Last week, Ken and I went to the Symphony and saw the new music director/principal conductor Ludovic Morlot. As I mentioned in my prior post about the Symphony, he is 37, and his influence can already be felt, despite the fact we attended the Sonic Evolution program in which we expecting a whole different type of crowd. The program paid homage to Kurt Cobain, Quincy Jones and Jimi Hendrix then featured a KEXP darling called Hey Marseilles with the backing of the orchestra so the audience skewed way younger than I have ever seen it. And the energy was electrifying. To have people our age and younger all around us was a rare treat at the symphony.
But another rare experience was having 3 living composers provide works that were debuted in front of a live audience and then have them come up on stage and take bows. That was how the masters in the Classical music collective did it, I guess. But let me be honest: modern composers have such a plight not to be derivative of the masters, push the symphonic construct to the edge and be distinct. It's a tall order when you consider a lot of brilliant, listenable music already exists in 2011. So they create musical landscapes that are layered, discordant and unique--only as far as no one with musical education has thought to put these certain sounds together. Excuse my vulgarness, but the three pieces--especially the Jimi Hendrix and the Kurt Cobain tributes--seemed like musical masturbation. Formless, self-indulgent and not nearly as satisfying as the real thing. Still, it is a triumph to have new blood, new attendees, new interest and new music filling Benaroya Hall. Hey Marseilles, amply backed by the full orchestra, was breath-taking even if it might be a bit unorthodox. Despite my opinion though, I fully support Maestro Morlot for taking chances and making the old new again. I look forward to more that will probably test my comfort level and expectations.
Showing posts with label Symphony. Show all posts
Showing posts with label Symphony. Show all posts
Wednesday, October 26, 2011
Monday, April 25, 2011
The Symphony Rules
I think I was 15 when I heard a live symphony orchestra for the first time. It was in a church and my high school boyfriend's mother played violin in this group. I never forgot that sensation, that tickle in my ear upon hearing live stringed instruments. There is no other way for me to describe it but live music especially violins, violas, cellos, basses...taps into something deep and is unlike any other experience. But as naive as I am about classical music, I have learned that there are rules, etiquette really, for when you attend the symphony. But I am a multi-tasker at heart and much to my musician husband's chagrin, I still like to thumb through my program and shift around in my seat. If a piece bores me, I busy myself thinking of what I will say about it when it's over and look around at other patrons. I know, it's borderline behavior but sometimes it's hard to stay focused.
Also as a non-musician, I acknowledge the extent to what I absorb of the classic masterworks is small. The complexity and emotion is apparent but there is so much more. This realization was reinforced when I tried to play a violin recently. Our friend Mika is among other things a talented violinist and let me try it. Just holding the bow was an eye-opener. It looks so simple but there is this "peculiar" way to position one's fingers. I felt like I would drop it at any moment. Then figuring out how hard to press the bow on the strings--those musicians make it look so effortless. But it is the exact opposite. The life-long dedication, talent and achievement distinguish them from the rest of us. I suppose they are like athletes that way.
So as I've grown older, I have made efforts to have some small ongoing exposure to the symphony. Last Friday was one of those nights. It was a program with Prokofiev, one of Ken's favorite composers. I too like the Russian composers, they have more dramatic and angsty music which definitely appeals. But it was in the recital hall with a chamber group instead of with the entire symphony in the main auditorium. Immediately I noticed the patrons were dressed down more than usual. (Was it "casual Friday" at the symphony?) Clearly modern times and the "Seattle laid back attitude" mix to deem Birkenstocks as acceptable footwear and a clean fleece pullover as a fitting dress shirt. But I digress. A paying guest, regardless of their fashion, is a welcome sight these days. But I still can't help but feel bad for the performers. Looking a little nicer than what you'd wear for a trip to the store is a fair reverence to them and their dedication.
