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 »
Big Band, Blues, Chamber Music, Chicago Artists, Classical, Holiday Music, Interviews, Jazz, New Music, News and Dish, Orchestral, R&B, Reggae, Rock, Soul, Vocal Music
Alfreda Burke and Rodrick Dixon
By Dennis Polkow
“We’re both preachers’ kids,” says soprano Alfreda Burke of herself and husband, tenor Rodrick Dixon. “And as classical singers, we had both done our share of traditional Handel ‘Messiah’ performances.”
For the past ten years, however, the couple has been headlining the “Too Hot to Handel: A Jazz-Gospel Messiah,” each Martin Luther King Jr. Day weekend at the Auditorium Theatre. With the Auditorium celebrating its 125th anniversary this season and these being the tenth anniversary Chicago performances of “Too Hot to Handel,” Burke says “this is going to be a very festive celebration this time around.”
“It really started with [conductor] Marin Alsop in New York City with the Concordia Orchestra,” explains Dixon, who became familiar with the piece by being asked to substitute for Thomas Young, the work’s original tenor. “Marin had commissioned it from Bob Christianson and Gary Anderson, to do a whole rearrangement of Handel’s ‘Messiah’ with a modern twist that kept the famous melodies that people have come to love all over the world, except modernizing them in the sense of jazz, gospel, blues and some cinematic orchestration ideas that Bob and Gary were very well known for in New York.” Read the rest of this entry »
By Dennis Polkow
For the first time, Millennium Park’s Harris Theater is presenting an opera independent from Chicago Opera Theater, a mainstay of the venue since it opened more than a decade ago. The one-night-only event features a rare, complete concert performance of Rossini’s “William Tell” by Teatro Regio Torino (Turin, Italy), in the company’s North American debut. This is the first time an Italian opera house will tour a complete opera in North America. Chicago is one of only four stops on the tour, which also includes Carnegie Hall. Baritone Luca Salsi sings the title role, with soprano Angela Meade as Matilde and tenor John Osborn as Arnoldo. The Teatro Regio Torino orchestra and chorus is conducted by the company’s music director, Gianandrea Noseda, who was just chosen as Musical America’s 2015 Conductor of the Year.
“Grazie,” says Noseda, congratulated by phone in Munich, where at press time he was guest conductor at the Bavarian State Orchestra. Ironically, although Noseda’s season-long engagements with Teatro Regio Torino were never in question, reports had surfaced that he’d stepped aside as music director due to highly publicized artistic differences with the company’s general manager. “I am still there,” he reassures me. He calls the mutual striving for both sides to come to an understanding “a work in progress,” and adds, “There are new people coming in [to the company], who I think will make all the difference. We will find our way. At least that is my wish, my hope.” Read the rest of this entry »
By Dennis Polkow
On the final day of his summer residency, a sunglasses-clad, informally dressed Riccardo Muti is standing in his hotel lobby texting on what he calls a “prehistoric” cell phone. “This is very old: Neanderthal man used this,” he says. “I received a smart phone from my children, but every time I touch it, it does different things and whatever I am doing, disappears. It was a disaster.”
As it turned out—but not revealed at the time—Muti had just met with Jeff Alexander, the man who would be named the new Chicago Symphony Orchestra president, and was in a very upbeat mood.
That Muti, who turned seventy-three in July and who is beginning his fifth season as music director—the last of his original contract—has signed a second five-year contract that will take his music directorship through 2020 is, of course, a huge coup for Chicago. “I have changed [the orchestra], but they have also changed me! We still have a lot to do. They have changed their spirit. It is so wonderful to go to a rehearsal so relaxed and happy.” Read the rest of this entry »
Blues, Chicago Artists, Classical, Country, Electronic/Dance, Experimental, Folk, Hip-Hop, Jazz, Music 45, R&B, Rock, Soul
Photo: Joe Mazza of BraveLux
Chicago, you are a big, bold, beautiful city of infinite complexity. Your historical heritage, your social and political upheaval, your segregation, violence and corruption have birthed an incredible wealth of musical expression. It’s by virtue of these artists that our community confronts and escapes the mistakes of our metropolis. And so our publication listens intently, offering a nuanced dialogue with the musicians who craft our culture. Yet, once a year, we redirect our approach to the opposing swing of the pendulum. We zoom-out where we would normally zoom-in. This list offers a broad-stroke survey of those Chicago musicians whose current cultural currency is readily represented to the city and to the rest of the world, living artists whose quantifiable influence echoes their effect. Some big names are missing, some rankings seem arbitrary, but it’s toward these acts, firmly Chicagoan, that we look when we seek out the spirit of home. Where our words might fail, the music will not. (Kenneth Preski)
Music 45 was written by Kenneth Preski, Dennis Polkow, John Wilmes, Jessica Burg, Robert Szypko, Eric Lutz, Keidra Chaney, Reilly Gill, Corey Hall and Dave Cantor
All photos taken on location at The Hideout by Joe Mazza of BraveLux. Read the rest of this entry »
Gustav Mahler at the time of his First Symphony.
