The Sound Post » Features

Soprano Renée Fleming to Release Alt Rock Cover Album

Colin — Thu, 03 Jun 2010 02:32:58 +0000

Knock-out soprano Renée Fleming will release her new pop album, Dark Hope, on June 8 in the United States. Already out in Europe, the album represents the underside of Fleming’s newest leaf: popular music.

Her classical credits bud with acclaimed performances in the world’s best opera houses, multiple solo albums, and the moniker of “America’s Favorite Soprano.” None of this, however, receives a mention in the liner notes of her new release. Instead, Fleming wants to earn her alt-rock plaudits with a breathy, alto-range timbre that reflects little of her previous professional exploits. That tone, though antithetical to her pure, operatic upper register, is a tool she carefully crafted to convey an authentic pop feeling. Fleming and her producers have consistently asserted that the album is not a “crossover” but a purebred rock/pop release. The difference, they stress, is that a crossover album is classically styled performances of popular songs. Fleming’s recording is pop covers of pop songs.

The approach seems similar to the classical tradition in that Fleming plays the role of performing artist. She embraces the popular works of current artists and interprets them through her own musical lens, much like an artist performing a piece by a venerated composer. The single “Endlessly,” by Muse, is currently the only song on Dark Hope that has been released in the United States. It is available via iTunes.

The performance is reminiscent of the original in all the right ways: tempo, style, and yearning are all there. However Fleming’s own take on the song is evident in her phrasing. Through her choice of emphasis, she tells a different story than does Muse’s Matt Bellamy. Her female artistry contrasts with Bellamy’s and contributes to her reboot of “Endlessly.”

The only fault I found was with the instrumentation. Muse uses a delicate balance of drum set, piano, and synth to propel the otherwise andante threnody. But Fleming’s iteration, while not lethargic, is more subdued. The strings are effective but synthesized, and therefore cannot provide the same rich, varied sounds as a live instrument. Muse’s original does use heavy synth, but the sounds are overtly electronic as opposed to instrumental representations. Simply put, synth instruments cannot adequately complement a voice like Fleming’s. I do look forward to hearing the rest of the album, given the incredible talent and musicality that is evident on this single.

Related Articles:
New York Times review by Anthony Tommasini
New York Times review by Jon Pareles

Dudamel and LA Phil Come to East Coast

Colin — Mon, 24 May 2010 02:57:45 +0000

Last Thursday and Friday, Gustavo Dudamel gave tri-staters the opportunity to see him conduct for the first time since his inauguration as music director of the Los Angeles Philharmonic. At Avery Fisher Hall on Thursday, Dudamel and pianist Jean-Yves Thibaudet performed Leonard Bernstein’s Symphony No. 2 “The Age of Anxiety.” Times critic Anthony Tommasini called the performance “arresting” and said the work “if sometimes wild and brassy, was basically wonderful.” However, he was not as enamored with the LA rendition of Tchaikovsky’s Symphony No. 6 “Pathetique.”

Tommasini felt that technical faults in the performance hinted at under-preparation despite Dudamel’s emotive and carefully executed direction. While the lush, expressive lyricism lent itself to a poignant interpretation from the maestro, The NY Times thought the orchestra’s inability to deliver resulted in a performance that was “rough and unfocused.”

But on Friday, The Sound Post was able to see Dudamel continue his east coast performances with a similar program in Prudential Hall at the New Jersey Performing Arts Center. Dudamel and Thibaudet began the performance by repeating the same pristine execution of Bernstein’s 2nd Symphony “The Age of Anxiety” from the night before. Thibaudet’s sensitivity and thoughtfulness at the piano denied any personal anxieties and were matched by the orchestra’s care and attention throughout all six segments. After intermission, Dudamel returned with one of his specialties: Mahler’s Symphony No. 1 “Titan.”

Brimming with expressive and eloquent gesture, Dudamel stimulated the LA Phil into an energized performance of the Mahler after a brief warm up in the first movement. Perhaps an over-familiarity with the work made the opening seem too comfortable, but a playful emphasis of the dance-like elements in the second movement demanded the attention of both orchestra and audience and set the tone for rest of the piece.

