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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 »
Chamber Music, Chicago Artists, Classical, Experimental, In Memoriam, Interviews, Jazz, New Music, News and Dish, Orchestral, Vocal Music
Pierre Boulez and Pierre-Laurent Aimard / Photo: Roger Mastroianni
By Dennis Polkow
When French pianist Pierre-Laurent Aimard came to Chicago in 1986, it was as a member of Pierre Boulez’s l’Ensemble InterContemporain for a week of performances. At that time, Aimard had already been playing with the Ensemble since its inception a decade earlier.
“It was such an exciting time,” Aimard recalls. “Boulez had been active abroad and was living in Germany but the moment he came back to France, there was so much anticipation.” Boulez did not disappoint: he founded the Paris-based IRCAM, the Institute for Research and Coordination in Acoustics and Music, with the goal of enlarging the domain of materials used for music. That goal was embraced by musicians of all genres and even brought Frank Zappa to Boulez.
When Boulez himself asked Aimard to join IRCAM’s new resident ensemble, “it was a privilege, and I thought I would be there for a couple of years.” He would remain for eighteen years, before finally setting off to have a career of his own in 1994. “I was overwhelmed by the power of his artistry, of his musicianship, his fabulous intellect, his work ethic and the commitment that he gave to all of the pieces he was serving. It was a happy eighteen years.” Read the rest of this entry »
By Dennis Polkow
Columbia College is honoring its first-ever full-time faculty member and the legendary founder of its music department, the late William Russo, with a two-day festival called “Celebrating William Russo: Artist & Educator.”
A Chicago native, Russo’s influence and legacy must be measured in decades and across genres and disciplines. Having studied with pianist Lennie Tristano as a boy, Russo was composing music of his own as a teenager and soon leading jazz bands.
Although Russo joined Stan Kenton’s forty-piece Innovations Orchestra as a trombonist in the early 1950s, he ushered in a pioneering style of orchestral jazz as arranger and composer for that ensemble that remains unparalleled.
Iconic Russo works such as “23 Degrees North, 82 Degrees West” and “Frank Speaking”—both of which will be performed as part of a December 7 concert of Russo’s works at the Jazz Showcase—spotlight Russo’s fascination with cross-fertilizing multiple forms.
“People may not realize how much of a surprising and interesting influence Bill has been on American music,” assesses bluesman Corky Siegel, himself one who loves to bridge musical worlds, and who considers Russo his mentor in doing so. 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 »
At the Illinois Youth Center/Photo: Todd Rosenberg
By Dennis Polkow
The Gospel of Matthew states, “I was in prison, and you visited me.” It’s an adage Chicago Symphony Orchestra music director Riccardo Muti takes very seriously. He has visited prison a number of times in his native Italy, and during the first days of his inaugural season last year as music director it was a top priority for him.
“The experience was wonderful, fantastic,” Muti said of his first visit to the Illinois Youth Center in west suburban Warrenville, an incarceration facility for female juveniles, where he gave a concert and first visited with the inmates in September of 2010. Read the rest of this entry »
Because New Zealand soprano Kiri Te Kanawa was a protégée of legendary Chicago Symphony Orchestra music director Sir Georg Solti, Chicago has heard this once-reigning diva at virtually every stage of her career. That included a gala “farewell” two years ago with the orchestra so long associated with her. As reported then, no one says it’s over until the diva says it’s over, and in this case, since Te Kanawa is still in superb voice, she is giving us something as an additional “farewell” that was a real rarity when she was in her prime: an intimate recital.
