Culture

Remembering Lydia Mordkovitch

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Lydia Mordkovitch (1944-2014)

Russian-born violinist Lydia Mordkovitch passed away earlier in the week. She was a student of David Oistrakh and served as his assistant in the late 1960s. In this interview she talks about her Russian musical roots and the influence of Oistrakh’s teaching.

Mordkovitch emigrated to the United Kingdom in 1980. In 1995 she joined the faculty of the Royal Academy of Music. Her extensive discography on the Chandos label includes music of English composers (violin concertos of Arnold Bax, William Alwyn and George Dyson) and Max Bruch’s seldom heard Second and Third Violin Concertos.

Listening to a sample of Lydia Mordkovitch’s recordings, I was struck by the soulfulness and honesty of her musicianship. While many contemporary violinists seem to sound alike, her tone was distinctive. The Loure from J.S. Bach’s Third Partita (the second movement in the final clip below) is an example of Mordkovitch’s singing approach to sound and wide array of tonal colors.

Strad Magazine offered the following description in a 2009 review of Mordkovitch’s CD of Russian violin music:

To hear Lydia Mordkovitch at the peak of her interpretative powers is like being thrown back half a century when the likes of David Oistrakh, Isaac Stern and Yehudi Menuhin held sway…She has never believed in half measures and here every note is played to its maximum expressive potential, whether it is a raging violin fortissimo or a gentle viola pizzicato.

Here is the first movement of Sergei Prokofiev’s Violin Concerto No. 2, Op. 63 with the Scottish Chamber Orchestra:

https://www.youtube.com/watch?v=GqavSNZrjwg

Olivier Messiaen’s Thème et variations was written in 1932 as a wedding gift for the composer’s first wife, violinist Claire Delbos:

Here is Mordkovitch’s 1987 recording of J.S. Bach’s Partita for Solo Violin No. 3 in E:

https://www.youtube.com/watch?v=c4QYWX73RQY

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Music Fit for an Emperor

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Franz Joseph Haydn (1732-1809)
Franz Joseph Haydn (1732-1809)

Violinist Mark Sokol passed away last week. He was a founding member of the Concord String Quartet. Between 1971 and its disbanding in 1987, the Concord String Quartet championed music by American composers including Charles Ives, George Crumb, Jacob Druckman and Morton Feldman. Mark Sokol later joined the faculty of the San Francisco Conservatory of Music.

Here is the Concord’s recording of Haydn’s String Quartet in C Major, Op. 76, No. 3. This quartet earned the nickname “The Emperor” because the second movement is made up of variations on the melody, “God Save Emperor Francis.” Today we know this theme as the German national anthem.

Haydn composed the theme after returning from England, where he heard “God Save the Queen.” The theme quickly gained popularity and inspired patriotism at a time when Napoleon was threatening the Austrian Empire.

Composer Samuel Adler offers a technical analysis of the second movement’s progression of variations:

This is a wonderful lesson in orchestration, for too often the extremes in the range are wasted too early in a work, and the final buildup is, as a result, anticlimactic. The other formal factor to notice is that the entire structure is an accumulation of the elements which have slowly entered the harmonic and contrapuntal scheme in the course of the variations and have become a natural part of the statement.

Here are the second, third and fourth movements.

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Friday Afternoons with Benjamin Britten

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Children from Suffolk and Yorkshire sing Friday Afternoons at the Royal Albert Hall this month. Photograph: Anna McCarthy
Children from Suffolk and Yorkshire singing at Royal Albert Hall last week. Photograph: Anna McCarthy

 

Last Friday, children across the world came together to sing.

Friday Afternoons, a global project designed to promote singing in schools, began in 2011 as part of celebrations of the centennial of Benjamin Britten’s birth. Last year, 67,000 students around the world participated in the live-streamed event, organized by Aldenburgh Music.

In the early 1930s, Benjamin Britten wrote a collection of twelve songs called Friday Afternoons for students at the Clive House School in Prestatyn in northeast Wales. The songs, which include “Cuckoo!” and the canon, “Old Abram Brown”, feature catchy, repetitive phrases and a strong sense of pulse, elements which appeal to young children. This year, in the spirit of Britten, twelve new children’s songs were written by composers including Nico Muhly, Rachel Portman, and the 14-year-old Zoe Dixon. Listen to all of the songs here and watch a segment of the event.

The benefits are obvious. Children develop aural and rhythmic skills by singing and listening to music from an early age. This development can lead to a meaningful, lifelong relationship with music.

