Before we dive into 2012, let’s look back at memorable performances of the past year.
You have your own list. Here’s mine.
Syracuse University officials fed a miracle pill to the city's dead Symphony, and they say that with love and care, it may revive soon. Read the latest here. Meanwhile, troubles began in Montreal, and New York City Opera
Last Thursday WXXI and the RPO hosted its Education Takes the Stage luncheon at the Rochester Riverside Convention Center. Nearly 700 people came out to support the education programs of both organizations.
The last weekend of February, about a thousand Rochester singers performed in different venues over twenty-four hours. On Saturday afternoon, gospel choirs rocked the Monroe County Public Safety Building with high-decibel joy in a concert sponsored by the city. A few hours later and a few blocks away, the Eastman Chorale performed Dominick Argento’s tender love letter to Walden Pond, a song cycle based on text by Henry David Thoreau and scored for chorus, three cellos, and harp. The next day, eighteen local choirs offered a prism-style concert to a standing-room only crowd in Kodak Hall at Eastman Theatre. Audience members heard a wide variety of works: Russian liturgical music, barbershop, 21st century, Broadway, African chant, you name it. Singers were in and out of tune, sometimes stark and more often sentimental. I was happy to be there, but really, it was too much. I was drowning in a sea of notes.
I’ve been thinking about that weekend and what I remember most of the blur of voices and faces and it’s this-- the voice of a man coming out of a snow squall in a parking lot. He was singing “Winter Wonderland” full-throated, a la Frank Sinatra, carrying a child through a late winter storm.
You know what music is like when you don’t expect it? Once I was standing in the nave of St. Bartholomew’s Church in New York, holding my tape machine and waiting for an interview, when Elgar’s “Nimrod” sailed out of the church’s Aeolian-Skinner pipe organ (the largest instrument in the city), rushed over the pavers and curled my toes. The organist was only practicing. I was an accidental tourist. It was an absolute coupe de foudre.
A few weeks ago, on my way to a meeting at the Eastman School, a wave of sound pulled me backstage. The RPO was rehearsing Debussy’s torrential La Mer. I sat down, bewitched, like I’d never heard it before.
The question is, how does one create circumstances in which music is able to penetrate the deepest level of our subconscious? How can we set ourselves up for personal enchantment? Composer Aaron Copland is full of advice; he suggests directing ourselves “toward an emotionally purposeful end” to encourage the marriage of mind and heart he believes is uniquely possible with music. What's your experience?
William James would tell you to keep your distance. In "Principles of Psychology" he warns against excessive indulgence. “Never suffer one ’s self to have an emotion at a concert without expressing it in some active way, such as giving up your seat in the subway.” Perhaps he’s kidding.
My idea is this: listening to music is like star-gazing. The light shines brightest when you avert your eyes. Then it might surprise you.
Let’s recall the top classical music news stories in 2010 in Rochester, New York, with a nod to the Rob Reiner film, The Princess Bride.
NOT UNEMPLOYED IN GREENLAND RPO Music Director Christopher Seaman announced his retirement at end of the 2010-2011 season. Norwegian conductor Arild Remmeriet will step up as RPO’s new music director in 2011. Glimmerglass Opera announced that Francesca Zambello will be new executive director in 2011.
MUCH NICER THAN THE FIRE SWAMP Eastman School of Music opened a new wing with dramatic atrium, recital hall, rehearsal spaces, and eye-popping hanging glass sculpture.
INCONCEIVABLE! Rochester entrepreneur Tim Enright launched Virtuoso Television, or VTV, an internet service for musicians to record and store music lessons online for reference in future practice sessions.
HELLO, MY NAME IS “GIBBS AND MAIN” Rochester chamber ensemble Quartsemble changed moniker.
NEVER GO AGAINST A STRING PLAYER WHEN DEATH IS ON THE LINE RPO principal violist Melissa Matson stepped on needle, performed Harold in Italy with injured foot. RPO principal cellist Stefan Reuss fell and injured ribs and wrist, missing first few weeks of concert season.
A GREAT GIFT FOR RHYME Baritone Jonathan Beyer earned Rochester Oratorio Society’s annual Classical Idol top prize with compelling performance of aria from "Nixon on China." Composer Cary Ratcliff gets oratorio "Ode to Common Things" published. Composer Amanda Jacobs won national award for "Mass for the Living."
HER APPEAL IS UNDENIABLE Soprano Renee Fleming released “Dark Hope,” a collection of pop covers of songs by groups such as Arcade Fire, Death Cab for Cutie and Leonard Cohen. Rochester chamber choir Madrigalia premiered new work by Libby Larsen; Larsen visits.
NO ONE WITHSTANDS THE MACHINE Michael Daughtery piano concerto, “Deus Ex Machina” co-commissioned by the RPO, earned 2010 Grammy nomination. The Eastman's Ying Quartet was also nominated for a Grammy.
ANYBODY WANT A PEANUT? Several Western New York public schools named “Best Communities for Music Education” in the United States by the non-profit NAMM Foundation; Albion Central School District, Brighton, Leroy, Pittsford, Royalton-Hartland Central School District, Rush-Henrietta, Webster, West Irondequoit.
Congratulations and Happy New Year!
RPO Music Director Christopher Seaman has returned to Rochester after summer travels to Australia, New Zealand, and the U.K. The big question is, what's with the chickens? Find out this Thursday morning on Classical 91.5 . . .
When the Rochester Philharmonic Orchestra announced Arild Remmereit would succeed Christopher Seaman as the RPO’s Music Director in 2011, nearly every media outlet in town sent a reporter or crew to cover the story. I think that everyone, whether they listen to Jay-Z or Jewel or Janacek, recognizes the importance of the orchestra in any city.
Like WXXI, the RPO, Geva, MAG and so many arts organizations are looking to develop and nurture younger audiences to help take us into the future.