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 »
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 »
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 Dennis Polkow
“When we started, the world knew me only as a jazz trumpet player,” admits Orbert Davis, the founder and artistic director of the sixty-piece Chicago Jazz Philharmonic, which celebrates its tenth anniversary this season. “Even the musicians were like, ‘What is he going to do, standing up there? He’s not a conductor!’ When we did our first recording, some of the sub musicians looked around and said, ‘Who wrote this?’ ‘I did!’ ”
Davis’ vision of a full-scale “third stream” ensemble has evolved over the past decade. “We think of the first stream, which is classical, and the second stream, which is jazz, but it’s difficult to understand how they come together; we tend to think of what keeps them apart.” Originally the orchestra featured both classical and jazz musicians, and the school each belonged to was obvious. Now the members have synthesized into a core group who “get it,” Davis asserts. “They are a community. I can reference [Ellington’s] ‘Jubilee Stomp’ or a Beethoven symphony and everyone knows what I’m asking for!” Read the rest of this entry »
Photo: Felix Broede
A Murray Perahia recital is a wonderful and increasingly rare thing to behold. Prior to his appearance in the fall of 2012 at Symphony Center, it had been several years since the celebrated pianist—a Chicago favorite during the Solti years because of his frequent collaborations with the late Chicago Symphony music director—had played here. Perahia had agreed to substitute for an ailing Maurizio Pollini in April of 2011, but Perahia himself ended up canceling, feeling that he had not sufficiently recovered from a hand injury that had sidelined him completely from a 2010 tour that was to have included Chicago.
This time around, Northwestern University’s Bienen School of Music is hosting Perahia, winner of the school’s biennial Lane Prize in Piano Performance, at its Evanston campus. One of the conditions of that prize and its $50,000 stipend is that the winner spend two to three non-consecutive weeks in residency at the Bienen School and engage in master classes, chamber music coaching and lectures. Read the rest of this entry »
By Dennis Polkow
It is a subzero late Tuesday afternoon and Riccardo Muti and the Chicago Symphony Orchestra have just completed the first day’s rehearsal of Sollima’s Double Cello Concerto. (The piece would receive its world premiere later in the week.) The composer, also a soloist in the piece, is backstage, as is cellist Yo-Yo Ma. As are members of the rock group Chicago, about to complete their first-ever two-concert run with the CSO, conducted by Richard Kaufman.
Despite this odd musical assemblage, inside Muti’s office, the discussion is on his decision to place a CSO spotlight on Schubert for the 2014 season. With so much Verdi and some Wagner having been done by the Chicago Symphony for both composers’ bicentennial years in 2013, it may seem a bit odd that 2014 brings a CSO focus on Schubert despite there being no round-number anniversary.
“You know, generally I don’t like anniversaries,” says Muti, pouring a bottle of sparkling coffee, which he also offers to his quizzical guest. “If it’s a very famous composer, such as Verdi or Wagner, they are performed anyway. The problem with the lesser-known composers is that you have an anniversary and then forget about them the rest of the time. Anniversaries can be important when the performances add something to the comprehension of the composer or when musicologists write something interesting about them.” Read the rest of this entry »
Photo: Mahler Death Mask
After his mammoth Eighth Symphony, Mahler composed “Das Lied von der Erde” and originally subtitled it a symphony. But given that Beethoven, Schubert and Bruckner had all died after writing a Ninth Symphony, Mahler superstitiously refused to place that ominous number on the work and felt that he had somehow cheated fate as a result.
Ironically, Mahler would go on to write a Ninth, and even an un-orchestrated Tenth Symphony, which he would not live to complete. While “Das Lied” is really more of an orchestral song cycle than a symphony, the symphony that Mahler did complete after “Das Lied” and actually did affix the fateful number “Nine” to reflects a resignation of the acceptance of death despite enjoying every last moment of life. The Ninth is an immensely personal statement, as the composer had recently lost a daughter and had himself been recently diagnosed with a fatal heart condition. Like the finale of “Das Lied,” the finale of the massive, conflicted and personal journey of the Ninth fades into existential nothingness and remains a pivotal symphonic statement, culminating as it does the Romantic era of the nineteenth century as well as serving as a precursor of the twentieth-century music that would follow. Read the rest of this entry »
When Beethoven died, John Quincy Adams was President of the United States. Illinois had been a state for less than a decade, and Chicago wouldn’t be incorporated for another seven years. That Chicago will play host to the world premiere of a Beethoven love song is astounding by all measures, none more so than the respective age of the composition, older than the city where it will be performed for the first time. To celebrate the momentous occasion, The International Beethoven Project, led by President and Artistic Director George Lepauw, have assembled a broad swath of love-inspired performers, including Wilco’s phenomenal drummer Glenn Kotche, and Gray, a band started by the late artist Jean-Michel Basquiat. The programming often takes musicians to task, asking them to perform variations on a theme, most potently Beethoven’s “Fifth Symphony,” which will get special piano and experimental electronic treatment resulting in a great number of entirely new compositions. And though the festival is his namesake, Beethoven is not the only composer represented. Matthias Pintscher, music director of Paris’ Ensemble InterContemporain, will conduct Bach’s “Saint-John’s Passion,” Wagner’s “Siegfried Idyll,” and “Overture to Tristan and Isolde,” and Mozart’s “Gran Partita,” all as a buildup to his take on Beethoven’s “Symphony No. 6 (Pastoral Symphony).” Read the rest of this entry »
Beethoven is recognized as one of the greatest composers of classical music—and yet, the full force of his genius has, for many, been reduced to little more than a history lesson. George Lepauw wants to change that, and to change how we experience classical music.
Beethoven was not just a musical genius, says Lepauw, but also a “cultural activist,” a deeply humanistic thinker influenced by the democratic ideals of the French Revolution. “He hoped that this music would live on for many generations and help the world come together. It’s really a testament to his genius that we’re still playing and loving his music today,” says Lepauw. Read the rest of this entry »
Riccardo Muti/Photo: David Banks
Not to take anything away from the Grant Park Music Festival across the street, nor Ravinia up on the North Shore, but it’s hard to think of the summer music season as having begun in earnest when Riccardo Muti is upstaging everything else by closing out the regular Chicago Symphony Orchestra season in late June this year. After leading the CSO on a triumphant tour of Russia and his Italian homeland, Muti is with us during the summer for the first time in his tenure as music director. That has its own curious advantages, including Muti being the first CSO music director to throw out a ceremonial opening pitch at a sold-out Cubs game at Wrigley Field last Wednesday night, an extraordinary feat for a man who will turn seventy-one next month who admits having no prior experience with the American pastime. (Yes, he took the task very seriously, did practice and cleared the plate.) Read the rest of this entry »