Archeologists believe that music predated language. Throughout most of history, music was produced live and was experienced collectively. In an era of iTunes downloads and silent discos, Friday Afternoons restores the joy of collective music making, this time on a global level.

Friday Afternoons offers us a great opportunity to evaluate our priorities. For too long, society has offered token support for music and arts education while simultaneously tolerated cliched statements like, “we just don’t have the money” or “we need to focus on basics to train a competitive work force.” The 1999 film Music of the Heart impacted emotions and ideals without translating into a deeper and more enlightened commitment to the role of music in a complete education. If the future of the world relies on peaceful cooperation between countries, educated, thoughtful citizens, and the unleashing of the creative force, what could be more relevant than an event like Friday Afternoons?

A Ceremony of Carols

…and while we’re on the subject of Benjamin Britten, let’s kick off the Christmas season with This Little Babe from A Ceremony of Carols, Op. 28, performed by the King’s College Choir of Cambridge:

Remembering James Erb

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Unknown-93James Erb, a beloved member of Richmond’s music community, passed away last week at the age of 88. He will be remembered as a composer, arranger, conductor and musicologist, who specialized in the works of Renaissance composer, Orlando de Lassus. In 1971, Dr. Erb founded the Richmond Symphony Chorus. He also served as director of choral activities at the University of Richmond.

Those who knew James Erb will remember his youthful energy and contagious love of music. It would have been easy to imagine him enthusiastically pulling a score off the shelf for study at 6:00 on a Saturday morning. Violinist Holly Mulcahy offers a tribute here.

Here is James Erb’s arrangement of the American folk song, Shenandoah:

Lexus’ Cheap Shot at Classical Music

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A Lexus in the junkyardAdvertising is about illusion. It manipulates the most irrational recesses of our minds, circumventing thoughtfulness and judgment. Facts and reason are no match for advertising, which plays on emotion, desire and the ephemeral. Madison Avenue can cleverly make any product, person, or idea seem desirable or undesirable, and its reach extends into mainstream news and political campaigns. Are we citizens or brand consumers?

In a new Lexus ad, classical music becomes a symbol for everything which is old, stuffy, boring, and uncool. The ad doesn’t portray “real” classical music, but its image, or signifier. Interestingly, all of the music heard in the ad sounds like virtual orchestra technology. It’s digitally manipulated to sound annoyingly out of tune, whiny and grating. Both the “classical” music and the synthesized drums which conclude the commercial are sterile and soulless.

It’s possible to view the ad as a good natured spoof on the multitude of cliched car commercials which use classical music in an equally stereotypical way, appealing to an image of class, age, and affluence. But even taking satire into account, disturbingly divisive messages remain: “This music is boring and annoying.” “Classical music is for old people. Rock music is for young people.”

Of course, the term “classical music” itself can be viewed as an offensively arbitrary marketing label. When we say “classical,” we’re really talking about all enduring music. Bach, Bartok and The Beatles all fit that description.

Divisiveness is at the heart of corporate advertising. The indoctrination of children from an early age into mass consumerism has been well-documented. As standardized testing has pushed the arts to the periphery of the school day, corporate media has subtly told children what is “cool” and what isn’t. All of this is enough to make you wonder if corporate culture is subconsciously afraid of the arts. Perhaps the ultimate reality embodied in the arts is enough to shatter illusion and remind us that we’re more than brain dead consumers.

https://www.youtube.com/watch?v=hkFC05bTXso

This clever remake was made in response to the original ad.

The Lexus ad uses the second movement of Mozart’s Piano Concerto No. 21. Here is the real thing, played by Murray Perahia. The serene opening of Mozart’s Andante (14:01) is deceiving. It lulls us into complacency. But keep listening and you’ll hear a subtle turn towards something darker with the hint of melancholy around 14:45. Amazingly, we slip back into the atmosphere of the opening as if nothing happened, but the seed of that moment of dissonance has been planted and returns throughout the movement. Listen to all of the surprising turns Mozart’s music has in store for us:

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  1. Allegro maestoso (0:00)
  2. Andante (14:01)
  3. Allegro vivace assai (21:00)

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A Resolution in Atlanta

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Unknown-1The Atlanta Symphony’s two-month-long lockout ended over the weekend. With the help of federal mediation, musicians ratified a four year contract. The agreement halts ASO management’s attempt to gain “flexibility” by downsizing the orchestra, ensuring a compliment of 88 full time musicians by the contract’s final year. Read this article and visit Drew McManus’ Adaptistration for background and in-depth analysis.

