By Dennis Polkow
Estonian composer Arvo Pärt turned eighty last month, a milestone which has been celebrated across the music world during this anniversary year. In Chicago, Bella Voce has taken the lead in offering Pärt performances: his “Stabat Mater” last spring and this fall, his “Berliner Messe,” a 1990 work for vocalists and organ which Pärt later revised for string orchestra and chorus.
Bella Voce is no stranger to the music of Pärt, having been chosen by Pärt’s celebrated interpreter and subsequent biographer Paul Hillier to be the choir heard in the North American professional premiere of Pärt’s “St. John Passion”—better known by its short Latin title, “Passio”—back in 1990 when the group was still known as His Majestie’s Clerkes. Read the rest of this entry »
Muti greeted by a street band in Spain, similar to what Mahler imitates in the third movement of his First Symphony/Photo courtesy of www.RiccardoMutiMusic.com
By Dennis Polkow
Riccardo Muti began his Chicago Symphony Orchestra music directorship five years ago in the 2010-11 season, which included the centennial of the death of Gustav Mahler that spring. The CSO did plenty of Mahler symphonies that anniversary year, as would be expected. But Muti conducted none of them.
Instead, Muti chose to reconstruct the final concert that Mahler ever conducted a century before, which was with the New York Philharmonic: it happened to be a program of Italian composers who were contemporaries of Mahler. In fairness to Muti, it did end up being a fascinating program; but of course, it did beg the question of why Muti was not performing any of Mahler’s own music.
Shortly after my asking Muti that very question, an unlabeled package arrived containing an old CD of Muti conducting the Mahler First Symphony done with the Philadelphia Orchestra, recorded when Muti was music director there. It was revelatory on a number of levels, so lyrical, transparent and radiant was the playing. The rich strings sounded as if the piece had been recorded by the Vienna Philharmonic.
Of course, in offering thanks the next time I saw Muti, Mahler inevitably came up again. Since Muti can make Mahler sound so glorious, I wondered, why not do some here, given that he is the music director of what many consider the world’s greatest Mahler orchestra? Read the rest of this entry »
By Seth Boustead
I decided to write my fall music preview as the lead sheet to an original tune in the style of Charlie Parker. Parker was an amazing composer and performer, of course; but he was also generous and gregarious, which I feel could equally well be said about the musicians who make the Chicago scene so special.
For the more verbally-oriented among you, however, here are my picks for essential fall music events.
Ellen McSweeney and Sam Scranton Present MIMIC
Chicago label Parlour Tapes + presents the violinist/writer and composer/percussionist in a collaborative piece that is a kind of mash-up of music as ancient ritual with futuristic philosophical spirituality.
September 10, 7:30pm at Comfort Station, 2579 North Milwaukee. Read the rest of this entry »
Frank Sinatra Jr.
By Dennis Polkow
“There is a lot of traffic out there in this kind of show for this year,” admits Frank Sinatra Jr. on the myriad of Sinatra salutes happening throughout 2015, the centennial of his father’s birth. “Many, many people have taken it upon themselves to do this kind of thing. They can, of course, recreate the music. But because this is the one-hundredth anniversary, I felt it was very important that people also learn something about the individual.
“We’re no longer talking about a man who is a famous performer, a famous movie star. Now we’re talking about somebody who is being time-honored with a century of recognition. For that reason, I think it’s time to know that person. We already know his accomplishments, now let’s concentrate on the person.”
From the beginning of his own career some fifty years ago, Frank Jr. always performed “at least a song or two of Sinatra,” as he calls the public figure, “but I worked hard to have my own identity.” Read the rest of this entry »
Carlos and Raffaela Kalmar with newborn son Luca Pedro. Photo Courtesy of Carlos Kalmar
By Dennis Polkow
“He’s such a joy,” says proud father Carlos Kalmar of his son Luca Pedro, who was born on the last day of 2014. “It’s really great, I’m very happy. I don’t know if having a newborn makes you a bit more soft, that is for others to say. But it adds a component to life in general that is somehow reflected in your work when the occasion is given. In music, sometimes the depth of what we do may get even deeper. But who am I to judge?”
Kalmar has two children from a previous marriage and even a grandson. “I have started over,” he laughs. “I have two daughters who are twenty-seven and twenty-five. When you’re older, or to some extent older, I think the influence of children on you is amazing. I’m not talking about grandchildren, they are fantastic: I have one, but I don’t see him very often because he lives in Europe. But to have a child of your own when you’re older changes some things. And it’s all for the better.”
Renewal remains a virtual archetype for Kalmar, who thrives on new challenges and on learning, performing and introducing audiences to new pieces. For the closing weekend of the Grant Park Music Festival, for instance, Kalmar will conduct the Grant Park Orchestra and Chorus with guest vocal soloists in a rare complete performance of Elgar’s oratorio “The Kingdom.” Read the rest of this entry »
Ambient, Blues, Chicago Artists, Festivals, Folk, Interviews, New Music, News and Dish, Orchestral, Pop, Rock, Singer-Songwriter, Vocal Music
Paul McCartney, Martin O’Donnell, Michael Salvatori
By Dennis Polkow
Martin O’Donnell and Michael Salvatori have been friends back to their college days in the 1970s when they were in rival bands in the western suburbs. “We’ve always been very competitive with one another,” Salvatori recalls. “Marty came in to record five songs with his band, so of course, I had to write better songs and record those as well.”
