy Award nominations and won eight excluding Best Supporting Actor (three in the film were nominated: Lee J. Cobb, Karl Malden, Rod Steiger) and Best Music, but it's Bernstein's score which endures, wrote film music historian, Jon Burlingame, in the program notes.
The performance was another of the many celebrations of Leonard Bernstein's 100th birthday celebration.
The story was based on real events in New Jersey which won the Pulitzer Prize for Local Reporting in 1949 for the New York Sun. The director's second choice for writer, Budd Schulberg wrote an original script (and won the Oscar®). He spent countless hours interviewing the reporter for the Sun and at sessions of the Waterfront Crime Commission, portrayed in the film.
Originally, Elia Kazan who directed (and won the Oscar® for Waterfront) pursued Arthur Miller as writer, but Miller turned down the proposal, disillusioned by Kazan's testimony before the House Un-American Activities Committee, where Kazan identified eight "suspicious" persons.
Upon learning he did not get the role, DeLibero said Frank Sinatra, a New Jersey native, tore up his hotel suite. Kazan wanted Brando.
While the film was being made, Brando was near a nervous breakdown and had to take off every day at 3 p.m. to see his psychiatrist.
On the Waterfront on the big screen with live music was a lasting experience.
Conducting was Piotr Gajewski who studied with Bernstein and had a Leonard Bernstein Conducting Fellowship at Tanglewood Music Center.
Throughout the film, the music effectively signaled increasing tension. Playing significant roles were the strings, triangle, xylophone, percussion, cymbals, and horns. The piano sometimes echoed in a plaintive soliloquy. Dainty notes by the harpist could frequently be singled out before the movie's content enveloped the audience.
Familiar chords from Bernstein's West Side Story which came three years later on Broadway were easily recognized.
In
recognition of his service to classical music and to Strathmore, Eliot
Star Pfanstiehl, CEO Emeritus and founder of Strathmore Hall Foundation
Inc., and chef temporaire par excellence was given the opportunity to direct the orchestra when it played the
Star-Spangled Banner to start the show on stage.
The orchestra played under the screen with blue lights at the stands to illuminate the score. To ensure that everyone heard the dialogue, subtitles were used.
Had it been made in color, that would have weakened the message which black and white underscored.
*according to the American Film Institute.
Coming up, the National Philharmonic performs:
What: "Lenny's Playlist"with Mozart's Overture to the Magic Flute, Barber's Violin Concerto, Op. 14, and Shostaskovich's Symphony No. 5 in D minor, Op. 47
When: 8 p.m., Saturday, October 13, 2018 and 3 p.m., Sunday, October 14, 2018
Where: The Music Center at Strathmore, 5301 Tuckerman Lane, N. Bethesda, MD 20852
Tickets: Buy online or call 301.841.8595
Free parking at the Metro Grosvernor-Strathmore station next door
patricialesli@gmail.com
Posts
