by Nathan Cone
Probably my favorite movie I’ve seen so far this year, “The Tree of Life” approaches for me a kind of magical or spiritual experience. It was recently released on Blu-ray/DVD, and you can read my full review online at TPR.ORG, but I wanted to devote this post to the music included in the film.
“The Tree of Life” was scored by Alexandre Desplat, the Oscar-nominated composer of “The King’s Speech” and “Fantastic Mr. Fox.” But while his official soundtrack contains an hour of wonderful music, very little of it made it into the finished film. Director Terrence Malick’s style led him to create a pastiche of sound from Desplat as well as other composers, classic and contemporary. Indeed, the most memorable musical moments in the film feature the work of Zbigniew Preisner, Ottorino Respighi, and François Couperin, not Desplat. Malick leans heavily on choral and vocal works, not for their librettos, but I think because the sound of these works expresses spirituality in its greatest sense.
If you were as enchanted by the music of “The Tree of Life” as I, then look below for a helpful guide to some of the best musical moments in the film, and links to iTunes and Amazon’s mp3 store -- so you can recreate the soundtrack yourself at home. Enjoy!
Ottorino Respighi’s “Siciliana” from his “Ancient Airs and Dances” beautifully accompanies scenes of newly-married life in the film. Shortly after Brad Pitt and Jessica Chastain’s first child is born, Gustav Holst’s “Hymn to Dionysus” is heard as Chastain introduces her young boy, Jack, to picture books and wooden toys on the lawn.
Zbigniew Preisner’s “Lacrimosa: Day of Tears” brings the otherworldly images of the film’s cosmic sequence to life.
The accidental drowning death of a young boy is hauntingly underscored by an excerpt from Gustav Mahler’s “Titan” Symphony.
Images of the early days on earth, as well as the heavenly finale, are scored with Berlioz’s “Requiem,” both the “Agnus Dei,” and the “Domine Jesu Christie.”
Both the film’s trailer and the movie itself make wonderful use of Bederich Smetena’s “The Moldau.” The music accompanies scenes of joyous family life.
Angela Hewitt’s rolling piano arrangement of François Couperin’s “Les Barricades Mystérieuses” is heard as Jessica Chastain’s narration implores audiences to help, love, and forgive one another.
The stern father (Brad Pitt) regrets getting sidetracked by life, unable to fulfill his dream of being a great classical musician. In one scene, he plays Brahms on the record player, praising Arturo Toscanini’s conducting.
The closing credits of the film roll as “Welcome Happy Morning” is heard. The gentle piano music is by composer Hanan Townshend, who was studying at UT-Austin during the production of “The Tree of Life.”
Tuesday, October 18, 2011
Friday, October 14, 2011
That's more like it….
The sun is down and the sky is colored an intense violet and every now and again you smell wood smoke in the chilled night air. This is autumn, a brief season to be savored in South Texas.
On the Piano this Sunday music that evokes that special and short time when it isn't too hot or cold - the skies are an intense blue and even some of our trees change their leaves to match our growing expectations of winter to come. On the program autumnal music of Debussy, Edward MacDowell, Edvard Grieg and even some evocative music of Alexander Scriabin, so bundle up and enjoy the season of autumn on the Piano this Sunday afternoon at 5 on KPAC & KTXI.
host, Randy Anderson
On the Piano this Sunday music that evokes that special and short time when it isn't too hot or cold - the skies are an intense blue and even some of our trees change their leaves to match our growing expectations of winter to come. On the program autumnal music of Debussy, Edward MacDowell, Edvard Grieg and even some evocative music of Alexander Scriabin, so bundle up and enjoy the season of autumn on the Piano this Sunday afternoon at 5 on KPAC & KTXI.
host, Randy Anderson
Thursday, October 13, 2011
Lisztomania
This weekend the San Antonio Symphony plays Liszt, in honor of this 200th birthday, coming up on October 22nd. We thought we would share some facts, fun and trivia about the great composer and pianist.
The only child of Adam and Anna Liszt, Franz was born in Raiding, Hungary. The small town came under the administrative aegis of the Esterházy family who employed Adam as a steward. Franz showed musical promise early, beginning lessons with his father before he was six; by the age of seven he was writing music. Three years later the boy was ready to make his concert debut in the nearby town of Sopron. This was followed by two more concerts performed before the cream of Austrian society. As a direct result, young Franz was given an annual stipend for six years to enable him to concentrate solely on a musical career. His father secured Karl Czerny, an ex-pupil of Ludwig van Beethoven, as Franz's piano teacher, while Antonio Salieri taught him theory. As both Czerny and Salieri lived in Vienna, the family moved there in 1821.