However, cringe-worthy things started happening between the 3rd and 4th movement of the first piece. That was when people broke into applause because they thought the first piece was over. In fairness, the musicians did finish with their bows up in the air and after a little bit of flourish but there were four movements listed. So a lot of people got faked out and we all starting clapping. That seemed to set the tone for the rest of the night where people just burst into applause between movements, like someone had opened Pandora's box and anything goes. No doubt, we are not the first Seattle audience to clap prematurely (this week) but it shows me how pretentious I can get about it. Then to top it all off, they gave a standing ovation. There were good aspects, particularly the 2nd and 3rd pieces but Seattle, from my observation, loves to give standing ovations. All the time. Even if it's mediocre. So how can you discern good from great here? That is my question. Ken thinks I sound so snobby when I say that but it's like giving everyone an "A" or a trophy. Every performance doesn't merit the highest honor. Okay, I'm done now.
And yet, this clearly illustrates how alienating it might be for someone to go to the symphony for the first time so therefore they don't. With the news of Philadelphia's Orchestra filing for bankruptcy, it's scary. I looked around at the audience (as I am wont to do) and noticed Ken and I were some of the youngest people there and there were not many in our age group. That does not bode well for this musical tradition being kept alive. Sure there are a number of kids who learn musical instruments and play in youth symphonies/orchestras which work closely with the professional symphony but why am I not seeing or hearing about more of my peers attending or enjoying the symphony?
When the Seattle Symphony rep called us a month ago to remind us to renew our season tickets, I had a frank talk with her. Why aren't you guys doing more with movie composers? I asked. When Lord of the Rings was going, they hosted Howard Shore, the man responsible for scoring that epic trilogy. They had multimedia screens with projections above the full symphony with hand drawn sketches and photos of the locations where the movie was shot. People I had never seen showed up for this (young people) and in costume. It was an amazing event with lots of energy. Granted this is not traditional symphony but I liken it to a gateway drug. Get people in the building (which is amazing on it's own) and have them see that going to the "symphony" isn't as stuffy and inaccessible as you may believe. I suggested they try to get Danny Elfman up here. That would be amazing. I think there has to be a way to instill interest and that might be in the form of using popular culture.
It is a good thing that they have made their packages very flexible and of varying sizes. Clearly we don't have a lot of time or money to see tons of performances. So we go with their smallest package of 3-4 performances for the entire 9 month season. That's doable and keeps us connected. This next season, I chose a non-traditional series that features world music so we can have a little break from the masters and hear some new/different stuff. In the past, we've tried small packages featuring music of Mozart, Beethoven, Chamber Music, the Russians (Tchaikovsky, Prokofiev, Shostakovich) and famous classical guitarists. So there is variety and new stuff to hear/see from the symphony. Perhaps they are not doing enough outreach to "unlikely" patrons or perhaps they're resistant to taking too many liberties with classic work. I know there is a new musical director as of this year. He's 36. The outgoing guy is 64. Perhaps we will see some changes after all...
Also as a non-musician, I acknowledge the extent to what I absorb of the classic masterworks is small. The complexity and emotion is apparent but there is so much more. This realization was reinforced when I tried to play a violin recently. Our friend Mika is among other things a talented violinist and let me try it. Just holding the bow was an eye-opener. It looks so simple but there is this "peculiar" way to position one's fingers. I felt like I would drop it at any moment. Then figuring out how hard to press the bow on the strings--those musicians make it look so effortless. But it is the exact opposite. The life-long dedication, talent and achievement distinguish them from the rest of us. I suppose they are like athletes that way.
So as I've grown older, I have made efforts to have some small ongoing exposure to the symphony. Last Friday was one of those nights. It was a program with Prokofiev, one of Ken's favorite composers. I too like the Russian composers, they have more dramatic and angsty music which definitely appeals. But it was in the recital hall with a chamber group instead of with the entire symphony in the main auditorium. Immediately I noticed the patrons were dressed down more than usual. (Was it "casual Friday" at the symphony?) Clearly modern times and the "Seattle laid back attitude" mix to deem Birkenstocks as acceptable footwear and a clean fleece pullover as a fitting dress shirt. But I digress. A paying guest, regardless of their fashion, is a welcome sight these days. But I still can't help but feel bad for the performers. Looking a little nicer than what you'd wear for a trip to the store is a fair reverence to them and their dedication.
