Carnegie Mellon Wind Ensemble (Stravinsky, Mingus, Adams, Mozart)

George Vosburgh, Director

Stephen Story, Associate Director

Bobbi Zimmmelman, clarinet

Camden Wentz, cello 

CMU Faculty Recitals: Saariaho, Perkinson, and Bach

 I'm dedicating this post to a far-gone event I attended in April.

Throughout the years, I have enjoyed faculty recitals at Carnegie Mellon University so interesting. The series has been very educational, and intricately selected works opened new horizons and introduced new artists to me. 

The last event I could attend was the solo cello performance by Angela Park.

The repertoire for that musical evening was eclectic:

1.  Kaija Saariaho: Sept Papillons for Solo Cello (2000)
2. Coleridge-Taylor Perkinson: Lamentations Black/Folk Song Suite for Solo Cello (1973)
3. J.S. Bach: Cello Suite No. 6

Place me on Thy Right Hand!

Ingemisco, tamquam reus:

Culpa rubet vultus meus:
Supplicanti parce, Deus.

Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti

Preces meæ non sunt dignæ:
Sed tu bonus fac benigne,
Ne perenni cremer igne.

Inter oves locum præsta,
Et ab hædis me sequestra,
Statuens in parte dextra.

Dies irae (XII - XV)

Translation:

Guilty, now I pour my moaning,
and my face blushes with guilt;
Spare, the suppliant, O God.

Thou who didst absolve Mary [Magdalene],
and hear the prayer of the thief,
hast given me hope as well.

Worthless are my prayers and sighing,
Yet, good Lord, show mercy,
Lest I burn in everlasting fire.

Give me a place among the sheep,
and separate me from the goats,
Placing me on thy right hand.

Picture: 

Verdi Requiem, Carnegie Music Hall, 3/2/2025

Requiem by Giuseppe Verdi

Verdi's Requiem is considered one of the greatest choral works arranged on Requiem text, a Catholic funeral mass.

Originally scored for double chorus, four soloists, and orchestra. With the vast musical scale and formidable force, the performance requires concert halls rather than churches. 

Directed by Dr. Susan Medley

I attended this concert on March 2nd.  

Another Memorable Night With Pittsburgh Symphony

My wife bought me a ticket for this performance by the PSO.
The program was a fantastic mix, the most notable pieces were the following:

• Carl Maria von Weber: Overture to Der Freischutz (The Marksman)
• Henri Tomasi: Concerto for Alto Saxophone and Orchestra
• Johann Strauss Jr.: Overture to Die Fledermaus (The Bat)
• Steven Banks: Come As You Are For Tenor Saxophone And String Orchestra

December 1st, 2024

Watching Awadagin Pratt

It was a memorable night watching Awadagin Pratt's performance.

The repertoire consisted of:

Arvo Pärt's Cantus in Memoriam Benjamin Britten

Mozart's Piano Concerto No. 23 in A Major K. 488

and Beethoven's Symphony No. 7 in A Major, Op. 92

Philharmonia Fantastique

 

Philharmonia Fantastique: The Making of the Orchestra 

Music composed by Mason Bates

Performed by the Pittsburgh Symphony Orchestra

Conducted by Jacob Joyce

Hainz Hall

3/5/2024

Shostakovich Symphony No. 5

 

The theme of my symphony is the making of a man. I saw Man with all his experiences in the center of the composition, which is lyrical in form from beginning to end. The finale is the optimistic solution of the tragically tense moments of the first movement. 

 Shostakovich on Symphony No. 5

Background:

Dmitri Shostakovich's Symphony No. 5 is a masterpiece. The symphony was premiered in 1937. This period was the peak of soviet censorship instigated by the USSR regime.
 Pravda condemned his opera "Lady Macbeth of the Mitsenk District" as unpatriotic and dissonant and heaped ferocious attacks on the composer, simply calling it "Muddle, not Music!" on the front page review. Overnight he was marginalized by authorities who were in charge of aesthetic idealism. The fifth symphony was conceived under these insecure circumstances. Fifth is the result of fear and trembling for his very survival and avoiding the doomed fate of exile to concentration camps. The pressure combined with Shostakovich's character led to a cryptic score which on one hand should show his ideological rehabilitation in the eyes of party-approved ultranationalist style. On the other hand, he needed to satisfy his own artistic. Therefore, he opted for a Beethoven model for this symphony: Starting boldly as a sonata.