During his time in Vienna Liszt had the good fortune to meet Beethoven, who although profoundly deaf, attended one of his concerts and bestowed his blessing on the boy. Franz's reputation spread quickly, and before the end of 1821 he had been chosen as one of 50 composers (others included Beethoven, Czerny and Salieri) to write a set of variations to a waltz written by the composer/publisher Diabelli. By the autumn of 1823 Franz's father decided it was time to widen his son's audience and moved the family to Paris. Liszt took the Parisians by storm. He also completed his musical education by taking private lessons from Anton Reicha and Ferdinando Paer.
We recommend you check out more with Liszt's life and music with Liszt. Derek Watson. Oxford University Press. 2000. ISBN 0198164998 (paperback).
This book describes Liszt's life in detail in an historical context. Approximately half of the volume is dedicated to a thorough biography, while the second half addresses his music in detail, as well as a description of Liszt's technique and teaching methods, explains the musical language, lists and describes all of his works by using excerpts from various works in separate chapters! Useful to all music lovers, it is especially valuable for those with a background in music.
Although he never played electric guitar or gave an interview to Rolling Stone, Franz Liszt has often been called the world’s first rock star. His abilities were such that even those who disliked his compositions, such as Brahms, were dazzled by his performances. Liszt inspired near-fanaticism among his many admirers, who went to great lengths to obtain even the smallest souvenir. At the same time, he caused scandals by entering illicit relationships with two married noblewomen.
Liszt spent the last years of his life traveling continuously. In 1886, the year Liszt turned seventy-five, he was invited to attend festivals honoring him in several countries. On the insistence of a former student, he chose to visit England, a country he had avoided for over forty years because of an unsuccessful tour during the Glanzzeit period. Although Liszt considered himself no longer fit to play, he was urged to perform several times by his admirers, who included Queen Victoria.
Liszt returned to Weimar satisfied, but in a weakened state of health; he was by then almost blind. His daughter Cosima, with whom he had reconciled, requested his presence in Bayreuth, where the festival devoted to the late Wagner was experiencing difficulties. On his way to Bayreuth by night train, Liszt caught pneumonia. In Bayreuth, he was tended to by the faithful students who followed him on his journeys, as well as by his daughter. Over ten days his condition worsened and Liszt died on the morning of July 31, 1886.
NPR has collected alot of great material on Liszt: http://www.npr.org/artists/15192346/franz-liszt
This is one of the most famous of parodies with the Hungarian Rhapsody Number 2:
The only child of Adam and Anna Liszt, Franz was born in Raiding, Hungary. The small town came under the administrative aegis of the Esterházy family who employed Adam as a steward. Franz showed musical promise early, beginning lessons with his father before he was six; by the age of seven he was writing music. Three years later the boy was ready to make his concert debut in the nearby town of Sopron. This was followed by two more concerts performed before the cream of Austrian society. As a direct result, young Franz was given an annual stipend for six years to enable him to concentrate solely on a musical career. His father secured Karl Czerny, an ex-pupil of Ludwig van Beethoven, as Franz's piano teacher, while Antonio Salieri taught him theory. As both Czerny and Salieri lived in Vienna, the family moved there in 1821.During his time in Vienna Liszt had the good fortune to meet Beethoven, who although profoundly deaf, attended one of his concerts and bestowed his blessing on the boy. Franz's reputation spread quickly, and before the end of 1821 he had been chosen as one of 50 composers (others included Beethoven, Czerny and Salieri) to write a set of variations to a waltz written by the composer/publisher Diabelli. By the autumn of 1823 Franz's father decided it was time to widen his son's audience and moved the family to Paris. Liszt took the Parisians by storm. He also completed his musical education by taking private lessons from Anton Reicha and Ferdinando Paer.
We recommend you check out more with Liszt's life and music with Liszt. Derek Watson. Oxford University Press. 2000. ISBN 0198164998 (paperback).