However, cringe-worthy things started happening between the 3rd and 4th movement of the first piece. That was when people broke into applause because they thought the first piece was over. In fairness, the musicians did finish with their bows up in the air and after a little bit of flourish but there were four movements listed. So a lot of people got faked out and we all starting clapping. That seemed to set the tone for the rest of the night where people just burst into applause between movements, like someone had opened Pandora's box and anything goes. No doubt, we are not the first Seattle audience to clap prematurely (this week) but it shows me how pretentious I can get about it. Then to top it all off, they gave a standing ovation. There were good aspects, particularly the 2nd and 3rd pieces but Seattle, from my observation, loves to give standing ovations. All the time. Even if it's mediocre. So how can you discern good from great here? That is my question. Ken thinks I sound so snobby when I say that but it's like giving everyone an "A" or a trophy. Every performance doesn't merit the highest honor. Okay, I'm done now.
And yet, this clearly illustrates how alienating it might be for someone to go to the symphony for the first time so therefore they don't. With the news of Philadelphia's Orchestra filing for bankruptcy, it's scary. I looked around at the audience (as I am wont to do) and noticed Ken and I were some of the youngest people there and there were not many in our age group. That does not bode well for this musical tradition being kept alive. Sure there are a number of kids who learn musical instruments and play in youth symphonies/orchestras which work closely with the professional symphony but why am I not seeing or hearing about more of my peers attending or enjoying the symphony?
When the Seattle Symphony rep called us a month ago to remind us to renew our season tickets, I had a frank talk with her. Why aren't you guys doing more with movie composers? I asked. When Lord of the Rings was going, they hosted Howard Shore, the man responsible for scoring that epic trilogy. They had multimedia screens with projections above the full symphony with hand drawn sketches and photos of the locations where the movie was shot. People I had never seen showed up for this (young people) and in costume. It was an amazing event with lots of energy. Granted this is not traditional symphony but I liken it to a gateway drug. Get people in the building (which is amazing on it's own) and have them see that going to the "symphony" isn't as stuffy and inaccessible as you may believe. I suggested they try to get Danny Elfman up here. That would be amazing. I think there has to be a way to instill interest and that might be in the form of using popular culture.
It is a good thing that they have made their packages very flexible and of varying sizes. Clearly we don't have a lot of time or money to see tons of performances. So we go with their smallest package of 3-4 performances for the entire 9 month season. That's doable and keeps us connected. This next season, I chose a non-traditional series that features world music so we can have a little break from the masters and hear some new/different stuff. In the past, we've tried small packages featuring music of Mozart, Beethoven, Chamber Music, the Russians (Tchaikovsky, Prokofiev, Shostakovich) and famous classical guitarists. So there is variety and new stuff to hear/see from the symphony. Perhaps they are not doing enough outreach to "unlikely" patrons or perhaps they're resistant to taking too many liberties with classic work. I know there is a new musical director as of this year. He's 36. The outgoing guy is 64. Perhaps we will see some changes after all...
Thursday, September 20, 2007
Lasers not so much
It's Symphony week on "Evidently..." and tonight's performance of the Seattle Symphony Pops "Sci-Fi Favorites" inspired a little Haiku-action.
(Performance featured a laser light show to the music of John Williams, conducted by Jack Everly, narrated by George Takei)
(Performance featured a laser light show to the music of John Williams, conducted by Jack Everly, narrated by George Takei)
Symphony Sci-Fi
Nostalgic Fuzzy Feelings
Lasers Not So Much
Odorous faux pas
Perfume jams my frequencies
Take It Easy Lady
Pan-Asian In Space
George Takei Looks Like My Dad
Sulu Is A Sea
Ponder That For Now
Explanations Coming Soon
Bedtime For Bonzo
Wednesday, September 19, 2007
Open Letter to the Seattle Symphony Musicians
Dear Seattle Symphony Musicians,
First I want you to know, I love you best.
Given a choice between the Opera, Ballet, Symphony or Sports Teams of this town, I'll always pick you. What you create and deliver night after night astounds and delights me like nothing else. As I look at each one of you, I see a lifetime of devotion to the art of music and the mastery of the instrument resting in your hands. It is my honor to hear you perform in such a hall, in such a city.