As the orchestra drifted between the folk and klezmer duality of the third movement, Dudamel guided the music through each color of the opposing themes. Finally, the gloves came off, and the orchestra shined in the explosive fourth movement—its intimacy with Mahler was evident in the fiery, finger-and-embouchure-crushing passages that riddle the movement. Complete with a standing horn section in the finale, the performance exuded the majesty and prowess of the “Titan” and brought the crowd to its feet moments after Mahler’s powerful full-stop ending.

Rachmaninoff Plays Rachmaninoff

Colin — Tue, 02 Mar 2010 06:30:40 +0000

While Rachmaninoff’s legacy lives in the rich, dark melodies he inscribed into a lifetime of compositions, knowledge of his prowess as a performer still remains limited to historical accounts and crackly recordings. Recording technology was just beginning to bud during his career, so the sound quality of even remastered recordings is passable at best. But because there is an inexorable authenticity to his performances, and because these remaining vestiges of his pianism prove that Rachmaninoff’s big hands were contrarily delicate, these recordings remain among my favorites despite their dustiness.

Until recently, the closest modern listeners could come to hearing Rachmaninoff perform was by listening to a recording of a piano roll performance. While Rachmaninoff himself was impressed with the accuracy a piano roll contained in reproducing dynamics, rubato, and other musical elements, he only created 35 in his lifetime. It is reported that upon hearing one for the first time, he exclaimed “Gentlemen — I, Sergei Rachmaninoff, have just heard myself play!”

But with the advent of Zenph Studios’ “re-performance” technology, computer software can analyze old recordings and translate them into “high definition MIDI” data. A computer then interprets the data, and operates the hammers of a specially modified piano to deliver a performance identical to the source recording.

Using this technology, RCA Victor has created a re-recording of Rachmaninoff playing his own works. Selections from the recording are being featured on WQXR, and can be purchased at ArkivMusic.com. Check out the ArkivMusic site for samples, including Rachmaninoff’s transcription of the first movement of Bach’s Partita No. 3 for Solo Violin.

Exclusive Interview With Bridgid Bibbens

Ian — Sat, 28 Nov 2009 05:26:51 +0000

WOW! What a fun interview. I have got to say that it was truly a blast to shoot this one! As soon as I walked into the Wood Violin workshop and saw Bridgid sporting a Whitesnake t-shirt, and a spiked belt with a Viper axe under her arm, I knew this was going to be a trip.

In this Sound Post exclusive interview, “Go-To-Girl” of Wood Violins, Bridgid Bibbens, sits down with Ian to talk about how she transformed from being a school strings teacher to violin-rockstar and spokesperson for the Electrify Your Strings program. EYS is a string education initiative founded by Mark Wood, and it is quickly sweeping the nation.

Bridgid also details the process of making one of Mark Wood’s famous Viper instruments (and then proceeds to rock out with a familiar tune from Liverpool, England).

Be sure to check out the pictures and video below. Once the cameras stopped rolling we had a chance to play some of Wood’s instruments, and what a rush that was! It was undoubtedly some of the most fun I’ve had in a long… long time.

Exclusive Interview with Bridgid Bibbens from Ian Salmon on Vimeo.

For more information about Bridgid, check out her websites:

BridgidBibbens.com (MySpace redirect)
Facebook Fan Page
YouTube Channel

And be sure to visit the official pages for Wood Violins and the Electrify Your Strings program!

Official Website of Wood Violins
Electrify Your Strings!

4 Vipers ready to rock!

Joe, the man behind the construction of Wood Violins!

When the camera stopped rolling, I got a chance to rock on a Viper, I know what I'm asking Santa for Christmas

Ian, with members of the Wood Violin family, Bridgid and Joe

A great example of the custom artwork available with Vipers

Camera (wo)man Aimee, Ian, and Bridgid

Mark O’Connor Releases New String Method Books

Ian — Fri, 20 Nov 2009 16:31:25 +0000

Famed American fiddler Mark O’Connor has just released the first two installments of his new string method entitled The Mark O’Connor Violin Method. Savvy teachers will quickly find many similarities with the popular Suzuki Method.

Progressive repertoire, heavy emphasis on listening, and the sequential introduction of new techniques are all pedagogical practices which were first brought into mainstream string education by Dr. Shinichi Suzuki. His method’s followers will be happy to see that O’Connor’s system has been largely based upon these principles. During an interview with Laurie Niles, editor of Violinist.com, O’Connor acknowledges the similarities between Suzuki’s method and his own:

“I patterned my method after some of the great methods out there, especially Suzuki, because they introduced very young people to a sequence of tunes. That’s something that is also inherent in folk music learning, too.”