This book describes Liszt's life in detail in an historical context. Approximately half of the volume is dedicated to a thorough biography, while the second half addresses his music in detail, as well as a description of Liszt's technique and teaching methods, explains the musical language, lists and describes all of his works by using excerpts from various works in separate chapters! Useful to all music lovers, it is especially valuable for those with a background in music.
Although he never played electric guitar or gave an interview to Rolling Stone, Franz Liszt has often been called the world’s first rock star. His abilities were such that even those who disliked his compositions, such as Brahms, were dazzled by his performances. Liszt inspired near-fanaticism among his many admirers, who went to great lengths to obtain even the smallest souvenir. At the same time, he caused scandals by entering illicit relationships with two married noblewomen.
Liszt spent the last years of his life traveling continuously. In 1886, the year Liszt turned seventy-five, he was invited to attend festivals honoring him in several countries. On the insistence of a former student, he chose to visit England, a country he had avoided for over forty years because of an unsuccessful tour during the Glanzzeit period. Although Liszt considered himself no longer fit to play, he was urged to perform several times by his admirers, who included Queen Victoria.
Liszt returned to Weimar satisfied, but in a weakened state of health; he was by then almost blind. His daughter Cosima, with whom he had reconciled, requested his presence in Bayreuth, where the festival devoted to the late Wagner was experiencing difficulties. On his way to Bayreuth by night train, Liszt caught pneumonia. In Bayreuth, he was tended to by the faithful students who followed him on his journeys, as well as by his daughter. Over ten days his condition worsened and Liszt died on the morning of July 31, 1886.
NPR has collected alot of great material on Liszt: http://www.npr.org/artists/15192346/franz-liszt
This is one of the most famous of parodies with the Hungarian Rhapsody Number 2:
NEW BAYREUTH : LET THERE BE SPACE & LIGHT
In the aftermath of World War II Wagner's home, Wahnfried , lay partially in ruins from allied bombing . Winifred Wagner, wife of the dead Siegfried (Wagner's only son) through her war time connection with Hitler was forbidden from running the festival. The Bayreuth Festival had been co-opted by German wartime politics and Hitler's enthusiastic support ; thoughts ranged from divesting the family to dismantling the whole affair. Enter a compromise and a revolution. The mother was out and the two young brothers Wieland (1917-1966) and Wolfgang (1919-2010 ) were to run it jointly . This was the compromise . What no one expected in 1951 after repairs and fundraising was nothing less than a dramaturgical revolution - New Bayreuth.
Everything the old Bayreuth had known: insularity , nationalism , naturalistic sets , " duck hats " and bear skins , it was all gone. The clutter and darkness were banished - everything was now space and light . Tunic like dress, echoing the 'classical theater ' of Greece and Rome hung loosely from the characters bodies. The set was no longer time bound or nationally oriented - an international style that could be anywhere and anytime or the famous Wagnerian "mythic and outside of time ". Open ended and beyond the politics of the past - the break had been made and a New Bayreuth was born rising from the ashes of war . It had been a vision fourteen years in the making . Wieland had begun thinking this way in 1937 and by 1951 the 'new vision' could be unveiled. Psychology and symbol had replaced verisimilitude; openness had replaced enclosure , inference and ambiguity both filled (and emptied) the stage with light and space.
It was a vision that attracted the greatest performers, singers , designers and conductors. A series of recordings followed that testify to this extraordinary period of music making . Among them this Saturday Afternoon at the Opera's presentation of Wagner's Gotterdammerung of 1951, Live . A cast that mixed the old, Ludwig Weber( as Hagen) with the new Astrid Varnay (as Brunnhilde) and the great Knappertsbusch , who Furtwangler affectionately called ' Mein liebe Kna' ", and who had been personally excoriated by Hitler and Goebbels - there can be no better recommendation.
Join us this Saturday at noon for a little bit of Valhalla, here on KPAC and KTXI.
Everything the old Bayreuth had known: insularity , nationalism , naturalistic sets , " duck hats " and bear skins , it was all gone. The clutter and darkness were banished - everything was now space and light . Tunic like dress, echoing the 'classical theater ' of Greece and Rome hung loosely from the characters bodies. The set was no longer time bound or nationally oriented - an international style that could be anywhere and anytime or the famous Wagnerian "mythic and outside of time ". Open ended and beyond the politics of the past - the break had been made and a New Bayreuth was born rising from the ashes of war . It had been a vision fourteen years in the making . Wieland had begun thinking this way in 1937 and by 1951 the 'new vision' could be unveiled. Psychology and symbol had replaced verisimilitude; openness had replaced enclosure , inference and ambiguity both filled (and emptied) the stage with light and space.
