I’ve had the good fortune – and occasional breathtaking misfortune – of interviewing some of the most prominent figures in classical music. So SLSO fans, let me dish you the unvarnished, behind-the-curtain scoop on your Conductor Laureate: He’s a treasure.
Conductors are often the most unpredictable beasts populating the musician phylum, coaxing a genuine response from them – one that doesn’t feel pre-glazed for an eventual donut of a memoir – can be an elusive bit of business.
The truth is, my first interaction with Leonard Slatkin played like one of those cherished, setting-the-world-to-rights conversations that are more at home in a pub than, say, in different time zones by way of a pair of glowing, overpriced rectangles. The maestro is disarming and easy with conversation, resolute in his convictions, and inspiringly curious. Read More
I’ve always been enamored with the vivid detail with which people of my parents’ generation can recall the day JFK or MLK was assassinated: their exact location, the temperament of the weather, and the faces of those around them. My variation on that theme involves the Challenger disaster, Operation Desert Storm, and September 11. The indelible memories of the second event on this list include the front page of the Chicago Tribune (which I saved until college), watching battleships blast 16-inch shells into the night on live television, and collecting Desert Storm baseball cards. My first sentient — if safely removed — exposure to war involved deciding whether or not to trade a SCUD missile for a Dick Cheney. Read More
When the world feels chaotic, I find myself often tilting toward cynicism. Then, out of the blue, a pair of conversations revitalizes my hope for the future of music and the future of communities coming together. The St. Louis Symphony IN UNISON Chorus is an expected element of the SLSO season by now for you, but take it from an outsider...this is one extraordinary ensemble.
I’ve interviewed Renée Fleming, Arnold Steinhardt, and the like, but the time I spent talking with IN UNISON Chorus director Kevin McBeth and veteran chorus member Harry Moppins has quickly moved into my Top 10 interview experiences as a writer. My most sincere congratulations to the Symphony, IN UNISON Chorus, and you, the audience, during this 25th anniversary season. Read More
Do you ever have this experience, where a companion asks you what restaurants or books or music you love most, and your brain instantly empties with the velocity of an airplane toilet? The one artist who reliably clings to my brain, when these discussions involve film, is the Canadian director Atom Egoyan. It is likely because I first encountered his work during my undergrad years, when my brain could still retain information, but in any case, his 1997 movie The Sweet Hereafter is one of those under-theradar (despite winning the Grand Prix at Cannes) gems that is my go-to in these scenarios.
To tell you that the story involves a school bus careening off an icy road and into a frigid lake — an accident in which many children die — is definitively not a spoiler. And you should certainly seek this one out once you get home, in part because Ian Holm gives one of the most extraordinarily nuanced performances of any actor, ever.
The tragedy in this story is not the accident. It is the catastrophe of being left behind. Read More
Playing in a string quartet is both exhilarating and infuriating.
Those of us who have chosen this path spend more time with our quartetmates than our families (seriously, ask the guys after the show, or any professional) on a quixotic mission to sculpt the perfect phrase, unified bow stroke, and group intonation. Yes, every musician in classical music is chasing down these goals to some extent, but there is something unique about the string quartet: an ensemble that won’t bat an eye at spending two hours in a rehearsal tuning eight seconds of music, to use a very real-world example. Read More
The truth is, you probably don’t need program notes for Berlioz’s ubiquitous Symphonie fantastique…
You’ve likely read about his infatuation with the actress, and maybe even caught Leonard Bernstein dishing on “dope” in this context during one of his Young People’s Concerts. Even if this is your first encounter with this game-changing work, I’d wager that you could come up with a narrative pretty close to the intended one without having read a word about it. It’s that good.
What strikes me over and over about this piece is the sheer vulnerability of it. Granted, it is the grand gesture of all grand gestures — writing and re-writing a piece in the hopes of winning over its literal heroine — but to have written something so deliberately personal, and to be so publicly overwhelmed by desire…this is next-level. I hope you’ll forgive me for being emboldened to do so, but I took this opportunity to tell my own story of delusion and heartbreak. Read More
I don’t want to write these words. Or, conversely, when I knew I’d be covering Colin Stetson this season, I was over the moon. Forgive the caveat, but as a music journalist, my mailbox is jammed with dozens of albums every week…but Colin’s records remain at or near the top of the pile, ever since I laid hands on a copy of his New History of Warfare, Vol. 1 (2008).