While Salvatori was working for his father’s printing company, O’Donnell was painting houses to put himself through music school. “They were shooting a television commercial and Marty was painting the set. The director found out that he was a composer and offered him five hundred dollars if he would write some music for it. I had just taken out a loan for a basement recording studio setup and Marty called up and said, ‘If you let me record there, I’ll split everything with you fifty-fifty.’ We put ourselves out there on a handshake and collaborated on the commercial as O’Donnell-Salvatori, like Lennon-McCartney. It has been that way ever since.” Read the rest of this entry »
James Conlon/Photo: Ravinia Festival
By Dennis Polkow
“After I became music director eleven years ago,” says Ravinia Festival music director James Conlon, “it was so interesting how many people I would meet around the country, or Americans I would meet in Europe, that would say, ‘You know? I heard my first concerts at Ravinia.’ I started to think that everybody grew up on the North Shore of Chicago and somehow or another moved to another place in the world. It is astounding how many people of all ages were formed there, from twenty-year-olds to eighty-year-olds, and how many people Ravinia has been able to reach in its way and introduce classical music to them. Of course, the trump card of the Chicago Symphony is the best way you can do that. It was very striking to me and I am very proud to be a part of that tradition and process and hope it will continue on forever.”
Nonetheless, Conlon announced last August that the 2015 season would be his last as Ravinia music director, and that 2016 would also end his music directorship of the Cincinnati May Festival after thirty-six years. Instead, he will become the first American to ever become principal conductor of the Orchestra Sinfonica Nazionale della Rai in Turin, Italy. Read the rest of this entry »
Our biannual behind-the-scenes look at Chicago’s thriving music community gets a little more complex every year. Performers are easy enough to pin down; they’re front and center, by definition. But it can take some digging to excavate the driving forces behind the city’s rich tapestry of orchestras, festivals, music venues and record labels. On the other hand, a certain kind of celebrity has attached itself to bloggers, promoters, radio announcers, artistic directors and journalists, that puts them almost on an equal footing to the artists they’re here to support. So we find ourselves, in this year’s Music 45, ranging wide across the city’s musical landscape, reacquainting you with names and faces you may know almost as well as your own, while introducing you to several newcomers who have labored, if not quite in obscurity, then without the recognition their endeavors have earned them. What they all have in common, is that your life—yes, yours—is a little bit richer because of them. (Robert Rodi)
Music 45 was written by Robert Rodi and Dennis Polkow
With additional contributions by Keidra Chaney, Corey Hall, Robert Loerzel, Dylan Peterson and John Wilmes
Cover and interior photos by Joe Mazza/Brave Lux on location at Metro Chicago Read the rest of this entry »
Dimitri Hegemann/Photo: Marie Staggat
By Lee DeVito
Detroit’s Movement Electronic Music Festival is a rare instance of the mainstream embracing what is otherwise still a relatively underground aspect of the city’s musical legacy. It’s an occasion on which thousands of visitors, from the city’s suburbs to the world over, flock to Hart Plaza to celebrate an entire genre of music that can be traced back to a handful of Detroiters tinkering with making electronic music in the 1980s.
At Movement, it’s not uncommon to hear DJs pay respect to Detroit’s contributions to electronic music by dropping tracks like Cybotron’s “Clear”—regarded as the first techno record—into their sets. As celebrated and accomplished as DJs like Juan Atkins, Derrick May, Kevin Saunderson and Eddie Fowlkes may be, they’re not quite household names to your casual millennial raver; yet at Movement, they’re reserved prominent slots alongside mass-appeal electronic acts like Skrillex, Fatboy Slim and Moby.
During the rest of the year you might catch some of those early Detroit DJs playing far more low-key events in Detroit’s smattering of electronic clubs. But while Mecca comparisons are a cliché, it’s hard not to evoke it in the way that many music fans, artists and DJs look to Detroit during Memorial Day weekend.
This May, as organizers were gearing up for the festival, members of the local media gathered for a more low-key appreciation of techno, centered around a man from Berlin who has been making waves in the media for his vision for the city. Read the rest of this entry »
Photo: Daniel Meyering
By Lee DeVito
To be fair, none of the parties involved ever actually declared that rock was dead. Yet that sentiment was the takeaway for many earlier this year when The Magic Stick, an iconic Detroit rock club, announced it was switching formats to electronic dance music.
The club—part of a historic entertainment complex that includes The Majestic Theatre and the city’s oldest continuously operating bowling alley, The Garden Bowl—enjoyed its peak as the epicenter of the “garage rock” boom of the early 2000s. Homegrown acts like the White Stripes, the Von Bondies, the Detroit Cobras and the Dirtbombs helped make stripped-down, guitar-based music cool again, resonating with audiences in Detroit and beyond.
For a time, bills stuffed with four or more bands were common, with the second-floor venue’s wooden floors flexing somewhat alarmingly under the weight of up to nearly 600 sweating fans. Hip national acts like Yeah Yeah Yeahs, Sleater-Kinney and Arcade Fire would make stops at the venue in the following years. The White Stripes, by then selling out theaters and stadiums across the world, even considered the venue as the location for an “Elephant”-era secret show, before those plans were thwarted by Jack White breaking his hand in a car accident. Read the rest of this entry »