It was a vision that attracted the greatest performers, singers , designers and conductors. A series of recordings followed that testify to this extraordinary period of music making . Among them this Saturday Afternoon at the Opera's presentation of Wagner's Gotterdammerung of 1951, Live . A cast that mixed the old, Ludwig Weber( as Hagen) with the new Astrid Varnay (as Brunnhilde) and the great Knappertsbusch , who Furtwangler affectionately called ' Mein liebe Kna' ", and who had been personally excoriated by Hitler and Goebbels - there can be no better recommendation.
Join us this Saturday at noon for a little bit of Valhalla, here on KPAC and KTXI.
host, Ron Moore
Tuesday, October 11, 2011
Share your knoweldge
At last month's PRPD conference in Baltimore, I learned about a unique online tool that allows users and media outlets to harness the power of their audiences to help facilitate sharing content with others around the globe. The website service http://www.universalsubtitles.org allows users to tag YouTube or Vimeo videos with subtitltes in other languages. This could be a great way for KPAC, or anyone in America, to share their content with non-English speakers around the globe.
If you know another language -- any language -- consider giving this a try. Learn more at the website (linked above), or give it a try with our test video, an interview with conductor Alondra de la Parra.
http://www.universalsubtitles.org/en/videos/5Y7shPW1qm2I/info/
Thanks for your help!
Nathan Cone
If you know another language -- any language -- consider giving this a try. Learn more at the website (linked above), or give it a try with our test video, an interview with conductor Alondra de la Parra.
http://www.universalsubtitles.org/en/videos/5Y7shPW1qm2I/info/
Thanks for your help!
Nathan Cone
Friday, October 7, 2011
Tintinnabulation Inc or Russian music…
Alexander Scriabin's talent was a coupling of intellect and intuition and sometimes the two conflicted. The Russian composer created his Sixth Sonata in 1911 and it was one of the few works he never played in public, claiming the work was "nightmarish, murky, unclean and mischievous". A constant of his music, like all of the composer's work, was a fondness for bell rhythms and tonalities. If Scriabin's Seventh Sonata is composed of "heavenly bells" the sixth sonata is surely its hellish opposite.
Sergey Rachmaninoff, a friend of Scriabin, had a fascination with bells himself his most famous early work, the prelude in c-sharp minor is loaded with bell tolling and this continued in with his setting of Edgar Allan Poe's The Bells. On this Sunday's Piano program Rachmaninoff's most jingle-jangle jammed composition; the sonata in b-flat minor, the same key as Chopin's Funeral Sonata which as you might have guessed by now has tolling bells in it as well.
Have a ring-a-ding time with the Piano this Sunday afternoon at 5 on KPAC and KTXI.
host, Randy Anderson
Sergey Rachmaninoff, a friend of Scriabin, had a fascination with bells himself his most famous early work, the prelude in c-sharp minor is loaded with bell tolling and this continued in with his setting of Edgar Allan Poe's The Bells. On this Sunday's Piano program Rachmaninoff's most jingle-jangle jammed composition; the sonata in b-flat minor, the same key as Chopin's Funeral Sonata which as you might have guessed by now has tolling bells in it as well.
Have a ring-a-ding time with the Piano this Sunday afternoon at 5 on KPAC and KTXI.
host, Randy Anderson
Thursday, October 6, 2011
10 Questions for the Gold Medalist
Next week, Van Cliburn Gold Medalist Nobuyuki Tsujii performs in San Antonio. We asked him ten questions about the recital and more!
10. What is your recital program for San Antonio?
1st half consists of works by Mozart and Liszt.
1st piece is 12 Variations on "Ah, vous dirai-je, maman" in C major, K.265.
I played this piece when I was a young child, just as many Japanese piano students do.
Its theme is lovely and very well known, following variations are enjoyable both for pianist and for audience.
I believe you'll like it.
2nd piece is Piano Sonata in A major, K.331 "Alla Turca", again by Mozart.
Its 3rd movement "Turkish March" is very popular, too, but it is first time for me to play this sonata in public.