First movement: Moderato

The first movement starts with a sonata in the vein of Beethoven's tradition but this time in a hesitant and uncertain mood. By the third bar, the music undergoes a stylistically radical shift: an abrupt break-off and a downward wiggle toward a dead-end with a triple note repetition. This sequence of apprehensive start, retraction, and dead-end is repeated throughout the symphony.
The next theme is an E♭ minor folk-driven with a slight variation implemented. This simple change is the masterstroke of thematic change via slight subtle twists. This sort of subtle manipulation is characteristic of Shostakovoch's works. 
The middle section of the first movement shows a drastic change in instrumentation, with piano and bases lurching in with the dead-end theme then winds, brass, and percussion. This generates a militaristic vibe similar to parts of Overture 1812 by Tchaikovsky. Then you hear the pile-up of various tunes as they eventually fade into the strong dominant dead-end tune played by brass and percussion. Then hushly all the tunes return and the opening tune repeats with trumpet and tympani, as a premonition of what is to come in the next movements. 

Second movement: Allegretto

This epitomizes the composer's wry sense of humor pointing at his critics. It is a scherzo with a goofy vibe, a spoof on waltzes. The movement is also a hommage to Gustav Mahler (one of Shostakcich's favorites) with solos played by the first violin and flute or clarinet generating the dance imagery accompanying it.

Third movement: Largo

To the dislike of the purge-era Soviet regime, this melancholic movement struck a chord with a casual listener, conjuring the sensations of despair and longing. The third movement is a mourning for those who died, Stalin's victims. References to the Russian Orthodox liturgy are also noticeable. Here the strings are played in a way that resembles a choir. Shostakovich did this by dividing the strings into different sections. Then we have the oboe accompanied faintly by strings which is probably the saddest tune in the whole symphony. Then double basses lurch in, accompanied by strings leading to the dead-end notes again. The movement closes on a high note, with a ghostly vibe played by harp, piano, and strings. 

Fourth movement: Allegro non troppo

Starts with many march-like themes, slowly gaining pace as the movement progresses. This parade-like vibe broadly resembles Mahler's tradition (again!) in composing finales. As one expects, the symphony needed an upbeat and cheerful ending. At first glance, this seems to be a forced prosaic ending for an otherwise masterfully written symphony. But the master is at work again conjuring up layers of subtle textures. A slow march pays homage to the opera Boris Gudonov where masses praise the tsar. However, this one is bleak and a slow march. In the more upbeat part, Shostakovich deliberately altered a note again and completely changed the mood of the music. This time an alteration from B natural to B ♭ does the magic! It may look bizarre in the context of happy-ending tunes, but this is deliberately executed by the composer. The whole new minor tone foreshadows the preceding upbeat part of the movement. 

My take:

Shostakovich's Fifth Symphony is a prime example of artistic resilliance and defiance in the face of calamity and censorship. Where individuality had to be sacrificed in the name of patriotic nationalist aesthetic. Shostakovich to me epitomizes working under impossible conditions and having the cutting-edge prowess to please both sides: he includes the cosmetics to satisfy the harsh criteria of an oppressive regime, Meanwhile, he manages to insert the subtle elements to keep the music authentic. The fifth symphony fakes glory and buys him some time to breathe with standard glorious movements placed in it. But the music hints at a tragic underlying story with multiple tunes and tricks inserted masterfully in it.

Socially conscious artists reflect on society and its afflictions. They give tongue to those who were silent or were made silent. They picture an era for those who could not witness or closed their eyes on it. Similarly, Shostakovich's music mirrors his era; living under constant threats and brave masks that people were forced to wear. We are lucky that a genius lived and dared to work under immense pressure and duress. He worked and left a body of work which are quite diverse and influenced by various inspirations. From his chamber music, trios, and string quartets to symphonies to his experiments with jazz music following his trip to the US, this massive body of work shares one characteristic of social awareness. Symphony number five is an emotionally charged and complex masterpiece with hidden layers of meaning.

