Shostakovich

The Legend of the Concert Roundup

No, seriously… what’s going on?

• The Baltimore Symphony Orchestra is making it short but very sweet this week: the Ravel Piano Concerto for Left Hand and Shostakovich‘s seventh symphony (that’s “Leningrad” to you, bub). Oh, hey, guess who’s dropping in to play the Ravel? Oh, some guy named Leon Fleisher. No biggie. May 3 & 6 at the Meyerhoff. [ See it! ]
• Or if you prefer, the BSO offers its Off the Cuff version of the Shostakovich; in addition to playing the symphony, Marin Alsop will explain its musical form and cultural context. May 4 at Strathmore; May 5 at the Meyerhoff. [ See it! ]
• I said hey-yeah-yeah-yeah-yeah! The National Symphony Orchestra‘s NSO Pops take on a Marvin Gaye program, because why the hell not? With John Legend, no less. Now that’s some competitive booking. May 3 & 4. [ See it! ]
• The NSO also offers a children’s concert this week, focusing on brass instruments with Brass of Peace. Is that a pun? None of the ones I’m coming up with are appropriate for children. May 5. [ See it! ]
• The University of Maryland is performing Prelude to the Afternoon of a Faun, but for the life of me I can’t find the info. UMD, if you’re out there, ping me the details and I’ll update this post.
• This week at Strathmore, we’ve got jazz singers John Pizzarelli and Kurt Elling, an all-Debussy piano program, country-rock singer Owen Danoff, and the Philadelphia Orchestra. [ See the calendar! ]

The Best

Two weeks ago I made a list of composers I considered to be the greatest, in terms of talent, innovation, and output. I tried to make this as objective as possible while still noting that my own preferences and the limits of my knowledge base must unavoidably come into play.

This week? IT’S SUBJECTIVE TIME. Which, indeed, is kind of like Miller Time — alcohol free, yes, but with just as much opportunity to shout your opinions while gesticulating wildly and possibly falling out of your chair.

All of this is just to say that here I would like to present my list not of the greatest composers of all time but the ones I like BEST. Basically the idea here is a collection of the composers that, when the radio deejay says, “next is a piece by ________”, make me say “YAY!!!” Here goes:

1. BEETHOVEN (duh)
2. Bach
3. Khachaturian (and I stand by my decision)
4. Stravinsky
5. Schubert
6. Holst
7. Prokofiev
8. Shostakovich
9. Ravel
10. Tchaikovsky

There is of course a fair amount of overlap, but I bet some of them surprise you. Before you pull out your extra-sharp pitchfork, rest assured — I’m not suggesting Khachaturian ranks above Stravinsky in… well, in ANY category, really. Stravinsky is definitely the better composer. But Khachaturian makes me super happy! So high up the list he stays. Ya get me?

The nice thing about this list is, it’s even more changeable than a best-of list, undulating and evolving with your changing moods and interests; I expect Handel could sneak on to mine any moment now.

Now about you — who are you feeling right now?

The Greatest

Note: By the end of this post I will ask you to create your own list of the top ten composers. I’m ruining the ending for you because I think it might be neat if you do it now, before you’re corrupted by my list or the NYT list or your grocery list or what have you. Just a thought. Thank you; good morning!

Hey, remember how I said the lynchpin of the Composer Cagematch! is not who you feel is the better composer but rather who you love more? Well, put a pin in it. We’re playing a new game now.

A couple weeks ago while at my grandmother’s house my family got into a discussion about who the greatest composers of all time were — greatest, not our favorites. (Yeah, my family has random chats about classical composers — just wait until I tell you about the great Dvorak’s Origins Argument of Thanksgiving 2011. That one still resurfaces from time to time.) My mom pulled up a list from The New York Times music critic to get his top 10. Take a gander here.

His list began with the traditional top three but then had me ducking a few curveballs — Brahms? Really? Then he said in his article he would expect such skepticism — and it got me thinking as to what MY top ten would be. Naturally I don’t mean to say I’m a completely impartial judge (I’d say the immediately preceding sentence already knocked me out of contention for that title), but in making such a list I think one would have to look at quality over blind adoration. You’ll see what I mean.*

So… for now, here’s my top ten. I betcha my list could change as early as tomorrow, but in this moment, here are what I call The Greatest:

1. Bach
2. Beethoven
3. Mozart
4. Stravinsky
5. Schubert
6. Bartok
7. Shostakovich
8. Handel
9. Haydn
10. Prokofiev

What I find most interesting about this exercise is less about who made it but who didn’t — or rather, which sorts of composers didn’t. I didn’t name a single composer outside the Austro-Hungarian or Soviet area; nary an opera composer to be found. This is the hole in my classical understanding; this teaches me where I need to go next to expand my repertoire — and maybe revise my list once I have.

Well? How do you feel about my list? I expect some fightin’ words as opinions must always create. And what about you? For bonus points, how has your list evolved? If I can remember, I want to make this list up again next year and see if it’s changed. Someone remind me in 11.5 months, okay?