Among the highlights of Te Kanawa’s many performances here was the glorious Mahler Fourth that she performed and recorded here under Solti and the CSO, and no less than two performances of Desdemona in Verdi’s “Otello,” –one for Solti’s seventieth birthday gala in 1987 with Placido Domingo, another alongside for the first and only time that Luciano Pavarotti ever sang the role for Solti’s own “farewell” performances as CSO music director in 1991, where Te Kanawa sat onstage traumatized by the fact that Pavarotti was attempting to camouflage eating entire chickens onstage when he wasn’t singing and was tossing the chicken bones on the floor next to her. But hey, while Te Kanawa was rehearsing for the world premiere of “Paul McCartney’s Liverpool Oratorio” at Liverpool Cathedral, she freaked out the former Beatle when she began actually scolding tourists who were in her line of sight yards away, asking them to “move along” as if she owned the place. Late and mischievous tenor Jerry Hadley thought the whole thing was hysterical and was doing his best to keep a straight face. Ah yes, they don’t make divas like this anymore. Read the rest of this entry »
Jorge Federico Osorio
Last month’s downtown Beethoven Festival that had departing CSO principal conductor Bernard Haitink traversing all nine of the Beethoven symphonies across three weeks of concerts gets a magnificent and compact summer cadenza at Ravinia with a rare and wonderful opportunity to experience all five Beethoven piano concertos across two consecutive concerts.
Mexican-born pianist Jorge Federico Osorio, who has long made Highland Park his home but who had to prove himself the world over before being taken seriously as a rank concretizer of choice here will be the soloist, a coup for all involved. Ravinia is loosely attempting to tie in the 200th anniversary of Mexican independence to Osorio’s heritage, but an opportunity to hear a complete Beethoven Piano Concerto cycle with a pianist of Osorio’s caliber needs no such gimmickry and is a major musical statement in and of itself.
Mozart is often credited with creating the piano concerto as we know it, but it was Beethoven who not only gave the orchestra an expanded and eventually a role equal to that of the soloist, but who made the piano concerto a more personal vehicle of self-expression and emotion, marking the transition from Classicism to Romanticism. Read the rest of this entry »
Those lucky enough to have heard the debut concerts of the CSO’s Beethoven Festival last week heard something very special indeed as the orchestra offered some of its best playing for outgoing CSO principal guest conductor Bernard Haitink of his entire tenure here. Particularly gratifying, whether by accident or design, was the noticeable absence of some of the most conspicuous principal players who have routinely blighted concerts under the Haitink era as their skills have deteriorated. Haitink uses a mid-sized orchestra and offers some surprising tempos, much more moderate than you might expect for some of the uptempo movements and brisk, indeed, sometimes almost breakneck, during moderate and slow movements.
This week Haitink and the CSO turn their attention to two groups of symphonies: Nos. 4 and 6, the “Pastoral,” and Nos. 1 and 7. Beethoven’s First Symphony has often been described as “Haydnesque,” and while it is the most conventional of his symphonies, from its opening chords we are in a different sound world than the symphonies of Haydn, or Mozart, for that matter. It is a shame that we are hearing it so late in the cycle where its full impact is diminished; it would have made far more sense to present Symphonies 1 and 3 in the first program, 2 and 5 in the second, and then 4 and 6, which are being paired together, and then 8 and 7, with the Ninth on its own, as it will be next week. Read the rest of this entry »
The second program in Bernard Haitink and the Chicago Symphony Orchestra’s traversal of all nine of the symphonies of Beethoven pairs the less familiar Symphony No. 2 with the iconic Symphony No. 3, the “Eroica,” a work that is often cited as making the shift from eighteenth-century Classicism to nineteenth-century Romanticism.
Yet there is already a whiff of Beethoven’s musical revolution in the smaller-scale Second Symphony, even if it came to its full fruition in the large-scale Third Symphony, an avant-garde work that occupied Beethoven for five years and indeed broke every convention of the Classical era. Critics and audiences did not know what to make of a work that, for starters, was more than twice the length of any symphony of Haydn and Mozart. But its real revolution is what Beethoven did with the stalwart sonata form that had so dominated the era, the ABA form of exposition, development and recapitulation which in Beethoven’s hands are blown up and the pieces sometimes scattered almost beyond recognition. Read the rest of this entry »