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 »
By Robert Rodi
This is the first in a series of profiles of Chicagoans who have enriched both the city’s and the country’s musical life. Succeeding entries will appear on an irregular basis.
Every baritone jazz singer has to stand comparison to Frank Sinatra, whose shadow looms over them so unremittingly, you want to take pity and just equip them all with miners’ helmets. And it’s true that in terms of sheer tonal beauty, Kurt Elling—the bari-jazzman of the moment—doesn’t quite match his famous forebear. Elling’s wiry, scrappy, middleweight-boxer of a voice, marked (or marred, depending on your point of view) by the occasional flatness of Chicago vowel sounds (he was born here in 1967), is an entirely different animal from Sinatra’s opulent, resonant, cello-like instrument. Sinatra’s voice is all roundness and legato; Elling’s, at its most characteristic, is serrated and staccato.
And yet the way in which Elling doesn’t quite measure up to Sinatra pales into insignificance next to the many ways in which he surpasses him. Elling’s range is an astonishing four octaves, double that of Sinatra’s, and his boundless facility for improvising is so far beyond anything Sinatra ever exhibited, there aren’t even analogous samples to set side by side for comparison. Read the rest of this entry »
Kenji Bunch/Photo: Erica Lyn
By Dennis Polkow
“I don’t think it’s a coincidence that so many composers have been attracted to the viola,” says violist and composer Kenji Bunch. Like Bach, who noted that he enjoyed playing viola because he was always “in the middle of the harmony,” Bunch observes that “it lets you experience music from the inside out and you really get a unique perspective on how things are put together.
“If you sing alto or tenor in a choir rather than soprano or bass, those are the hard parts to hear and be able to pick out the right notes for those funky inner lines rather than the more obvious top or bottom lines. I think the viola really finds you. It’s suited for a certain kind of personality that is interested in more offbeat things, literally offbeat things.”
Since the viola is a darker-colored instrument with less brilliance than its more popular cousin the violin, “we don’t have a lot of traditional repertoire written for our instrument, which means we violists usually gain exposure to twentieth century music a lot sooner than violinists or cellists do. Read the rest of this entry »
It is odd how history has dealt with Hitler’s attraction to certain composers: performing Wagner in a high-profile manner is still considered taboo in Israel, although no one in Israel or anywhere else worries about programming Hitler’s favorite work by his favorite composer, “Carmina burana” by Carl Orff.
The music of Austrian composer Franz Schmidt did, however, suffer because of its association with Hitler and as popular as Schmidt’s music was through 1945, it fell into virtual disuse after the war because his music had been canonized by the Nazis.
Schmidt’s 1937 cantata “The Book with Seven Seals” brought Wagnerian-style music drama to the setting of the apocalyptic biblical Book of Revelation in a manner that satiated the Nazis, who had invaded Austria just three months before the world premiere. Read the rest of this entry »
No music more typified the postwar avant-garde movement than that of Polish composer Krzysztof Penderecki. His revolutionary 1960 “Threnody for the Victims of Hiroshima” forever changed the way we thought about what kinds of sounds and sonorities could be achieved on string instruments. (The most famous pop-culture use of the piece was in the film “The Exorcist,” but Stanley Kubrick also used several of Penderecki’s pieces in “The Shining.”)
That experimental period of Penderecki’s style lasted well into the 1960s, culminating in such rebellious choral works as the “St. Luke Passion” and the “Dies irae.” A simpler, more tonal Penderecki style emerged during the 1970s, the composer embracing a neo-Romantic style of writing that colorfully sought to explore post-Wagnerian chromaticism.
By the 1980s, Penderecki began combining the experimental gestures and extended techniques of his avant-garde period with the Romantic expressiveness of the later, more tonal style.
A few months after the Chicago Symphony Orchestra performed Penderecki’s 2000 Concerto Grosso No. 1 for Three Cellos and Orchestra with Charles Dutoit, the composer himself has his say in a rare area appearance conducting this work with cellists Julie Albers, Kira Kraftzoff and Amit Peled as well as the Beethoven Third Symphony, the “Eroica.”
Of course, it’s hardly surprising that a composer who takes up the baton should be able to make a fairly convincing case for his own pieces. But the level of vision, nuance and polish that Penderecki consistently demonstrates as a conductor of the music of others is no less significant. His Beethoven burns with a passion and energy that Bernstein would have been proud of and is insightfully reflective of the identification of the revolutionary of one century with the revolutionary of another. (Dennis Polkow)
July 15, 6:30pm; July 16, 7:30pm at Millennium Park’s Pritzker Pavilion, (312)742-7638. Free.
Mahler composed “Das Lied von der Erde” after his mammoth Eighth Symphony and subtitled it “Eine Symphonie,” but given that Beethoven, Schubert and Bruckner had all died after writing a Ninth Symphony, he 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.
To these ears, “Das Lied” has always been more of an orchestral song cycle than a symphony, consisting as it does of six songs based on medieval Chinese poetry loosely translated into German from French and liberally paraphrased and sometimes expanded upon by Mahler himself.