* Do you SEE that? Do you SEE how I put Mozart at number 3, even though he makes me want to sic a fictionalized Salieri on him? He’s there because he was a genius, and even if I don’t dig most of his works, I can recognize that. Incidentally, this is also how I feel about Faulkner.

Concert Roundup: Hearts and Flowers Edition

Got a hot date planned for Valentine’s Day? I do! I’m having a threesome with a bottle of chocolate Zin and the Colin Firth/Jennifer Ehle version of Pride and Prejudice. Scandalous! Ah, tradition.

But maybe you haven’t been able to concoct a plan as perfect as mine. Maybe you need an orchestral assist. Alternatively, you could just bake this heart-shaped pizza and call it a day, but I’d select a concert as backup.

• Jack Everly conducts the Baltimore Symphony Orchestra SuperPops in a Valentine-themed concert featuring singer/pianist Tony DeSare belting out shmoopy favorite like “Moon River,” “That Old Black Magic,” “One For My Baby,” etc. etc. For another $20 they’ll give you champagne and a chocolate dessert to share, too. February 9 at Strathmore; February 10 -12 at the Meyerhoff. [ See it! ]
• The National Symphony Orchestra made me love them like Judy Garland loved Clark Gable — Nadja Salerno-Sonnenberg!!!!! Playing!!!!! Shostakovich!!!!! Also: Bruckner. Most mostly: Nadja Salerno-Sonnenberg!!!!!!! And there’s a free discussion with her after the Thursday concert. Dear NSO: please send me tickets. Or make the tickets you offer cheaper. Either one of those would be a perfect Valentine. February 9 – 11. [ See it! ]
• Or! Ladino singer Yasmin Levy takes the stage at Strathmore on Valentine’s Day proper (Ladino, it seems, is Judeo-Spanish music; learn and grow!). They’ll even serve you dinner beforehand if you like. [ See it and/or eat it! ]

If you’d like me to include your upcoming concert in next week’s roundup, leave a comment or drop me a line.

Composer Cagematch! Round 2: Saint-Saens vs. Grieg

Have you been paying attention? If you have, you know that I’m leaving for WALT DISNEY WORLD!!!!! tomorrow (the answer to your question is: this is my eleventh time). Two things can of course be taken for granted — I will a) be tweeting about my musical findings all throughout the trip (so follow me now!) and b) I’ll tell you all about it when I get back, which in this case will be on Tuesday, January 10.

But never you fear — I’m leaving you with a babysitter. Two, actually, because with the holidays out of the way [sad face goes here] we can return to our Composer Cagematches!

(Perhaps you are thinking, Jenn, whatever happened to the most recent match? To which I say: shhhhh. We don’t want to make Shostakovich feel worse than he already does and Bartok’s head is big enough. Okay? Okay.)

And so in this corner, he ain’t afraid of no Soviet Republic! It’s

CAAAAAAAMIIIIIIIIILLE SAAAAAAAAINT-SAAAAAAAAAAAAAEEEEEENS

And in this corner, he’s so literal about Herzwunden! It’s

EEEEEEEEEEEDVAAAAAAAAAARD GRIIIIIIIIIIIIIEEEEEEEEEEEEEEEEG

So who would you like to see die — Ase or a swan?

Composer Cagematch!: You’re Not Going to Like It

It happened again!

Shostakovich was winning. So much was he winning, a Twitter follower who will remain nameless (nohewon’tERIC) declared it to be a fruitless battle and almost didn’t vote for Bartok. Who ended up winning by one point. Hmmm….

Anyway. I’m sensing some voter fatigue out there. Don’t worry, guys, this is your last match in the first round; next time it’ll be winner against winner! In the meantime, allow me to present to you: A Match You Won’t Like. They do not match at all. They are two composers I wanted wanted to feature, and I couldn’t think of a workable match for my love Schubert. Besides, we really need some cultural diversity up in here — do you have any idea how many Russians and Germans are advancing to round two? So suck it up, because in this corner, shhhh! Don’t mention the carnival! It’s

CAAAAAAAAAMIIIIIIIIIIIIIIILLE SAAAAAAAAINT-SAAAAAAAAAAAAAENS*

And in this corner, shhh — don’t mention the circus! It’s

AAAAAAARAAAAAAAAAM KHAAAAAAACHATUUUUUUUURIAAAAAAAAN**

I know. I know. They don’t match. Shut up. I like them, and they are from somewhere that isn’t Russia OR Germany. And they wrote some really good music, okay? Have you ever listened to Gayane? How about the Organ Symphony? Just shut up and vote so we can take this baby to round two, would you?

* Ha… girl’s name.

** Kal Penn in forty years? Anyone? No? Just me?

Composer Cagematch!: Bartok vs. Shostakovich

In the words of the great Bob Kelso: daaaaaaamn, Turkledawg!

