Chamber Music, Chicago Artists, Classical, Indian Classical, Interviews, Minimalism, New Music, News and Dish, Orchestral, Rock, World Music
Philip Glass (left) and David Bowie, 1992
By Dennis Polkow
Composer Philip Glass is coming home. Well, sort of. The high priest of Minimalism, a term Glass has always loathed, will be in residence at the University of Chicago this month. Although it is not the first time Glass has been back to his Hyde Park alma mater, where he was once a mathematics and philosophy major, this is his first official residency there as a Presidential Arts Fellow.
Glass’ residency will include a University of Chicago Presents concert where he and others will perform his Piano Etudes, a screening of the film “Mishima” which Glass scored and will discuss, a free public talk on artistic collaboration and various conversations with students and faculty from across the university.
Chicago was where Glass originally realized—while practicing piano pieces of Charles Ives and Anton Webern—that he wanted to become a composer, although he would head to Juilliard to begin to accomplish that goal. Read the rest of this entry »
Stephen Williamson/Photo: Todd Rosenberg
By Dennis Polkow
“Honestly, I felt like I was being shot out of a cannon,” says Chicago Symphony Orchestra principal clarinetist Stephen Williamson of the day he unexpectedly landed the job. “There had been four years of auditions and the position was still vacant. I was at the Metropolitan Opera Orchestra and was being asked every time, ‘Please, will you come?’ My wife and I struggled with it and I told her, ‘They’re not finding anybody. I feel I need to go out there and to at least say that I tried, that I represented myself.’
“When I finally came to Chicago, I wasn’t expecting anything. All I was hoping was that I would have an opportunity to be invited to play a week with the orchestra and then, whatever happens, happens. And I could say that at least I got to play with the Chicago Symphony and that it was a great experience.”
What Williamson never expected was for music director Riccardo Muti and the audition committee to offer him the position on the spot immediately after he had concluded his audition. “I really was shocked. They did it so early in the morning because I had to fly back to do a ‘Die Walküre’ performance with Maestro [James] Levine. I was elated, but in shock, because I had to go back to my music director at the Met, play that same night and say, ‘By the way, something just happened.’ The news was already at the Met before I even showed up off the plane. Maestro Levine had requested to see me at intermission.” Read the rest of this entry »
Top 5 Jazz Albums of 2015
Lea DeLaria, “House of David” (Ghostlight)
Cécile McLorin Salvant, “For One to Love” (Mack Avenue)
Fred Hersch, “Solo” (Palmetto)
Vijay Iyer Trio, “Break Stuff” (ECM)
Keith Jarrett, “Creation” (ECM)
Top 5 Jazz Clubs of 2015
The Green Mill
Andy’s Jazz Club & Restaurant
Untitled Supper Club
—Robert Rodi Read the rest of this entry »
Chicago Artists, Folk-rock, Holiday Music, In Memoriam, Interviews, News and Dish, Pop, Prog-rock, Record Reviews, Rock, Singer-Songwriter
By Dennis Polkow
“There is something lacking in a lot of current Christmas music,” admits legendary Chicago singer-songwriter-guitarist Jim Peterik. “A simple thing called spirituality. When it’s only about mistletoe and eggnog, it kind of misses the point. I don’t mind fun Christmas songs, believe me, but there also has to be some substance.”
Peterik’s longtime band, the Ides of March, has released two Christmas albums over the years, and this year, is releasing its third, “The Meaning of Christmas.” “Are we forgetting the meaning of Christmas in all the hoopla? That’s the whole idea: where did Christmas start? Why do we celebrate it? That’s my goal, really. And they’re not all religious or spiritual songs but there’s a thread that’s running through them: let’s not forget the meaning of Christmas.” Read the rest of this entry »
Chamber Music, Chicago Artists, Classical, Experimental, Interviews, Latin, New Music, News and Dish, Orchestral, Record Reviews, Vocal Music, World Music
By Dennis Polkow
“One of my greatest experiences is when things come to you,” admits Peruvian composer Jimmy López. “The first composition I ever wrote came through a dream, I can still remember it. I trust my memory in that sense.”
Some of the musical ideas that come to López remain with him for years before they end up in an actual piece of music. “I try to write things down only after they have already taken a certain shape in my mind. I don’t really like to write down ideas that I feel are premature. There’s a certain plasticity that ideas have when they’re in your mind rather than written down.”
López reveals he has ideas that “I am carrying right now. There is one I have been carrying since at least 2003.” One from 2007 was only recently written down and turned into a finished piece. “It’s a beautiful melody that I never wrote down because I didn’t know what I was going to use it for, I had no idea. I saw the opportunity to use it, finally, it felt perfect.” Read the rest of this entry »
Chicago Symphony Orchestra music director Riccardo Muti is making a rare December appearance this week with the CSO. The Italian-born conductor usually conducts quarterly residencies, but this year has added a fifth residency close to the holidays. This has never happened before as Muti is usually back home in his native Italy at this time of year, but is reflective of how increasingly “at home” Muti feels in Chicago.