Ottone in Villa

 

Watched this opera on February 3rd at the CMU.

Alexi Kenney at CMU, 1/29/2024

Franz Schubert, Violin Sonata No 2 in A Minor, D. 385

Dmitri Shostakovich, Piano Trio No 2 in E minor, Op. 67 

Featured musicians:

Alexi Kenney, violin

Dimitri Papadimitriou,  piano

Anne Martindale Williams, cello

Flying Dutchman

The concept and splendor of this opera captivated me:

The main characters are as follows

1. The Dutchman: the protagonist, clad in darkness and under a burden of spell.
2. Norwegian sailor Daland
3. Daland's daughter Senta: obsessed with the myth of the Dutchman 
4. Erik: Senta's longtime suitor who is a hunter by profession

Inspired by the original myth, Wagner wrote Flying Dutchman as a wayward ghostly character doomed to futile travels in the hope of redemption.  

These seven-year cycles are the result of an act of defiance by the Dutchman before God. The spell will only be broken once the sailor can find faithful love. That is the hope of the captain "The Dutchman" every seven years when he guides the vessel ashore. The Daland's ship is swayed from their home harbor by an oversight of a young Steerman deceived by romantic fantasies. The deviation leads to a fateful encounter with the ghostly dark vessel with blood-red sails. 

Daland faces the Dutchman who lays out his ordeal and promises all his treasure and possessions in return for getting to know Senta.

The encounter takes place eventually once the ship lands and Senta recognizes the mystic ideal gentleman she had cherishfully envisioned all along, in the Dutchman. 

At the shore, there are scenes of Dalan's ship personnel rejoicing and celebrating with the port residents. However, their party met its end once the ghostly ship crew, reflecting the gloomy and dark status of their captain, infiltrated into the land. 

In a different scene the old desperate suitor, Erik, is reproving Senta and singing of good old times of romantic engagement with Senta. These scenes are secretly monitored by the Dutchman who feels the promise of love has turned to false hope. In a desperate act of hopelessness, the Dutchman leaves to the dark vacuum of his ship, leaving Senta distraught. She climbs to the top of a cliff and jumps to the water as she restates her eternal commitment to Dutchman. As a consequence, the dark vessel dismantles and eventually sinks.

Next, we see the Dutchman and Sneta together clad in white, ascending in joy. The protracted spell is broken and the Dutchman is liberated, finally.

Pittsburgh Symphony Orchestra: RAD Days

Program list: 

Nancy Galbraith: A Festive Violet Pulse

Antonín Dvořák: Symphony No. 7 (First Movement)

Mozart: Symphony No. 41 in C major, K. 551, "Jupiter"

Sarah Gibson: to Make this Mountain Taller

Sergei Prokofiev: Romeo and Juliet

George Gershwin: The Real McCoy "Walking the Dog"

Manuel de Falla: Three-cornered Hat

PSO

Conducted by Jacob Joyce

Tuesday, 10/10/23

Aleko: Opera by Rachmaninoff

Rachmaninoff's opera Aleko (1892) is based on Pushkin's poem The Gypsies. It tells a tragic love story between Aleko, a Russian, and a free-spirited gypsy girl Zemfira.

Longing for freedom, Aleko abandons the stifling life and rules of "civilized society" for what seems to him an unencumbered, carefree life of nomadic gypsies. Zemfira meets Aleko wandering the southern steppes, brings him into the gypsy camp, and introduces him to her father as her lover. After living together for two years, Zemfira, who now has a baby, lost interest in Aleko. As a warning, the old man tells Aleko his own story of how Zemfira’s mother Mariula abandoned them both, a fate he had to accept. Aleko admits that his views are different and he would seek revenge for betrayal.