Liszt had it in the bag. He really did. He was winning forever. And yet somehow…

A tie happened. Then Liszt pulled ahead. Another tie. Liszt pulled ahead again. Then another tie. And when the poll closed, Chopin took it by one. Crazy times!

We’re entering the home stretch now, guys. Just two more matches to go in round 1. And yet I ask you to travel with me again to familiar ground — we’re barreling headlong back into eastern Europe, because in this corner, ethnomusicology FTW!

BEEEEEEEEEELAAAAAAAAA BAAAAAAAARTOOOOOOOOOOOOK

And in this corner, apologies to Stalin FTW! It’s

DMIIIIIIITRIIIIIII SHOOOOOOOOSTAAAAKOOOOOOOVIIIIIIIIICH

Ha! And you thought these matches were so easy! How you like me now, sucka? This awesome dude or that awesome dude? Awesome folk tunes or awesome Jewish tunes?! Clearly this is awesomely hard.

A tiny bite of music

Let’s talk about obsession repetition.

Specifically, let’s talk about the final movement of Beethoven’s Symphony, unarguably his best (and by “unarguably his best,” I mean “don’t try to argue with me; it’s his best”). Let’s talk about that last little bit in the horn section, two sets of horns in harmony. Here, skip to 8:25 and you’ll hear exactly the part I mean; it repeats, more or less, at 8:38.

This is my favorite part. Of the whole movement, of the whole symphony. Like ten seconds worth of music. Don’t get me wrong — I love the whole piece — but I can and have listened to that little section eight, ten times in a row. One little bit.

I don’t think she rewinds specifically for the spot, but my mom has a similar fondness for a mini-glissando in the fourth movement of Shostakovich’s piano trio no. 2. Listen to it at 8:14.

Just one little bit. A tiny bite. And it’s a favorite part, something you’re waiting for the whole piece even as you enjoy every other note.

A familial tic, or have you experienced a similar phenomenon? Say you can only listen to a max 15 seconds of music the rest of your life. Sure, it would suck, but would would you choose to make the madness more bearable?

Speaking of mother Russia…

This week the BSO offers you your choice of how you want your Russian music done. Do you prefer it, shall we say, full-fat or light?

If you’d prefer the heavy version, “Robustly Russian” is for you. It features Rachmaninoff’s Vocalise and his first piano concerto and finishes out with Shostakovich’s fifth symphony (obligatory bah! Rachmaninoff! goes here). You can see that on Thursday, January 20 at 8 pm at the Meyerhoff — which makes it a Thursday Wine Night! — or Sunday, January 23 at 3 pm, also at the Meyerhoff.

In the light version, a Rachmaninoffectomy is wisely performed (oh look, I got one in there anyway!) and it’s Shostakovich’s fifth symphony Off the Cuff style — you’ll learn all about what into Shostakovich’s creation of the piece. See it at Strathmore on January 21 at 8:15 pm or at the Meyerhoff on January 22 at 7 pm.

Kirill Gerstein is your pianist, Marin Alsop is your conductor, and this is your student discount:

$10 Advance Student Rush Tickets!
Login to BSOmusic.org using Promo Code STUDENT to purchase your discounted tickets to Off the Cuff: Shostakovich’s Fifth Symphony. You must login before adding tickets to your cart to view discounted ticket price. This offer is for online purchases only.

Uhhhhh… just kidding!

This is posted on the BSO’s web site.

Violinist Mikhail Simonyan to Replace Midori for BSO Concerts,
October 21-23

Due to a sudden back injury, the BSO regrets to announce that violinist Midori has cancelled her upcoming engagement to perform with the BSO in the concerts on October 21-23, 2010. Conductor Gilbert Varga is still scheduled to lead the program.

Midori expressed her regret, “I’m so disappointed to miss the opportunity to play with the Baltimore Symphony Orchestra and Maestro Varga! I have strained my back and have been strongly advised against physical exertion at this time. I greatly appreciate the graciousness and understanding of the BSO, and look forward to re-scheduling our collaboration at the earliest opportunity.”

In her place, the BSO is pleased to welcome Russian-Armenian violinist Mikhail Simonyan, who will perform his BSO debut. The program will remain unchanged and features Shostakovich’s First Violin Concerto.

View this program

So, yeah. This week’s BSO concert is NOT “Midori Plays Shostakovich.” It is, however, still Shostakovich. And Stravinsky’s PETROUCHKA. But that Midori discount post I made a couple weeks ago isn’t so helpful anymore. Apologies. At least it says she wants to reschedule.

My friend Bekah told me that Midori was also supposed to do a master class at Peabody. Wow, I said, that would SUCK if you thought you’d be playing for Midori and it fell through. No, said Bekah, I’d probably be relieved. If I were playing for Midori, I would puke. To which I said, dude, you would be psyched to PUKE for Midori. You’d be like, Midori-sempai, am I puking loud enough? Do you want me to play with the dynamics? Is my puke the right shade of brown? How fast do you want me to puke? How do I add more vibrato without my throat spasming?

I mean, that’s how you’d react, right? I’m not weird.