I'm excited.
2 Liszt pieces, "Un Sospiro" and "Rigoletto Paraphrase" are my tribute to bicentenary of the birth of the composer.
They have beautiful melody, and they are technically very challenging.
2nd part is Mussorgsky's "Pictures at an exhibition".
It is demanding, not only technically but also about musical imagination.
Mussorgsky composed this piece inspired by pictures of his friend who died young.
It is also very well known as orchestral version by Maurice Ravel.
I learned about the original pictures and also listened to orchestral version, etc., and I came to the conclusion that it was written for piano and I can express the music perfectly on piano.
I know there are very many wonderful recordings by great pianists, but I hope you can hear and enjoy my own "pictures".
9. Are there any favorites on your program?
Yes, all of them.
I have a list of music which I wish to play in public and to share the joy of music with the audience.
I pick up some of them to compose season's program.
So, every piece I play in concert is my favorite.
8. There must be a lot of travel since winning the competition – are there certain things you love or hate about hotels?
The Cliburn Competition opened window to the world for me, and I have had a lot of travel which I had never imagined before the competition.
About hotels, nothing to complain.
American hotels have more space than Japanese.
Travelling itself is generally smooth, unless air flight got cancelled by tornadoes.
Luckily, I'm not bothered by jet lag.
I enjoy local food and local drink anywhere.
Though, it is challenging to make a balance between keeping myself well and well shaped, because American food has bigger portion than Japanese and I feel like hungry when I completed a concert.
7. Travelling also includes different cultures and food – any memorable meals you’d like to share?
I always trying to have local food.
One of the most memorable food was Arros Negre, Paella cooked with squid ink, which I had in Mallorca island of Spain.
I don't stick to Japanese food during the tour, but one of Sushi restaurant in Charlotte, North Carolina, was memorable.
It is the best Sushi in US so far.
I would like to share with you but I couldn't find it on travel advisor.
6. Your Carnegie Hall debut will be later this season, how are you preparing?
I'm very much excited with it.
I believe the best preparation is to practice.
I'll try to enjoy this experience and I hope the audience enjoy the concert with me.
5. Do you hear from fans since the documentary A Surprise in Texas has been shown?
Yes, I often experience people talk to me at the airport, at the restaurant, and on the street.
In June, I visited Venice, Italy, and had an opportunity to play a piano at one of traditional building.
After I played piano, one lady came to me and said she was from Texas and had watched the film so that she easily recognized me.
4. There are quite a few wonderful cds that you have recorded, from orchestral concerti to the most recent Chopin – what’s in store for fans in the next few releases?
Thanks, my next CD is just out in the market.
It is Mussorgsky's Pictures and an Exhibition and 2 Liszt pieces, all of them I'm going to play in San Antonio.
3. Is there repertory you want to record that you haven’t yet?
Yes, quite a lot.
I'm planning to make recordings of Mozart in the near future.
Beethoven and Chopin are my lifework and I wish to make records of them time to time.
2. You recently graduated from college – what’s next, teaching? Or is there a keyboard hero you would want to study with or play for?
Graduating from college is, like winning the competition, just starting professional career.
I have quite a lot to learn and to study, I can't imagine teaching someone!
I would like to meet and listen to as much wonderful pianists as possible, but it is no less inspiring to play chamber music with great musician and to play concerto with great conductors and orchestras.
1. I’ve heard the Van Cliburn is a real challenge but a joy, with all aspects of music making – solo, chamber and concerti. How was it for you competing and how has it impacted your life?
Well, Van Cliburn Competition was very much demanding about repertoire.
I have to learn quite a lot of music, solo, chamber, concerto, Classical, Romantic, and Contemporary.
However, the hospitality and atmosphere of the competition were so warm and human, I was able to relax myself and to concentrate on playing piano.
Honestly, I didn't think as I was "competing" at all.
I simply enjoyed playing and sharing great music with such wonderful audience.
Every time I survived the round, I was so happy with the fact that I was given further opportunities to have concerts with them.
By the way, last week (14th and 15th of September), I played duo concert with Ms. Son Yoel-Eum, in Tokyo and in Seoul.
I, and my parents, were impressed with her music during the competition.
I had opportunities to attend her concerts after the competition, but it was first time for me to play "duo" with her.