The lockout (the second in Atlanta in two years) has delayed the start of the orchestra’s 70th season and raised questions about the stewardship of the ASO’s parent company, the Woodruff Arts Center. As Atlanta Symphony players scattered across the country to perform as freelancers in other orchestras, the Woodruff Arts Center board remained disturbingly ambivalent about the potential destruction of a world-class orchestra. In a rare and bold move, music director Robert Spano and principal guest conductor Donald Runnicles spoke out about the potential destruction of the orchestra. It will be important for the community to continue to hold the Woodruff leadership accountable.

Mahler in the Mid-90s

In an earlier post, I highlighted a few of the Atlanta Symphony’s excellent recordings. As an addition to that list, here is Yoel Levi’s 1995 recording of Mahler’s Fifth Symphony. The Israeli-born Levi was music director of the ASO from 1988-2000.  The recording highlights the Atlanta Symphony’s trademark refinement and polish. Even in the most powerful fortissimos, the trumpets, trombones and horns remain singing and blended. In the first movement’s funeral march, the whispering strings seem to slowly awaken (1:08). The Telarc label’s microphone placement seems to capture the sound from the perspective of distance, as you would hear it if you were sitting in the hall.

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  1. Trauermarsch (Funeral March). In gemessenem Schritt. Streng. Wie ein Kondukt (0:00)
  2. Stürmisch bewegt, mit größter Vehemenz (Moving stormily, with the greatest vehemence) (12:51)
  3. Scherzo. Kräftig, nicht zu schnell (Not too fast, strong) (27:41)
  4. Adagietto. Sehr langsam (Very slow) (45:32)
  5. Rondo-Finale. Allegro – Allegro giocoso. Frisch (Fresh) (56:37)

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A Vibrating Wooden Box

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luthier Sam Zygmuntowicz
Brooklyn luthier Sam Zygmuntowicz

The debate surrounding comparisons between priceless, old Italian Stradivari and Guarneri violins and the work of top-level, modern luthiers rages on. Meanwhile, the quality of some of the finest contemporary instruments is undeniable.

Brooklyn, New York-based luthier Sam Zygmuntowicz has great reverence for the old Italian makers, but he refuses to be intimidated by their mystique, rejecting the notion that “mystery” surrounds their brilliance. Through extensive research, he has attempted to gain an increasing understanding of the way design impacts sound. The Renaissance principle that “beautiful form leads to beautiful function” applies. Zygmuntowicz has used vibration scanning technology to understand how violins “move.” Watch the surprising slow motion CT scan of an undulating Strad here.

In this clip from last year’s Banff International String Quartet Competition, Sam Zygmuntowicz has some interesting observations about Strads and modern violins. He mentions that violin making has become fairly homogenized, compared to the distinct French, German and Italian schools of the eighteenth century. In each of these schools, the style of violin making was informed by a distinct concept of sound. Zygmuntowicz points out a key advantage of modern instruments: luthiers are able to work with violinists to craft an instrument which meets their specific expectations and needs. He describes the violin as “a conduit for energy,” which passes from the player through the bow, into the bridge and ultimately through the air and into the listener’s eardrum. At the end of the lecture, we hear a brief demonstration of two of Zygmuntowicz’s violins.

You can also hear one of Zygmuntowicz’s violins in action in this excerpt from Richard Strauss’s ballet suite, Der Bürger als Edelmann (Le bourgeois gentilhomme). The violinist is Steven Copes, concertmaster of the Saint Paul Chamber Orchestra.

Remembering Composer Stephen Paulus

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composer Stephen Paulus (1949-2014)
Stephen Paulus (1949-2014)

American composer Stephen Paulus passed away yesterday due to complications from a significant stroke he suffered last year. He was 65 years old.

Paulus leaves behind a wide range of works, including three violin concertos. William Preucil recorded the first concerto with conductor Yoel Levi and the Atlanta Symphony in the early 1990s. That recording also features the thrilling, eleven minute adventure for orchestra, Concertante, written in 1989 (find on iTunes).

In addition to composing, Paulus was a longstanding member of the board of directors of ASCAP (American Society of Composers, Authors and Publishers).

Choral music will be an important part of Stephen Paulus’ legacy. One of his most celebrated works is the short Pilgrims’ Hymn from his Leo Tolstoy-based opera, The Three Hermits. Take a moment and listen:

Also listen to Hymn to the Eternal Flame and this setting of the the old American hymn, The Road Home.