During the Sir Georg Solti era of the CSO, the Hungarian-born conductor, who made his home in London, spent so little time here that he was known as an “absentee landlord.” Daniel Barenboim notoriously flew out of Chicago the same night he conducted his final concert as music director in 2006. Muti, however, seems to relish his time here. “When I go back to Italy, my wife asks me, ‘What have you been doing in Chicago?’ ” admits Muti. “And I tell her, ‘Having fun.’ ”
Why only a single program across a single week? “Because someone was asked to come here—I would rather not say who—who really should not be conducting here,” Muti explains. “This orchestra should only have the best, and this was not the best. I was asked, ‘Who can we get to take a one-week program in December with so little notice?’ I said, ‘I will come. With pleasure.’ ” Read the rest of this entry »
By Robert Rodi
I’m just a hair late to the party when it comes to “No Hotel,” the new album by Chicago’s own neo-vaudeville barnstormers, The Claudettes; but the album (which came out in September) is definitely one you should be spinning, streaming or otherwise ingesting whole. It’s the work of just three players—pianist Johnny Iguana, drummer Michael Caskey and (intermittently) vocalist Yana—but there’s enough energy going on to power your average Third World airport.
The opener, “Big Easy Women,” is full of a barreling, hyper-saloon piano banging, with a bridge that playfully evokes silent-movie peril. But it’s the second cut—“California, Here I Come”—that really makes you sit up and take notice. The Claudettes knock the hoary old Al Jolson tune into a minor key, transforming it into a wittily downbeat comment on the cruelty that so often accompanies the go-west-young-man dream. Read the rest of this entry »
Duke Ellington (left) and Billy Strayhorn
By Dennis Polkow
When Bruce Mayhall Rastrelli first came up with the idea of devoting an entire concert to the music of Billy Strayhorn more than a decade ago, the first question was often, “Billy who?”
“It was for a gay chorus that I directed for eight years in Los Angeles,” recalls Rastrelli, “and they had a tradition of doing single composer concerts: Sondheim, Rodgers and Hammerstein, Jerry Herman. I wanted to move beyond doing composers that were obvious. I wanted to challenge the chorus and the community with things they didn’t know, specifically jazz, and especially a black composer who was out and gay at a time when that was not at all typical.”
Strayhorn is best known for his near thirty-year association with Duke Ellington, from the time they met in 1938 until Strayhorn’s early death from cancer in 1967 at the age of fifty-one. Often given direct credit, sometimes not, Strayhorn is estimated to have composed and arranged some forty percent of the entire Ellington catalogue and was, as Ellington himself put it in his autobiography, “my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine.” Read the rest of this entry »
Photo: Dario Acosta
By Dennis Polkow
“The thing about me is that I haven’t had a lot of jobs,” admits Lyric Opera music director Sir Andrew Davis, “but the ones I’ve had, I’ve had for a long time: twelve years in Glyndebourne, seventy-five to eighty-eight in Toronto; the BBC Symphony from eighty-nine to 2000; Chicago since 2000, and now Melbourne since 2013.” Only Glyndebourne and Chicago have been opera-related, the others—including Davis’ most recent post as principal conductor of the Melbourne Symphony Orchestra—are orchestral posts.
One fringe benefit of Davis spending so much time in Chicago is that he does get the occasional opportunity to conduct non-operatic repertoire, as he will do this week with superstar Russian pianist Evgeny Kissin and the Chicago Symphony Orchestra at a special gala concert.
“I love working with the [Chicago] Symphony. Kissin is rather fussy about conductors and he likes working with me. I did all of the Beethoven concertos with Kissin and the CSO about five or six years ago, all in a week. The first time we worked together was the last year I was with the BBC and we did the Rachmaninoff Two. He did everything that should happen in that concerto but rarely does. Rachmaninoff is extraordinarily complex and contrapuntal but a lot of times people just put down their pedal and it’s a big mush. There was a clarity with him which makes it so much more moving and emotionally much more complex.” Read the rest of this entry »
Illustration: Elena Rodina
By Elena Rodina
JERRY: I see New York. I see Vienna Opera House. I see Paris.
PHYLLIS: All in the shower?
JERRY: Yes. They love it that he sings in the shower. They identify. You know, he’s going to be the most popular opera singer in the world.
PHYLLIS: Certainly the cleanest.
(From “To Rome With Love,” directed by Woody Allen)
There is a lumberyard right behind the house I live in, separated from my windows by a green backyard, a narrow strip of a parking lot and a large wooden fence, which in summer is covered with dense green ivy. Every morning at about 6am, familiar sounds start seeping in through the window frames: male voices yelling indistinct, abrupt commands, laughter, the engines of the big trucks roaring, the thump-thump-thump of loading and unloading heavy wood. But there is one particular sound that always stands out; it is the sound of an incredibly strong, clear voice that reaches my ears unscathed by the multiple barriers. An opera-quality voice, singing songs about love and life in perfect Spanish. Read the rest of this entry »