We played Debussy Petite Suite and Mozart Sonata for 2 piano K.448, and Rachmaninov Tarantelle for encore.
It was very much enjoyable and exciting concert, and I wish if I could do it in the States, too.
with very best wishes,
Nobuyuki Tsujii
Listen for all the scoop and behind the scenes with the music and musicians every week on Classical Spotlight, Thursday afternoons with John Clare on KPAC & KTXI.
10. What is your recital program for San Antonio?
1st half consists of works by Mozart and Liszt.
1st piece is 12 Variations on "Ah, vous dirai-je, maman" in C major, K.265.
I played this piece when I was a young child, just as many Japanese piano students do.
Its theme is lovely and very well known, following variations are enjoyable both for pianist and for audience.
I believe you'll like it.
2nd piece is Piano Sonata in A major, K.331 "Alla Turca", again by Mozart.
Its 3rd movement "Turkish March" is very popular, too, but it is first time for me to play this sonata in public.
I'm excited.
2 Liszt pieces, "Un Sospiro" and "Rigoletto Paraphrase" are my tribute to bicentenary of the birth of the composer.
They have beautiful melody, and they are technically very challenging.
2nd part is Mussorgsky's "Pictures at an exhibition".
It is demanding, not only technically but also about musical imagination.
Mussorgsky composed this piece inspired by pictures of his friend who died young.
It is also very well known as orchestral version by Maurice Ravel.
I learned about the original pictures and also listened to orchestral version, etc., and I came to the conclusion that it was written for piano and I can express the music perfectly on piano.
I know there are very many wonderful recordings by great pianists, but I hope you can hear and enjoy my own "pictures".
9. Are there any favorites on your program?
Yes, all of them.
I have a list of music which I wish to play in public and to share the joy of music with the audience.
I pick up some of them to compose season's program.
So, every piece I play in concert is my favorite.
8. There must be a lot of travel since winning the competition – are there certain things you love or hate about hotels?
The Cliburn Competition opened window to the world for me, and I have had a lot of travel which I had never imagined before the competition.
About hotels, nothing to complain.
American hotels have more space than Japanese.
Travelling itself is generally smooth, unless air flight got cancelled by tornadoes.
Luckily, I'm not bothered by jet lag.
I enjoy local food and local drink anywhere.
Though, it is challenging to make a balance between keeping myself well and well shaped, because American food has bigger portion than Japanese and I feel like hungry when I completed a concert.
7. Travelling also includes different cultures and food – any memorable meals you’d like to share?
I always trying to have local food.
One of the most memorable food was Arros Negre, Paella cooked with squid ink, which I had in Mallorca island of Spain.
I don't stick to Japanese food during the tour, but one of Sushi restaurant in Charlotte, North Carolina, was memorable.
It is the best Sushi in US so far.
I would like to share with you but I couldn't find it on travel advisor.
6. Your Carnegie Hall debut will be later this season, how are you preparing?
I'm very much excited with it.
I believe the best preparation is to practice.
I'll try to enjoy this experience and I hope the audience enjoy the concert with me.
5. Do you hear from fans since the documentary A Surprise in Texas has been shown?
Yes, I often experience people talk to me at the airport, at the restaurant, and on the street.
In June, I visited Venice, Italy, and had an opportunity to play a piano at one of traditional building.
After I played piano, one lady came to me and said she was from Texas and had watched the film so that she easily recognized me.
4. There are quite a few wonderful cds that you have recorded, from orchestral concerti to the most recent Chopin – what’s in store for fans in the next few releases?
Thanks, my next CD is just out in the market.
It is Mussorgsky's Pictures and an Exhibition and 2 Liszt pieces, all of them I'm going to play in San Antonio.
3. Is there repertory you want to record that you haven’t yet?
Yes, quite a lot.
I'm planning to make recordings of Mozart in the near future.
Beethoven and Chopin are my lifework and I wish to make records of them time to time.
2. You recently graduated from college – what’s next, teaching? Or is there a keyboard hero you would want to study with or play for?
Graduating from college is, like winning the competition, just starting professional career.
I have quite a lot to learn and to study, I can't imagine teaching someone!
I would like to meet and listen to as much wonderful pianists as possible, but it is no less inspiring to play chamber music with great musician and to play concerto with great conductors and orchestras.