As such, its maximum impact is largely dependent upon the artistry of the two vocal soloists—tenor and alto are specified, although baritone is given as an alternative for alto—not only in terms of singing ability and sheer power to cut through a full orchestra when needed, but each must have a wide arsenal of vocal timbres and dynamics that appropriately approximate the range of moods expressed in the songs themselves; like all great lieder artists, each needs to be a master storyteller. Read the rest of this entry »
Carlos Kalmar/Photo: Norman Timonera
Ten seasons ago when Carlos Kalmar was made principal conductor of the Grant Park Music Festival, hearing Mahler performed by the Grant Park Orchestra was a rarity. But one of Kalmar’s earliest concerts here was a stunning performance of the Mahler “Resurrection” Symphony No. 2, and it was that extraordinary concert that led to his being hired for the post. Kalmar, who was born in Uruguay to Austrian parents and had his musical training in Vienna and spent his early career conducting in Europe, admits that he had never heard of the GPO when former artistic director James W. Palermo first invited him to guest-conduct here back in 1998. “I expected that a city the size of Chicago would have a ‘good’ orchestra,” Kalmar recalls, “but they were so immediately responsive.” Palermo asked Kalmar back the following 1999 season to conduct the Mahler, and neither he nor the Grant Park Orchestra have ever been the same. “I didn’t know it at the time,” says Kalmar, “because I didn’t even know they were looking for someone [to become principal conductor], but that became my ‘audition’ piece. Well, if you can’t get a reaction from a piece like that, you’re not much of a conductor!” Read the rest of this entry »
We tend to think of rhythm as the essence of African music, being its characteristic element. That West African rhythms were cross-fertilized with European classical harmonies in America to create the genres of jazz and their stepchildren blues, rock, hip-hop, et al, only serves to spotlight the significance of rhythm as we experience it. And though the kora, the twenty-one-stringed lute-shaped instrument unique to West Africa is played rhythmically—indeed, polyrhythmically—it is the forerunner of the modern guitar as a true chordophone where the player can create harmony as well as fascinating rhythms simultaneously.
No one does this in a more compelling, musical and virtuosic manner than Toumani Diabaté, who is to the kora what Hendrix was to the guitar. Tracing seventy-one generations of griots, or master musical village storyteller’s chroniclers to his Malian heritage—including the “King of the Kora” Sidiki Diabaté (1922-1996)—Diabaté has expanded that village tradition on a global level by communicating his music mastery on a world stage. He also skillfully incorporates rock and pop genres into his playing that extends beyond his African roots and has immensely expanded the technical possibilities of the instrument. Diabaté will be heard on this program as kora soloist and with his own group the Symmetric Orchestra, as well as with Carlos Kalmar and the Grant Park Orchestra accompanying him in a live performance of his 2008 album “The Mandé Variations” (Nonesuch). (Dennis Polkow)
August 11, 6:30pm, Millennium Park’s Pritzker Pavilion, (312)742-7638. Free.
Last week’s Lollapalooza drove the Grant Park Orchestra indoors to the Harris Theater to traverse Gustav Mahler’s Ninth Symphony for the first time ever in the festival’s seventy-five season history; the results, particularly in the fragile finale, were glorious and well worth the wait. To close the seventy-fifth season, Carlos Kalmar and the GPO take back the outdoors and are joined by Christopher Bell’s vastly under-appreciated Grant Park Chorus and soprano Amber Wagner, mezzo soprano Kathryn Leemhuis, tenor John McVeigh and bass Jason Grant in the monumental Beethoven Ninth Symphony. Those quiet sections will give traffic a chance to compete but by the time of the glorious finale, street noise won’t have a prayer against all of those forces blaring away and singing out about the brotherhood of man. As the season closes, don’t forget the Festival’s new coffee-table book “Sounds of Chicago’s Lakefront: A Celebration of the Grant Park Music Festival” ($39.95) that is not only a chance to relive the musical highlights of the summer festival’s three quarters of a century all year long, but is chocked with fascinating history and photographs concerning the development and evolution of Chicago’s lakefront for well over a century. (Dennis Polkow)
August 14, 6:30pm, and August 15, 7:30pm, at Millennium Park’s Pritzker Pavilion, (312)742-7638. Free.
A decade ago when Carlos Kalmar became music director of the Grant Park Music Festival, hearing Mahler performed by the Grant Park Orchestra was a rarity. But one of Kalmar’s first concerts here was a stunning performance of the Mahler Second “Resurrection” Symphony and it was that extraordinary concert that led to his being hired for the post. Mahler remains a relative rarity at the downtown festival (no more than one work per season, tops) not only because of the huge amount of rehearsal time that these gargantuan works use up but also because of the immense street noise that always threatens to drown out the quieter sections, but not this time; Kalmar and the GPO are taking the Mahler Ninth Symphony—which contains some of Mahler’s most sublime music—indoors to the Harris Theatre for two weekend performances. Yes, as always, the concerts are free, but seats are unreserved so early arrival is recommended. Unlike the CSO, where you would have to fork out big bucks to experience Mahler, the price affords a rare recession-friendly opportunity to hear Mahler’s last completed symphony with all of its angst-driven farewell to life (Mahler had been diagnosed with a fatal heart condition and knew the end was near) without the additional worry of spending money to do so. Saturday night’s performance includes a 6:15pm pre-concert “Coffee Talk” discussion with Kalmar about this extraordinary work. (Dennis Polkow)
August 7, 6:30pm and August 8, 7:30pm, at Millennium Park’s Harris Theater, 205 E. Randolph, (312)742-7638. Free.