The method comes with a CD to aid the aural learning process (which O’Connor recorded himself). The fundamental difference in the O’Connor approach is the repertoire chosen for this process.

The method is already receiving critical acclaim. The New Yorker hails it as “An American grown rival to the Suzuki Method.” But don’t mount your horses yet, Suzuki teachers. O’Connor affirms that his intention was not to steal any thunder from the popular Japanese method. In fact, he sounds surprisingly like the late Shinichi in describing his aspiration: “Getting kids to fall in love with learning to play music is the great concern.”

Inside the first two volumes of the violin method books are much more than transcriptions of American folk tunes (some written by O’Connor). There is essentially a complete history of American folk music to accompany the physical learning process. Much of this history is neglected in public music education, something O’Connor hopes to change.

Imagine this: instead of variations on Twinkle, how about 11 variations on Boil ‘em Cabbage Down? Substitute Lightly Row with Amazing Grace, and Perpetual Motion with Hoedown. Have we really deviated so far as to feel like traitors of the Suzuki Method? I think not.

While some teachers have taken a quick (read: stubborn) defense to protect their beloved pedagogy from the competition of “another method,” I hope the majority of Suzuki educators can see the benefits of integrating the Mark O’Connor Violin Method into mainstream string education.

To say that it can be used as supplemental repertoire for Suzuki teachers would be putting it lightly. The two methods can be used in conjunction with each other. In test groups, Suzuki students have been very receptive to the repertoire and have embraced learning the American fiddle style. Is this style so different from the classical style taught through the Suzuki Method books? O’Connor does not think so.

“Ultimately, violin technique is the same, whether you are playing fiddle music, classical music, jazz or any style.”

So why not switch it up every once in awhile? If a student is noticeably bored with their current repertoire, or is in danger of losing interest altogether, why not give them something completely different? There is nothing wrong with a little more ammunition.

Follow the words of Laurie Niles, Editor of violinist.com:

“If you can’t go forward, go sideways for a while… Learn the same thing, a new way. Teach the same thing, a new way.”

Mark O’Connor talks about his new violin method in an interview with Violinist.com

Mark O’Connor discusses his technique with the New Yorker

Exclusive: Interview with Susan Waterbury

Ian — Thu, 29 Oct 2009 02:06:05 +0000

I had the pleasure of sitting down today with Susan Waterbury, Associate Professor of Violin at Ithaca College. In this Sound Post exclusive interview, Ms. Waterbury talks about the inspiration for her upcoming recital, the experience of collaborating with Jeffery Meyer, and the importance of musicians reaching out into their communities to spread their talent.

Susan Waterbury is Associate Professor of Violin at Ithaca College and a former member of the renowned Cavani Quartet. Waterbury has given masterclasses and recitals in major conservatories both in the US and abroad. She studied with Donald Weilerstein.

Check out her recital on Sunday November 1 at 4pm in Hockett Recital Hall at Ithaca College. Video after the link.

Exclusive Interview with Susan Waterbury from Ian Salmon on Vimeo.

Exclusive Interview: August Kleinzahler on Music I-LXXIV

Ian — Tue, 27 Oct 2009 01:14:44 +0000

Here it is! My exclusive interview with August Kleinzahler. If you aren’t familiar with this man, you soon will be.

Fighting jet lag from his recent trip to Birmingham, England, Augie sat down with The Sound Post for a midnight interview about his latest book, Music I-LXXIV. A collection of essays from his weekly column in the San Diego Reader and other publications, the New York Times praises the book, “The battered, roomy, intellectual charm of his poetry floods these music pieces; they’re offhanded and penetrating at the same time.”

In this Sound Post exclusive interview he discusses everything from the day he cut study hall and first tried his hand at poetry, to his hatred of iPods. This lighthearted interview really captures the man behind the words.

Augie won the 2008 National Book Critics Circle Award in Poetry. He has published ten poetry books, including “Sleeping It Off in Rapid City”, which the Times calls “one of the decades best collections.” Music I-LXXIV is his first venture outside of the genre. His essays range from 2-10 pages in length and are full of hilarity, history, and at times, downright absurdity. It represents the perfect bathroom or bedside read for musicians. And at the least, you will come out with a new list of recording to hear – and some to avoid (San Francisco Chronicle).