1. I’ve heard the Van Cliburn is a real challenge but a joy, with all aspects of music making – solo, chamber and concerti. How was it for you competing and how has it impacted your life?
Well, Van Cliburn Competition was very much demanding about repertoire.
I have to learn quite a lot of music, solo, chamber, concerto, Classical, Romantic, and Contemporary.
However, the hospitality and atmosphere of the competition were so warm and human, I was able to relax myself and to concentrate on playing piano.
Honestly, I didn't think as I was "competing" at all.
I simply enjoyed playing and sharing great music with such wonderful audience.
Every time I survived the round, I was so happy with the fact that I was given further opportunities to have concerts with them.
By the way, last week (14th and 15th of September), I played duo concert with Ms. Son Yoel-Eum, in Tokyo and in Seoul.
I, and my parents, were impressed with her music during the competition.
I had opportunities to attend her concerts after the competition, but it was first time for me to play "duo" with her.
We played Debussy Petite Suite and Mozart Sonata for 2 piano K.448, and Rachmaninov Tarantelle for encore.
It was very much enjoyable and exciting concert, and I wish if I could do it in the States, too.
with very best wishes,
Nobuyuki Tsujii
Listen for all the scoop and behind the scenes with the music and musicians every week on Classical Spotlight, Thursday afternoons with John Clare on KPAC & KTXI.
Tuesday, October 4, 2011
Contrasting theatrical duo makes for a great weekend
Valerie Cowan
The stamina of the performers in both productions amazed me. Richard Troxell and Maria Alejandres, Romeo and Juliet respectively, were onstage and singing with full force the entire two-and-a-half-hour performance. I spoke with Cindy Sadler, who sang the role of Juliet’s nurse Gertrude, after the show.
“This particular performance for me is not physically demanding because my part is relatively small,” Sadler said. “For the two leads… it’s just extremely physically demanding because they’re just onstage the all the time.”
I was very curious about rehearsals and how the singers can possibly have the endurance to rehearse such demanding material for the amount of time it takes to put on such a flawless performance.
“We don’t rehearse the entire opera every time; we rehearse sections of it,” Sadler said. “We don’t sing out all the time. We do what’s called marking, which is basically just singing it softly or taking it down an octave. Singers are trained to preserve their voices.”
Watching a Shakespeare play as a French opera with English supertitles seemed oddly natural, even though Shakespeare originally wrote his plays in English. Shakespeare’s words are so musical and poetic on their own; it’s almost like listening to music even when there is no musical setting to the text. In Sadler’s eyes, the musical setting enhances the meaning of the text.
“Music adds emotion to words that words cannot express, and I think that this does so amply,” Sadler said. “There are significant changes to the original Shakespeare play that are necessary to make it into a musical drama because it takes longer to say something by singing than it does with just spoken word.”
Music also seemed the natural setting for “Mary Poppins.” Set to the familiar tunes of the original Disney film along with numerous new songs, the play moved swiftly from one spectacular song and dance to the next.
Two things never cease to amaze me about musicals: the young age of some of the performers and the ingenuity of the set design. The youths playing the roles of Jane and Michael Banks range in age from ten to twelve, and they’re up there singing and dancing in front of thousands of audience members like it’s what they were born to do. I think back to what I was doing when I was ten years old… watching movies like “Mary Poppins” in my living room, struggling with math homework, and going to the swimming pool with friends. That isn’t to say I didn’t accomplish anything or have a good time when I was ten; I’m just astonished at what these kids are capable of. As for the set design, I can never quite understand how it all works. From the nosebleed seats, props seem to magically move on- and offstage by themselves. If I paused to look at the program for a few moments, as soon as I look up, the stage would look entirely different.
There was never a dull moment during either of the performances this weekend. If you missed this weekend’s show times of Mary Poppins, it runs through this Sunday. Select tickets are still available on http://www.ticketmaster.com/. Up next in the San Antonio Opera’s season is Mozart’s Don Giovanni from February 17-February 19. For more information, visit http://www.saopera.com/.
Two breathtaking but distinct theatrical performances made my weekend quite memorable. The first of which took place Saturday evening at the Lila Cockrell Theatre. The San Antonio Opera’s production of Shakespeare’s “Romeo and Juliet,” adapted for opera by French composer Charles Gounod (1818-1893), took me through a whirlwind of emotions as I watched and listened in awe to the musical spectacle onstage. The second performance took place at the Majestic Theater on Sunday afternoon, and allowed me to revisit all my childhood memories. Disney’s “Mary Poppins” attracted an audience of all ages. It was hard to resist humming along to all the familiar tunes as the performers of the hit Broadway musical sang and danced onstage.
