The last weekend of February, about a thousand Rochester singers performed in different venues over twenty-four hours. On Saturday afternoon, gospel choirs rocked the Monroe County Public Safety Building with high-decibel joy in a concert sponsored by the city. A few hours later and a few blocks away, the Eastman Chorale performed Dominick Argentoâ€™s tender love letter to Walden Pond, a song cycle based on text by Henry David Thoreau and scored for chorus, three cellos, and harp. The next day, eighteen local choirs offered a prism-style concert to a standing-room only crowd in Kodak Hall at Eastman Theatre. Audience members heard a wide variety of works: Russian liturgical music, barbershop, 21st century, Broadway, African chant, you name it. Singers were in and out of tune, sometimes stark and more often sentimental. I was happy to be there, but really, it was too much. I was drowning in a sea of notes.
Iâ€™ve been thinking about that weekend and what I remember most of the blur of voices and faces and itâ€™s this-- the voice of a man coming out of a snow squall in a parking lot. He was singing â€śWinter Wonderlandâ€ť full-throated, a la Frank Sinatra, carrying a child through a late winter storm.
You know what music is like when you donâ€™t expect it? Once I was standing in the nave of St. Bartholomewâ€™s Church in New York, holding my tape machine and waiting for an interview, when Elgarâ€™s â€śNimrodâ€ť sailed out of the churchâ€™s Aeolian-Skinner pipe organ (the largest instrument in the city), rushed over the pavers and curled my toes. The organist was only practicing. I was an accidental tourist. It was an absolute coupe de foudre.
A few weeks ago, on my way to a meeting at the Eastman School, a wave of sound pulled me backstage. The RPO was rehearsing Debussyâ€™s torrential La Mer. I sat down, bewitched, like Iâ€™d never heard it before.
The question is, how does one create circumstances in which music is able to penetrate the deepest level of our subconscious? How can we set ourselves up for personal enchantment? Composer Aaron Copland is full of advice; he suggests directing ourselves â€śtoward an emotionally purposeful endâ€ť to encourage the marriage of mind and heart he believes is uniquely possible with music. What's your experience?
William James would tell you to keep your distance. In "Principles of Psychology" he warns against excessive indulgence. â€śNever suffer one â€™s self to have an emotion at a concert without expressing it in some active way, such as giving up your seat in the subway.â€ť Perhaps heâ€™s kidding.
My idea is this: listening to music is like star-gazing. The light shines brightest when you avert your eyes. Then it might surprise you.
March 8. 2011 marks the centenary celebration of International Women's Day. Each March 8, for the last 25 years, I have programmed a veritable festival of women in music. I did this for rock, I did it for jazz, and these days, with the help of interns from the Eastman School of Music's Arts Leadership Program, I do it for classical.
Chris Van Hof lent me a copy of the book "Beyond Talent: Creating a Successful Career in Music" by Angela Myles Beeching. Violinist Philip Ying calls it â€śthe ultimate Swiss army knife for the young musician,â€ť and the more I pour over it, the more I think it contains a lot of good advice for anyone working in a creative field.
Beeching oversees the career center at New England Conservatory of Music, and in this volume she summarizes the counsel she offers aspiring musicians, including tips on practical matters such as web-site design, managing money, and using social networking tools. As a professional church musician, I found this tip helpful; â€śAvoid playing more than twenty-five minutes without a five- minute break.â€ť (Okay, I can do this if that five minute break includes chocolate!) Beeching also extends this advice to any physical activity: gardening, typing, sports, etc. Take breaks, she urges. She recommends daily exercise, soaking in the beauty of nature, and carving out time for non-musical activities.
Hereâ€™s some general advice she gives career counselors working with musicians: â€śLook for the light in the eyes.â€ť Your eyes reflect your true passions.
Finally, this gem. Israeli composer Lio Navokâ€™s compares the artistâ€™s creative internal fire to a small, gold box. â€śItâ€™s something absolutely personal and irreplaceable in each of us that we need to safeguard,â€ť he says.
I have a gold box. You have one, too. Hold it close.
Superbowl advertisers turned to classical composers to help them sell carbonated beverages (with Rossini's William Tell Overture), a new TV series (cue Carl Orff's Carmina Burana), cars (via John Williams' The Empire Strikes Back) and bright orange chips which may not be the healthiest thing for you or your dog. In my opinion, the juxtaposition of Verdi's Requiem with a slow-motion, runni
Four Eastman students have made classical music station WQXR's list of Top Five Viral Videos of 2010. When the quartet Breaking Wind performed a fully choreographed Lady Gaga medley in wigs and sunglasses, â€śit wasnâ€™t just funny; it was inspired,â€ť writes Amanda Angel.
One of these players is interning at WXXI, but so far, sheâ€™s left her blonde wig at home.
Letâ€™s recall the top classical music news stories in 2010 in Rochester, New York, with a nod to the Rob Reiner film, The Princess Bride.
NOT UNEMPLOYED IN GREENLAND RPO Music Director Christopher Seaman announced his retirement at end of the 2010-2011 season. Norwegian conductor Arild Remmeriet will step up as RPOâ€™s new music director in 2011. Glimmerglass Opera announced that Francesca Zambello will be new executive director in 2011.
MUCH NICER THAN THE FIRE SWAMP Eastman School of Music opened a new wing with dramatic atrium, recital hall, rehearsal spaces, and eye-popping hanging glass sculpture.
INCONCEIVABLE! Rochester entrepreneur Tim Enright launched Virtuoso Television, or VTV, an internet service for musicians to record and store music lessons online for reference in future practice sessions.
HELLO, MY NAME IS â€śGIBBS AND MAINâ€ť Rochester chamber ensemble Quartsemble changed moniker.
NEVER GO AGAINST A STRING PLAYER WHEN DEATH IS ON THE LINE RPO principal violist Melissa Matson stepped on needle, performed Harold in Italy with injured foot. RPO principal cellist Stefan Reuss fell and injured ribs and wrist, missing first few weeks of concert season.
A GREAT GIFT FOR RHYME Baritone Jonathan Beyer earned Rochester Oratorio Societyâ€™s annual Classical Idol top prize with compelling performance of aria from "Nixon on China." Composer Cary Ratcliff gets oratorio "Ode to Common Things" published. Composer Amanda Jacobs won national award for "Mass for the Living."
HER APPEAL IS UNDENIABLE Soprano Renee Fleming released â€śDark Hope,â€ť a collection of pop covers of songs by groups such as Arcade Fire, Death Cab for Cutie and Leonard Cohen. Rochester chamber choir Madrigalia premiered new work by Libby Larsen; Larsen visits.
NO ONE WITHSTANDS THE MACHINE Michael Daughtery piano concerto, â€śDeus Ex Machinaâ€ť co-commissioned by the RPO, earned 2010 Grammy nomination. The Eastman's Ying Quartet was also nominated for a Grammy.
ANYBODY WANT A PEANUT? Several Western New York public schools named â€śBest Communities for Music Educationâ€ť in the United States by the non-profit NAMM Foundation; Albion Central School District, Brighton, Leroy, Pittsford, Royalton-Hartland Central School District, Rush-Henrietta, Webster, West Irondequoit.