For more information about August Kleinzahler, explore the links below!

Poets.org profile, including extended professional biography

New York Times review of Music I-LXXIV

San Francisco Chronicle review

Purchase Music I-LXXIV

A Night At The Met: Verdict – They Still Got It

Ian — Mon, 19 Oct 2009 22:05:33 +0000

Most news coming from the Metropolitan Opera these days has not been uplifting. From the boos toward director Luc Bondy after Tosca, to the similar signs of vexation shown to maestro Daniele Gatti after Aida, this native New Yorker is a tad worried that we are developing a penchant for being ~~hard~~ impossible to please. Could this reputation possibly prevent performers from coming to New York? Probably not, since New York is “where dreams are made,” after all. However, I’m afraid we may yet become known as a city full of critics—not the art lovers and appreciators we are. Because I had not yet visited my favorite opera house this season, I splurged and purchased tickets for myself and a musician-colleague to Friday night’s performance of Der Rosenkavalier featuring Renée Fleming.

Perhaps it was the mediocre review given by the New York Times on Tuesday’s opening night, the flowing negativity for the other two productions currently at the venue, or the absence of James Levine, but let’s just say that I was hesitant to purchase last-minute-tickets for the sold out show (thanks to allshows.com for the tickets, but damn you for the 200% inflation without even delivering them to will-call). Upon arriving and immediately ordering champagne with the last of my cash, I took my seat.

The first thing I noticed was the number of empty seats. I won’t dwell on this for long, but seeing a sold-out theater with many vacant seats certainly makes me wonder. Although I was sitting in Family Circle—the highest seating section at the Met, where some seats were likely reserved for absent subscription holders—I would bet that many tickets were still sitting on unsuccessful scalpers’ desks. For those thinking, “at least the tickets were sold,” please read my article on the Pittsburgh Symphony Orchestra, which despite perennially outstanding ticket sales, is experiencing a half a million-dollar deficit. These companies survive on gifts and donations. Getting people in the seats is only the first part of that process.Ok I’m done with that topic, I promise.

The curtain opens, Renée Flemming and Susan Graham are truly a match made in heaven. They last paired in 2000 for a performance of the same opera, to rave reviews. I realize how fortunate I am to see them opposite each other. Baron Ochs is hilarious. Icelandic bass Kristinn Sigmundsson exemplified the perfect balance of power and “boring” I thought his role demanded. Newcomer Miah Persson, as Sophie, besides from being absolutely gorgeous, has not only the power so often lacking in her role, but also amazing acting skills. More on that soon though.

Act II, the scene I am most looking forward to is coming up, the Presentation of the Silver Rose. The set was the most breathtaking work I have ever seen. Image: Graham walks in from a sub-stage staircase dressed in all silver, servants line the extravagant spiral staircases, cue the horn fanfare, and a not so subtle gasp from everyone in the audience signals our profound appreciation. I forget all about the recent attack on my bank account. Thank you Maestro Edo de Waart for giving us a moment to appreciate this. The pause might have lasted mere seconds, but it seemed like an eternity, and I felt like I was in the scene for the rest of the act. I wanted to applaud, absolutely sensational… and on a similar idea, the Maestro knew exactly when to do this at other points in the opera (such as the renown Act III trio).

If you are familiar with the opera, you spend much of Act II waiting for the initial moment between Octavian and Sophie. You know what I’m talking about, the look that says more than words can. It can be the most subtle thing in the world, or grandiose and overdone. We know how everything ends, but the first glance of star-crossed lovers can burn an image in your brain forever. So how was it?

The tension was palpable, and even more important, the romance was believable.

I wouldn’t be doing my job if I just raved all day and night about how much I loved the trio in Act III, or the period costumes which made Flemming truly look like an Austrian princess. I want to address something else…

During one of the (lengthy) intermissions, I had the pleasure of speaking with several other members of the audience. My goal: to track down someone who attended the opening of Tosca. Mission accomplished, with a lovely couple from central Jersey who have had a subscription to the Met for 38 years. Got that? 38 years! I’m quite comfortable posting their comments online.

