O'Riley, Ravel, and Radiohead (that's right- you didn't read it wrong)

It's not too often you can come to a concert and hear a musical potpourri of pieces, all in one sitting. The April 25 Baltimore Symphony Orchestra concert I recently attended at The Strathmore included pieces such as Ravel's well known but not often performed Piano Concerto for the Left Hand, to Ballet Music from Mozart's opera, Idomeneo, to piano arrangements of the band, Radiohead, and lastly, excerpts from Prokofiev's Romeo and Juliet. I originally thought that this is just way too much to cram in to one concert, but I was blown away.

Chistopher O'Riley, the guest artist, made the night. His immaculate performance of the Ravel was as fascinating to watch as to hear. After having grown up listening to O'Riley as host of the popular radio show, From the Top, it was thrilling to see him live, right here at the Strathmore Music Center. I always thought it was so cool that he would play the piano part for the young solo artist performing- I used to imagine how great that would be to have a chance to play with O'Riley, and he seemed to be able to converse with the young people with easiness. That same calm, collected, easiness was present during this performance.



James Gaffigan, the guest conductor, flown in all the way from San Francisco, teamed up with the BSO and ORiley for the weekend’s performances. He brought a fresh approach to conducting, and, although no other conductor works as well as Alsop (yes, I’m biased), Gaffigan's large and expressive motions seemed to pull every last drip of passionate playing from the musicians.

The Classical Period Selection of the Night:
Mozart’s Idomeneo, re di Creta, K.366 (1781), his first attempt at opera seria (serious opera), was composed when he was only eighteen years of age. The story of Idomeneo, Kingof Crete, was thought to be chosen by Elector Karl Theodor of Bavaria, who commissioned Mozart to compose the work. The Ballet Music from the opera, traditionally inserted at the end of the performance, is rarely performed with the rest of the opera today. This shortage is more than adequately filled in the orchestral field, where the ballet music is on repertoire lists the world over. As the opener, the BSO, always a pro group with Amadeus, performed the short pieces with a fierce daintiness. Mozart exists for strings, in my opinion, and the string section, led that night by Madeline Adkins, performed with a pure, unified sound. I could almost see the dancers on stage during the opera.

Romantic/Contemporary Period Work of the Concert:
After much striking and set-up of the stage, (Mozart performances require a much smaller orchestra- some of the instruments in today's symphony orchestra were not yet invented during the eighteenth century and it was not until the works of Berlioz and Beethoven that the orchestra grew in number and variety of instruments), the Ravel Piano Concerto for the Left Hand (1929-1930) was performed with O'Riley on the piano. I had forgotten the extensive jazz influences in this work. The offbeat, syncopated rhythms and clarinet/saxophone slides (yes, there’s a tenor saxophone part) significantly move the piece up to the twentieth century. The work does demonstrate many Romantic Period traits as well, especially in the traditional concerto structure, disguised within one lengthy movement.

It is truly a shame that this work is not more developed into the musical canon. It appears that one would have to spend as much time and effort developing the skill of keeping the right hand limp and resting in the lap as pushing the limits of the left hand, the unfortunate appendage that rarely gets a chance to play the melodic line. The work was composed for Ravel's good friend, Paul Wittgenstein (1887-1961), who lost his right arm during WWI. Apparently, Wittgenstein could not stand the work at first, but it quickly grew on him as he came to perform it many times over the course of his career.

Rock Music Work of the Concert:
Radiohead arrangements for the piano, composed by O'Riley himself. He took the time during the changeover of the stage to talk about how he developed a liking for Radiohead's music (beginning with their CD, OK Computer). He began playing the arrangements on From the Top, and their popularity took flight after that. There were some really advanced technical moments that the audience Oood' and Ah'd to, and he performed more works as an encore. I have to admit I really like Radiohead's music, but I don't know it that well. When O'Riley played an arrangement of the song, Paranoid Android, I (and the rest of the audience) clapped prematurely, before the song was actually over. My date, a devotee of Radiohead (and not a devotee of classical music), did not clap, and gave me that eyebrow lifted, judging look that I usually give him when he claps too early! The roles were certainly reversed for a hot second, and it was oddly refreshing to be out of my element.