Photo Caption: Maria Alejandres, who sang the role of Juliet, let me take a picture with her backstage after the show.
The stamina of the performers in both productions amazed me. Richard Troxell and Maria Alejandres, Romeo and Juliet respectively, were onstage and singing with full force the entire two-and-a-half-hour performance. I spoke with Cindy Sadler, who sang the role of Juliet’s nurse Gertrude, after the show.
“This particular performance for me is not physically demanding because my part is relatively small,” Sadler said. “For the two leads… it’s just extremely physically demanding because they’re just onstage the all the time.”
I was very curious about rehearsals and how the singers can possibly have the endurance to rehearse such demanding material for the amount of time it takes to put on such a flawless performance.
“We don’t rehearse the entire opera every time; we rehearse sections of it,” Sadler said. “We don’t sing out all the time. We do what’s called marking, which is basically just singing it softly or taking it down an octave. Singers are trained to preserve their voices.”
Watching a Shakespeare play as a French opera with English supertitles seemed oddly natural, even though Shakespeare originally wrote his plays in English. Shakespeare’s words are so musical and poetic on their own; it’s almost like listening to music even when there is no musical setting to the text. In Sadler’s eyes, the musical setting enhances the meaning of the text.
“Music adds emotion to words that words cannot express, and I think that this does so amply,” Sadler said. “There are significant changes to the original Shakespeare play that are necessary to make it into a musical drama because it takes longer to say something by singing than it does with just spoken word.”
Music also seemed the natural setting for “Mary Poppins.” Set to the familiar tunes of the original Disney film along with numerous new songs, the play moved swiftly from one spectacular song and dance to the next.
Two things never cease to amaze me about musicals: the young age of some of the performers and the ingenuity of the set design. The youths playing the roles of Jane and Michael Banks range in age from ten to twelve, and they’re up there singing and dancing in front of thousands of audience members like it’s what they were born to do. I think back to what I was doing when I was ten years old… watching movies like “Mary Poppins” in my living room, struggling with math homework, and going to the swimming pool with friends. That isn’t to say I didn’t accomplish anything or have a good time when I was ten; I’m just astonished at what these kids are capable of. As for the set design, I can never quite understand how it all works. From the nosebleed seats, props seem to magically move on- and offstage by themselves. If I paused to look at the program for a few moments, as soon as I look up, the stage would look entirely different.
There was never a dull moment during either of the performances this weekend. If you missed this weekend’s show times of Mary Poppins, it runs through this Sunday. Select tickets are still available on http://www.ticketmaster.com/. Up next in the San Antonio Opera’s season is Mozart’s Don Giovanni from February 17-February 19. For more information, visit http://www.saopera.com/.
Monday, October 3, 2011
Flash! Symphony Musicians Mob Pearl Farmers Market!
Milder morning temperatures made for a perfect opportunity for musicians of the San Antonio Symphony to connect with the audience outside of the concert hall this weekend. On Saturday, October 2, members of the orchestra, led by YOSA's Troy Peters, conducted an impromptu flash mob at the Pearl Farmers Market, just off Broadway in San Antonio.
The ever popular "William Tell Overture" was performed by the group. As you can see in the below videos, just as quickly as it begins, it's over, leaving shoppers with a smile on their faces.
The ever popular "William Tell Overture" was performed by the group. As you can see in the below videos, just as quickly as it begins, it's over, leaving shoppers with a smile on their faces.
Saturday, October 1, 2011
Iraqi Youth Orchestra in Bonn
We were touched this week by the story of the Iraqi Youth Orchestra, who are performing their very first concert abroad this weekend at the Beethovenfest in Bonn. The group's conductor, Paul MacAlindin, says it's still too dangerous for them to play in Baghdad, but he hopes the ensemble will be able to give concerts in the Iraqi capital within the next few years.
Read more of the story from PRI's "The World."
See a video about the Iraqi Youth Orchestra:
Read more of the story from PRI's "The World."
See a video about the Iraqi Youth Orchestra:
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