When the Chicago Symphony Orchestra commemorated Mahler’s death centennial three years ago, there were plenty of Mahler symphonies to be heard, to be sure. But curiously, none from its then-new music director, Riccardo Muti.
Instead, Muti chose to reconstruct the final concert that Mahler ever conducted a century before. “This was the last concert of Mahler’s life,” Muti told me at the time. “He went back to Vienna and died. As music director of the New York Philharmonic, he chose a complete program of music of Italian contemporary composers. He used the Mendelssohn ‘Italian’ Symphony because one of the composers didn’t write the piece that he asked for, but it was clear that he wanted to have a contemporary Italian evening. Read the rest of this entry »
Riccardo Muti rehearsing Civic Orchestra, April 2013, Photo: Todd Rosenberg
Riccardo Muti’s spring residency goes for two weeks this season, but what a jam-packed and extraordinary period of music-making it looks to be. This first week program includes pianist/conductor Mitsuko Uchida, who last week made her annual Chicago Symphony Orchestra appearance conducting from the piano. Not easy to conduct Robert Schumann from the piano, however, so Muti will be her collaborator for the Schumann Piano Concerto. The centerpiece of the program will be the Schubert “Great” Ninth Symphony, a work that Schumann championed posthumously after Schubert’s death at age thirty-one.
Muti’s idea of a day off that first weekend is to lead the Civic Orchestra, the training orchestra of the CSO that is marking its ninety-fifth anniversary this season, in an open rehearsal of movements from Prokofiev’s ballet suites for “Romeo and Juliet” on Sunday evening. This is a favorite piece of Muti’s and he has a lot to say about how various movements should sound, particularly as they relate to the emotions reflected in Shakespeare’s narrative. To watch him do so with an attentive audience of young musicians working to give him what he asks for is to experience a passing of the torch of the highest order. It also offers a rare opportunity to eavesdrop on the rehearsal techniques of one of the great conductors set to a basic level, a rare and wonderful deconstruction of the art of conducting. Tickets are free but must be ordered and demand is always high. 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 »
Chorus soloist rehearsal/Photo: Todd Rosenberg
By Dennis Polkow
“Buon giorno,” says a sweater-clad Riccardo Muti, seated on his podium at an eerily empty Symphony Center, to a Chicago Symphony Orchestra clad in street clothes assembled for its first rehearsal of Verdi’s “Macbeth.”
“This is a great joy for me, since Verdi is the only composer that I can conduct,” Muti says, poking fun at his reputation as Verdi’s greatest living interpreter. The orchestra laughs.
“Seriously, you gave me the best ‘Otello’ I have ever done from an orchestral point of view,” Muti adds, referencing the 2011 Muti-led CSO performances of one of Verdi’s last operas that like “Macbeth,” is also based on Shakespeare and that has just been released on the CSO Resound label.
“You may think that because ‘Macbeth’ is earlier that it is less difficult music, but it’s not. This work was very ahead of its time. In fact, the operas to follow will be a step back.” Read the rest of this entry »
Cover by Colin Denney
Music is alive and well and living in Chicago.
While that once might have meant records and radio and bands being signed to major labels, it’s a much more complex score these days, with artists and venues more entrepreneurial than ever. But at the core is the shift in emphasis from recorded to live music, and it’s a change that’s made Chicago a town of festivals, from the city’s bedrock blues, jazz, gospel and world music festivals, to Lollapalooza and Pitchfork, to the new electronic dance music festivals—Spring Awakening, Wavefront and North Coast—as well as the explosive growth of an old one, the Chosen Few DJs Picnic. With these shifts, the players are changing too; since we last made this list of the behind-the-scenesters, the power list if you will, most of the list has changed. This year’s forty-five include twenty-six folks who were not on the list that last time in 2009. (Brian Hieggelke)
Music 45 was written by Brian Hieggelke, Dennis Polkow and Kenneth Preski, with additional contributions by Dave Cantor, Keidra Chaney, Dylan Peterson, John Wilmes and B. David Zarley. See previous years here. Read the rest of this entry »