But imagine my dismay last Saturday when you all stood to take your bows and it looked like you were headed to a funeral after the show. Not a smile amongst you, just expressionless, dour faces as you clutched your instruments. Yo-Yo smiled and laughed and hugged. So did Schwarz. But you were not moved by the Bravos and ecstatic clapping. And it wasn't just at the end of one piece--it was all of them. Did you not like standing and taking bows? Did you not want our appreciation? It certainly seemed that way.
Not being a musician perhaps leaves me in the dark on some things you go through. When my husband practices a piece on the piano, he plays it again and again and again to the point where I have to go somewhere else. There must be an inherent solitude that one endures as a musician I'm sure. And so when you come together with 50+ other individuals of the same ilk--I can only imagine there is some friction.
I did some research on you to see if the answer was out there and found a local paper had fun with conspiratorial scraps of fact and gossip not too long ago. I couldn't help but feel sad. It sounds like some of you have a boss you don't like. I've certainly worked for bosses I didn't like. (Current one excluded for those of my co-workers reading this.) It's frustrating when you don't respect that person or find their decisions questionable.
But I thought (probably naively) that the arts would transcend human frailty--that the making of music especially, showcased the best of our creativity and possibility. This week kicks off the beginning of a new season and we will be seeing many of your performances. I just hope you find it in yourselves to remember that in the audience, there are those of us who marvel at you and wish you back every bit of joy you bring to our ears and hearts. Receive our gratitude with graciousness is all I ask.
Sincerely,
Kali
First I want you to know, I love you best.
Given a choice between the Opera, Ballet, Symphony or Sports Teams of this town, I'll always pick you. What you create and deliver night after night astounds and delights me like nothing else. As I look at each one of you, I see a lifetime of devotion to the art of music and the mastery of the instrument resting in your hands. It is my honor to hear you perform in such a hall, in such a city.
But imagine my dismay last Saturday when you all stood to take your bows and it looked like you were headed to a funeral after the show. Not a smile amongst you, just expressionless, dour faces as you clutched your instruments. Yo-Yo smiled and laughed and hugged. So did Schwarz. But you were not moved by the Bravos and ecstatic clapping. And it wasn't just at the end of one piece--it was all of them. Did you not like standing and taking bows? Did you not want our appreciation? It certainly seemed that way.
Not being a musician perhaps leaves me in the dark on some things you go through. When my husband practices a piece on the piano, he plays it again and again and again to the point where I have to go somewhere else. There must be an inherent solitude that one endures as a musician I'm sure. And so when you come together with 50+ other individuals of the same ilk--I can only imagine there is some friction.
I did some research on you to see if the answer was out there and found a local paper had fun with conspiratorial scraps of fact and gossip not too long ago. I couldn't help but feel sad. It sounds like some of you have a boss you don't like. I've certainly worked for bosses I didn't like. (Current one excluded for those of my co-workers reading this.) It's frustrating when you don't respect that person or find their decisions questionable.
But I thought (probably naively) that the arts would transcend human frailty--that the making of music especially, showcased the best of our creativity and possibility. This week kicks off the beginning of a new season and we will be seeing many of your performances. I just hope you find it in yourselves to remember that in the audience, there are those of us who marvel at you and wish you back every bit of joy you bring to our ears and hearts. Receive our gratitude with graciousness is all I ask.
Sincerely,
Kali
Monday, September 17, 2007
Yo-Yo rocks
Saturday night, Ken and I delighted in the ever-smiling, ever-uplifting Yo-Yo Ma and the Seattle Symphony Orchestra as they kicked off the new season. We sat in different seats this time and while we couldn't see the entire orchestra because we were low and up close, we got a really good view of Yo-Yo.
In fact, I could see at first he kept his eyes closed through most of Faure's Elegie, Op. 24. His face contorted with emotion as he played. But during the second piece, Saint-Saens' Cello Concerto No. 1, he looked around a lot and smiled as he made eye-contact with fellow musicians and audience members. At times he popped-up while still playing like he was going to stand but then sat back down. It was electrifying to see him get so into the music.