I asked them about Tosca, and they enthusiastically praised the production. I followed up with an inquiry into the audience’s reaction to director Luc Bondy. They were passionate in saying that the booing was not a universal reply, but centralized to specific clusters of the crowd (and not just the expensive orchestra seats). Details of the premiere performance emerge: on-stage nudity, sexual acts (we’re talking well beyond the under-the-covers stuff), things start to click into place in my mind.

What am I getting at? Nothing really, just that I’m happy I threw caution to the wind, went with my gut and respect for the Met which has been earned via decades of good performances, and spent my Friday night at the opera. It was one of the best productions I have seen in years. My colleague, for who this was the first time at the opera, is counting down the days until Madame Butterfly. If you take anything from this article, let it be that when it comes down to reviews, booing or applauding, only one opinion matters, your own.

Guest Article: Just Press “Enter”: Technology and the Percussionist

Colin — Thu, 15 Oct 2009 17:07:21 +0000

I walk into my office to a large stack of music on my desk, and my stomach turns over as I anticipate a collection of outlandish instrument requests by the composer. I can’t help but chuckle as I read down the list: propeller engine, guillotine sound, the bay of a Central American burro (alright, I made the last one up). Composers’ demands are getting stranger and stranger.

It comes with the job. Finding these instruments—or at the very least, a way to imitate the required sound—should be a challenge. These days, with all the wonderful technology available, it can be as simple as finding the correct sound effect or synthesized instrument on the Internet and playing it through a computer hooked up to an amp (this strategy proves useful when playing Harry Partch’s music). It’s a quick fix, but does it too often take some of the artistry out of what we do?

As percussionists, developing new sounds and techniques by experimenting with our instruments beyond the “norm” is an important part of our trade. Who came up with the idea to turn a suspended cymbal upside down, place it atop a timpani, and roll on it while manipulating the pedal? Genius! That was the product of experimentation. As technology continues to advance, we must fight the urge to succumb to the easy way out, and take the time to try out different ideas. Who knows? Through these valiant quests of trial and error may be an amazing discovery.

A good friend and colleague of mine named Andy was playing in the pit for Dialogues des Carmélites by Francis Poulenc. At the end of the opera there are multiple cues for the “fall and impact of a guillotine blade.” When I asked how he created the sound, he proudly replied, “All you need is an apple crate, a long piece of angle-iron, and a machete.” Brilliant! He claims the result was so jarring that the first oboe player was in tears. Indeed it could well have resulted from Poulenc’s dramatic writing, but when we tell the story, it’s because of Andy. Tip of the cap to you, sir! He never said where he got the idea. Regardless, someone took the time to experiment and make it happen. No computer-simulated sound could stack up to the sheer realism of the apple crate and machete.

At the same institution, our percussion ensemble performed Ballet Mécanique by George Antheil, whose score calls for a propeller airplane engine. Luckily, my professor was very close with some of the “higher-ups” in the aircraft industry around town. I’d be lying if I said he didn’t do everything in his power to obtain them. Quite a bold move, I must say. To my dismay, questions about the safety of the players and audience arose, and the idea was quickly dismissed. Yet another idea we entertained was to push leather straps into the blades of large fans. Unfortunately, no fans with enough torque to meet our needs were available. After many possible alternatives were discussed, we made the decision to use computers to generate the desired effect.

It is this type of innovation and imagination that makes our jobs entertaining and interesting. Granted, in some cases there may be no other choice than to go the technology route, but where do we draw the line? I encourage all percussionists to further explore the sounds of the instruments we use everyday. There are so many sounds yet to discover.

Daniel Cathey is a D.M.A. Candidate in Percussion Performance at the
University of Georgia

Exclusive: Interview With Conductor Jeffery Meyer

Colin — Fri, 02 Oct 2009 15:57:13 +0000

Today’s interview is with Dr. Jeffery Meyer. He is the Director of Orchestras at Ithaca College, Artistic Director of the St. Petersburg Chamber Philharmonic, and Artistic Director of the Water City Chamber Orchestra. Meyer will lead the opening performance of Ithaca College’s 09-10 season tomorrow night, Saturday October 3rd. One of the works on the program is Jeu de Timbres by Steven Stucky, who we interviewed yesterday (see his interview here).