Contemporary American Work of the Concert (out of the Canon):
Leonard Bernstein's "Three Dance Episodes" from On The Town, was another jazz-influenced work, but more mainstream since the pieces were from the 1944 musical. I always enjoy Bernstein, and this was certainly an audience favorite. People couldn't stop "air toe-tapping" in their seats and mouthing the words during the BSO's performance. This was the only piece on the program that I felt had weak moments; there were occasionally transition points where it felt like the ensemble was not completely together, and althought I loved seeing the sax onstage, he could have projected more over the orchestra as it was hard to hear his solos.

Contemporary Period Work of the Concert (in the Canon):
Prokoffiev's Romeo and Juliet, Op.64 (1935, with revisions), was a fantastic way to end the concert. I did not read through the program close enough to see which Romeo it was, falsely assuming it was Tchaikovsky's version, written many years prior. I am now decidedly a fan of the Prokofiev, moreso than Tchaik's. The Prokofiev has more tension and drama- it is so much more powerful, especially in the first movement, Montagues and Capulets.


After a whirlwind tour of classical music, the college night festivities began. O'Riley and Gaffigan (and their lovely dates) came to the party to meet everyone and of course participate in some fun photo-ops! The only downside for me at these events is the food is always gone by the time I get to the table! Please bring more food, BSO staff, and don't forget about vegetarian options!!

Music Matters. Spread The Word.

Check out the Baltimore Symphony Orchestra's new campaign, Music Matters. I know I don't have to tell you that, so pass the message along to those who don't know how vital music and the BSO are to this region!

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Cirque de la Symphonie

For me, the debate always returns to whether or not orchestras should involve extraneous performers or acts to glitz up the concert. Does this take away from the music itself? Is this somehow a way to get those not interested in classical music to attend? Or, is this a way to make the symphony orchestra more approachable, not so lofty in its aim and intentions? As evidenced by the full house that night, this concert was a giant success, and those who do not normally attend BSO concerts were drawn by its appeal. I'll have to attend another pops concert for more "research," but in the meantime, it's certainly safe to say I had a good time.


The College Night reception had good food and great prizes. A Hopkins student won the Baltimore harbor cruise in the raffle and just about flipped her lid with excitement. The gymnasts came out for the concert and mingled through the crowd. (Pictures are up on the BSO fan page.) I heard through the grapevine that all the student tickets were sold out for that concert, so you might want to get your $10 tickets for April's Romeo and Radiohead concert early!

URGENT - REJECT THE STATE BUDGET CUTS TO THE ARTS

Friends of the BSO and the arts in general,
Please take some time to read this letter and follow the instructions below. The arts have suffered enough without a significant cut in the MD State Arts Council budget in these hard economic times.
Thanks,
Elizabeth


Dear Friend,

As many of you know, the Governor's proposed FY10 budget includes a drastic 36% cut to the Maryland State Arts Council. If passed, this would be a devastating blow to the arts community. For the BSO, this would represent a cut of $700,000 on the FY10 budget (2009-10 concert season).

Please take a moment to click on the following link, enter your zip code, and write to your elected representative. There is an already scripted letter, which you can use as is, or feel free to edit. I can't emphasize enough how important it is that our legislators hear from us – silence will be taken as acceptance.

Thank you,

Paul Meecham
President & CEO

BSO College Night- The Raven

A great way to spend a classy evening out on a tight budget is with the Baltimore Symphony Orchestra at one of their acclaimed College Nights. I attended my first BSO College Night a few months ago, on November 6. It was certainly a night of big names. The Baltimore Symphony aptly chose to have their Fall College Night during The Raven concerts.The BSO brought former NSO Music Director, Leonard Slatkin, on board to conduct the evening’s performance, which included his work, The Raven: a dark and exciting piece composed of several poems by Edgar Allan Poe accompanied by music. Among the very skilled poem readers was none other than John Astin- yes, of The Addams Family claim to fame (Gomez)- who read Poe’s most famous poem, The Raven. Other works such as The Sleeper, The Bells, Romance, and The Coliseum were also read by different speakers and accompanied by music. The recitations and music certainly put one in a ghostly mood, but it reminds one of just how many good Poe poems are out there, and that more than the “regulars” should be circulated more often.