Suspecting that Zemfira is now in love with a young gypsy, Aleko encounters them together, and kills them both. The old man casts out Aleko adding that his peaceful people do not want a murdered in their midst. Alone again, Aleko finds no escape from fate.

Source: https://www.russianoperaworkshop.com/

Three Rivers Art Festival

 Three rivers art festival. 

Attended on June 6th, and it was a special day with nice weather. I was slacking off after a nervy day. 

A cool breeze on my skin, with great tunes and a heavy heart.

Pedram, 6/7/22

 

Isle of The Dead

 A masterpiece by Sergei Rachmaninov inspired by the black and white version of the painting by the same name. 

The version I listened to, is conducted by Pavel Kogan for the Moscow State Symphony Orchestra.

Man, this strikes a chord with me. Partly reminds me of some of Mahler's works.
 

Sarasate Playing Partita No. 3

 

It took me a while but that is worthwhile to finally establish the facts. The piece Sarasate is playing on that powerful sequence of Granda's Sherlock Holmes is Preludio from Partita #3 by J.S. Bach. Bruce Dukov played the role of the violin virtuoso and Jeremy Brett...oh man...those moments of tranquil and meditative listening to the music with Dr. Watson's narrative over the scene, are incredibly strong. It seems he is reviewing the plans as he is getting ready to punch the crime syndicate kingpin.

One of the favorite parts of this whole series.

RIP Mr. Jeremy Brett.

The Magic Flute

 

What a fantastic performance! It was truly moving with layers and layers of symbolic personas and the philosophical undertow. Mozart died around 10 weeks after writing the Magic Flute. Maybe I attended this opera in the nick of time!

Tuesday, 11/9/2021

(With fever and chills)

Sunday October 10, 2021

Another outstanding evening with the Pittsburgh Symphonic orchestra. (PSO)

The program comprised Beethoven's Egmont,  the "Wings of the  Dream" or (Aile du Songe) by Kaija Saariaho, and Mendelssohn's Scottish symphony. The contemporary piece was composed by the Finnish musician, Kaija Saariaho, (born 1952), and is a concerto for flute and orchestra. It was superbly played by the principal flute of PSA, Lorna McGhee. Beautiful music resembling the flight of a bird.

Sunday, harbored a lot of emotions as I was constantly wrestling with recent developments in my life.

Pedram, 10/17/2021

Sunday in the Park

Sunday, March 23rd, 2021, Flagstaff Hill

 Last Sunday was a fascinating performance and more importantly a celebration of a new season in our social functions.

The playlist included the following:

• "Canzonetta sull'aria", The Marriage of Figaro (Mozart)
• "Madamina, il catalog e questo", Don Giovanni (Mozart)
• "Un di see ben rammentomi", Rigoletto (Verdi)
• "Par le rang...Salut a la France", The Daughter of the Regiment (Donzetti)
• "Tous less trois reunis", The Daughter of the Regiment (Donizetti)
• "Acerba volutta" Adirana Lecouvreur (Cilea)
• "Au fond du temple saint", The Pearl Fishers (Bizet)
• "Signore, ascolta", Turandot (Puccini)
• "Largo al factotum", The Barber of Seville (Rossini)
• "Habanera, Carmen (Bizet)
• "La donna e mobile", Rigoletto (Verdi)
• "Pa-pa-pa...", The Magic Flute (Mozart)
• "Ah! Quelle est cette voix...Chere infant que j'appelle". The Tales of Hoffman (Offenbach)

Sergei Rachmaninoff

 A pretty late discovery. The first time I listened to Rachmaninov with intent and engaged with his music was in April 2019 when Concerto no. 4 in G minor for piano and orchestra was performed by Garrick Ohlsson and Pittsburgh Symphony Orchestra.

I have bought Rachmaninoff's complete orchestral works conducted by
Pavel Kogan and Evgeny Svetlanov. Particularly, I have listened to Symphonies No. 1 and No. 2 and they are truly moving. I am listening to digital versions and I can just imagine how this pleasure would have been enhanced listening to these symphonies live or on vinyl. 

Maybe someday!