So I finally get the opportunity to cover an artist whose creativity cuts glass — that continues to startle and inspire me.
And then Stoneman Douglas sends us all reeling. Read More
I find that there are very few romantic notions left these days. That’s not to be cynical, it’s just that I recently read The Life-Changing Magic of Tidying Up by Marie Kondo and it strong-armed me into throwing in the dumpster my large cardboard box of handwritten letters from grade school (up through the advent of the Internet)…and I’m regretting the decision. There is something romantic, though not romantic, about the time and effort that was poured into that correspondence that I’ll probably never find an adequate way to articulate to my son.
You know what is still quite romantic, though? Train travel. My long-term memory isn’t so hot, but I can remember my youth orchestra’s train trip from Chicago to New Orleans like it was yesterday. Sheepishly sauntering into the viewing car only to be dumbstruck by the enormity of our country…and probably a backyard tire fire or two. Alexis de Tocquelville’s got nothing on that memory. Read More
The Winter Olympics are just around the corner, and although I’m not generally a sports guy, nothing comes between me and my Olympics. It’s the ultimate audition. A competitor has spent years training for a moment that often lasts mere minutes, and most of us can’t help but weep along with them, whether in devastating disappointment or unbridled joy. There’s also something so tidy about it all. We can say with utter certainty that this person was faster or more nimble or more cunning than that person.
Also, who doesn’t love that some of these events seem to be based — like playing the french horn — on a dare. Looking at you, luge. Read More
What’s your favorite number in Messiah? For me, nothing tops “Since By Man Came Death” (number 46). It levels me every time. Not only is the chorus singing a cappella for the only moment in the entire piece — which is totally harrowing — those suspensions and harmonic shifts have me instantly dabbing at the corners of my eyes whether it’s a world-class ensemble singing, or my aunt’s oncea-week volunteer church choir having at it. There’s something singular, something supremely special about this piece, right? Read More
For his final commission as the CSO’s Mead co-composer-in-residence, Mason Bates summons the sprites, griffins and serpents of Jorge Luis Borges for his Anthology of Fantastic Zoology. Dedicated to Maestro Riccardo Muti, this fanciful suite leaves the laptop, Bates’ frequent instrument of choice, tucked backstage in its sleeve, as the composer elects instead to unleash purely acoustic creatures through the aisles of Symphony Center. (The work will have its world-premiere performances June 18-20.)
Music writer Doyle Armbrust recently connected with the zookeeper himself, to get the scoop on this carnival of mythic beasts: Read More
Receiving an appointment as composer-in-residence at the Chicago Symphony Orchestra is a bit like being backed as chef de cuisine at a hot new restaurant on Randolph Street. How will you most effectively take advantage of this newfound access and opportunity?
As curators of the MusicNOW series, the CSO’s Mead Composers-in-Residence bring with them new flavors and trajectories in programming, and Anna Clyne and Mason Bates exit the position having transformed these Monday nights into even more popular, animated events. Found in the audience at shows across Chicago, Bates and Clyne have developed a buy-in to the city’s music scene, which has helped to build a loyal following back at MusicNOW. The pair head into the next phase of their compositional careers emboldened by their five years at the CSO.
Music writer Doyle Armbrust recently caught up with Clyne and Bates to talk about their Chicago venture, and what lies ahead. Read More
“Internally, I always hear sounds and nuances as musical melodies and enjoy weaving those sounds together with harmonies and lyrical material. Structurally, I work with perspectives of details, the unity of the whole, and the relationship between the two.”
IN PREPARATION OF ENTRY With a swift inhale, a quivering of the eyelids, you awaken. Easing up onto an elbow, your fingers brush the latticework imprint on your cheek, left there by the stiff grass. This unfamiliar landscape is vast, astonishing. The diminutive trees shivering nearby stretch the view into intimidating proportions. How will you make your way back home? Do you want to leave? Read More