As many locals might already know, Edgar Allan Poe was native to this region in the early nineteenth century. After his parents’ death, Poe lived with his unofficial guardians, the Allans, in Richmond, VA, even attending UVA for a year. Poe moved back and forth between Richmond, Baltimore, New York City, and Boston, and although the circumstances regarding his death are uncertain, he most certainly died and was buried in Baltimore, following a long list of ailments and illnesses.

What many might not know is that John Astin is also native to this region! He is Baltimore born and raised, graduating from Hopkins with a drama degree before departing to Hollywood. Slatkin, whether or not he was born and raised here is obsolete; once you are the music director of the NSO for THAT long, you are a local. End of story.

With all these big name artists, the evening was sure to be a hit. To keep the event evenly spread throughout their two concert halls, College Night was at the Music Center at Strathmore to make it easier for the Western MD and DC students to make it out. The hall at the Strathmore is a work of art on its own, and with the place metro accessible (Grosvenor-Strathmore Metro) and the BSO’s great student discount tickets (we’re talking cheap here- 10 bucks), there’s no excuse for the young, low-on-funds college student not to attend!



After a lively rendition of Rossini’s "The Thieving Magpie" Overture, complete with a solid and steadfast drum roll solo by Christopher Williams, Slatkin conducted his Raven. The work is organized around five of Poe’s works, each set in different musical “guises.” He states, “The first four are scored for narrator, with each utilizing just one section of the orchestra. [The first poem features the woodwinds; the second, “The Bells,” a variety of bell-like percussion; the third is a dreamy waltz for strings; the fourth uses brass instruments to evoke ancient Rome.] In the final poem [“The Raven”], the whole orchestra is represented by solo instruments from each section.” One by one the readers came out slowly and solemnly onstage to recite their poems, each rendition increasingly creepier that the last. A personal favorite was the rendition of The Bells was performed by Rosemary Knower and the percussion section of the BSO. This piece reminds us of just how disturbed and demented the author’s psychological state was for most of his life. (I was definitely on edge throughout the entire work.)

John Astin came out to read the big finish (The Raven) and it was remarkable. It was obvious this was not his first public reading of that poem! It is very easy to see why this work was originally composed for Vincent Price to do all the readings, but having the pleasure of hearing John Astin and the other talented speakers, I believe their interpretations were just as provocative and gripping. Except for some minor sound problems, the work went off without a hitch.

After a brief intermission, the second half was devoted to another big name, Sibelius, and his second symphony. Composed in 1901, this Finnish favorite was actually inspired by the warmer climate of Italy- the location where Sibelius vacationed for a time. Excluding the slow movement, the majority of the symphony exudes joyousness and gaiety, and Slatkin and the Baltimore Symphony worked well together to achieve this atmosphere.

Some symphony goers get a bit tired during the long programs of the second half (the Sibelius included at a whopping forty-five minutes), and I feared this for my date, who does not typically attend symphony orchestra concerts. I glanced over halfway through and was shocked to see him wide awake and attentive- in fact, a quick glance over the rest of the audience, and they too were sitting up in their seats, quite alert. This was probably owing to College Night, but it was so nice to see such a variety of ages in the audience as well. This has definitely improved in recent years, and the BSO is doing an outstanding job attracting younger audiences with College Night and Forte BSO Friends under 40 events.



The College Night soiree after the performance was held in the swanky Comcast Circles Lounge, complete with soft lighting, yummy appetizers and desserts, and a cash bar. It is always exciting to see other students with an interest in symphony orchestra concerts, and I mingled briefly as a handful of orchestra musicians, fresh off the stage, and John Astin strolled in. I was highly pleased that Astin attended College Night. It was quite a treat to meet the legend in person and very generous of him to stay a while and mingle. The pictures of the event (available on the Facebook BSO Fan Page) turned out great as well!

Not that it’s too obvious, but I will definitely be attending the next College Night with the BSO and Cirque de la Symphonie on February 6 in Baltimore. For more information, visit BSOmusic.org for a full listing of future concerts!