But the structured playing of symphonic music is not the true draw to a Yo-Yo Ma concert...oh no, you go for the encores. And he did two. Both duets: one with the concert mistress Ani Kavafian and one with the 23-year-0ld principal cellist Joshua Roman. The interaction Yo-Yo displayed while partnering with these people was truly a joy to witness. The first piece was a modern-sounding pluck fest with plenty of laughs and a welcome reprieve from the regular program. Then the double cellos gave the audience a rare treat. How often to you hear only two cellos with such masterful skill behind them? And let me just say, Yo-Yo turned the pages of music for his fellow musicians. It's this and all the other acts of graciousness and obvious love of music that make Yo-Yo so endearing and watchable. When he was done, Yo-Yo departed the stage amid cheering and thunderous applause.
The symphony had one more piece to play that night: Ravel's iconic Bolero. (Also known from the movie, "10" with Bo Derek.) I have always liked this piece as it builds and repeats seemingly simple patterns but takes a great deal of focus from it's players to maintain the momentum. And it sounds so "full" when you get to hear it live. Ken and I talked about what it was that really made live symphonic music great and we concluded it's the fact that the sound envelopes you and comes at you from all sides as opposed to from just 2 speakers where the music seems "flattened." From my seat I could see deep into the cello section and who to my wondering eyes should be sitting last chair but Yo-Yo himself. Apparently he snuck back on stage and not many people noticed because after the fantastic ending, Maestro Schwarz pointed out people to stand and take bows so when Yo-yo stood up gasps of surprise and hollering erupted. Great ending.
Meow alert: This was a black tie affair for some, a more dressed-up event for the rest of us but nothing special for one teenage girl I spotted wearing soccer shorts and athletic shoes. I know it sounds snotty as hell, but if you're going to go to the symphony at least make an attempt to look presentable. Have a little respect for the musicians and your fellow audience.
In fact, I could see at first he kept his eyes closed through most of Faure's Elegie, Op. 24. His face contorted with emotion as he played. But during the second piece, Saint-Saens' Cello Concerto No. 1, he looked around a lot and smiled as he made eye-contact with fellow musicians and audience members. At times he popped-up while still playing like he was going to stand but then sat back down. It was electrifying to see him get so into the music.
But the structured playing of symphonic music is not the true draw to a Yo-Yo Ma concert...oh no, you go for the encores. And he did two. Both duets: one with the concert mistress Ani Kavafian and one with the 23-year-0ld principal cellist Joshua Roman. The interaction Yo-Yo displayed while partnering with these people was truly a joy to witness. The first piece was a modern-sounding pluck fest with plenty of laughs and a welcome reprieve from the regular program. Then the double cellos gave the audience a rare treat. How often to you hear only two cellos with such masterful skill behind them? And let me just say, Yo-Yo turned the pages of music for his fellow musicians. It's this and all the other acts of graciousness and obvious love of music that make Yo-Yo so endearing and watchable. When he was done, Yo-Yo departed the stage amid cheering and thunderous applause.
The symphony had one more piece to play that night: Ravel's iconic Bolero. (Also known from the movie, "10" with Bo Derek.) I have always liked this piece as it builds and repeats seemingly simple patterns but takes a great deal of focus from it's players to maintain the momentum. And it sounds so "full" when you get to hear it live. Ken and I talked about what it was that really made live symphonic music great and we concluded it's the fact that the sound envelopes you and comes at you from all sides as opposed to from just 2 speakers where the music seems "flattened." From my seat I could see deep into the cello section and who to my wondering eyes should be sitting last chair but Yo-Yo himself. Apparently he snuck back on stage and not many people noticed because after the fantastic ending, Maestro Schwarz pointed out people to stand and take bows so when Yo-yo stood up gasps of surprise and hollering erupted. Great ending.
******
Meow alert: This was a black tie affair for some, a more dressed-up event for the rest of us but nothing special for one teenage girl I spotted wearing soccer shorts and athletic shoes. I know it sounds snotty as hell, but if you're going to go to the symphony at least make an attempt to look presentable. Have a little respect for the musicians and your fellow audience.
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