Also scheduled is Ravel’s Ma Mère l’Oye (Mother Goose Suite), and Berlioz’s Symphony Fantastique, op. 14. The concert takes place tomorrow night, Saturday October 3rd, at 8:15pm in Ford Hall, Ithaca College.

Please click on through for the video interview and full written transcript.

Sound Post News: Hi everyone this is Ian with another Sound Post News Video Blog.

Here with me today is Dr. Jeffery Meyer, Director of Orchestras at Ithaca College, also the Artistic Director of the St. Petersburg Chamber Philharmonic. Thank you Dr. Meyer for being with us today.

We’re here to talk about the Ithaca College Symphony Orchestra. Tomorrow night, Saturday October 3rd, opens the 2009-2010 season. On the program is Stucky, Ravel, and Berlioz. Could you tell us a little bit about this program and what inspired you to choose this repertoire?

Jeffery Meyer: Well, the Berlioz is the centerpiece of the program. It’s interesting—I don’t know if you were paying attention—both one of the early concerts with Dudamel and LA Phil was Berlioz’s Symphony Fantastique. There’s an incredible recording available on iTunes with that performance. And also the debut of Alan Gilbert with New York Phil was also Berlioz. It’s interesting—I didn’t know these things were going on, but I don’t think it’s just in the air. I think this piece is a showcase for both orchestras and conductors. So it’s been on my list to do with this orchestra for some time. It is such a virtuosic showpiece for everyone involved. So the program started with that germ. And then I spoke to Steve Stucky earlier in the spring I think, about a piece that would be appropriate to do here. I’m not sure if you know, but Steve is turning 60 this year—so it’s a big anniversary—and I thought it would be the right time to do something of Steve’s. So he suggested this as a possibility. And the program then is filled out with Ravel. And the whole program then falls within this kind of French orchestral idea, so there’s a real unity to the program which I like a lot.

SPN: If you haven’t caught it yet, Steven Stucky did a great interview with us yesterday (link). He talked about his piece Jeu de Timbres—as he said yesterday, lots of French moments and we’ll see it tying together. So tomorrow night, first concert of the season, what do you look forward to most in working with the Ithaca College Symphony Orchestra as compared to your experiences with the St. Petersburg Chamber Philharmonic?

JM: Well there’s a few things. The exciting part about working with younger musicians: the growth rate is fast but of course the rehearsal cycle is over a longer period of time. With a professional orchestra you come in, you conduct 3-4 rehearsals, have a concert, and it’s done. But there’s a development process that happens over 5 or 6 weeks of rehearsal which is very exciting to partake in. And as a conductor I get to dig into these works in a deeper way than I do in some ways working with professionals, because I have to take apart everything. Nothing happens by itself really. So I get to know the work in a really intimate way. And then to watch the students grow is pretty fascinating and exciting. This is a very large undertaking for a first concert, and there’s a lot of younger players in this orchestra because there was a big incoming class this year. I sort of feel like I took most of the players, especially the first year players, and threw them into the deep end of the orchestral waters to see if they would swim, and they are.

SPN: As Mr. Stucky said yesterday, his piece Jeu de Timbres is a showpiece designed for a professional caliber orchestra, and he seemed pleased with how the orchestra is doing—and we all know Berlioz is not a walk n the park either.

JM: No, it’s virtuosic for everybody. Everybody has something to do. I don’t think there’s an instrument that’s not called upon to do something difficult and extraordinary. It’s a great piece. And Steve’s piece, it quotes Ravel as you know—I watched the interview this morning—and then we play Ravel right after that, so the program has a really nice flow to it.

SPN: So for the most part it’s very high energy, very French.

JM: Yeah, although the Ravel is certainly the most calm of all the pieces. Steve’s piece is brilliant—it was written as an encore so we’re using it as an opener. It sort of fills the same function to either start or end something with great energy. And then the Ravel is mostly calm, beautiful wind solos. It calls on every instrument in the wind section, including a very difficult contrabassoon solo, which Noah is doing a very good job on. And that’s a little bit more calm. The whole Ravel piece inhabits a more quiet, fairy like role. And of course Berlioz is off the deep end.

SPN: Certainly a concert to catch. Again the concert is at 8:15pm tomorrow night, October 3rd in Ford Hall at Ithaca College.