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Yearly Archives: 2015
Nashville Symphony Formalizes Partnership With NSA
from my Instagram feed: NSA dancers wait for their cue during a performance of Swan Lake with the Nashville Symphony at Schermerhorn, February 11, 2015
This week Nashville Symphony Education staff met with Oceana Sheehan, Assistant Principal of Nashville School of the Arts, and Bob Kucher, Director of Secondary Partnerships and Programs at the PENCIL Foundation, to formalize the partnership between the symphony and the school. It was a relatively simple process and in fact a pleasant one: we filled out some paperwork and discussed our plans for the ongoing collaboration between the two institutions next season.
Although not existing “on paper” until now, the symphony and NSA have in fact had a rich and dynamic partnership for several years now: both institutions collaborate on many events and projects throughout the year that occur both at Schermerhorn and at the school’s campus on Foster Road.
How Anna Joined The Symphony
This is the story of how Anna joined the Nashville Symphony.
Nashville Symphony Principal Keyboard Robert Marler takes Anna for a test drive on the stage of Laura Turner Hall
It’s a bit of a convoluted tale – like many stories, some unexpected things happened, one thing led to another, and once you start trying to find all the threads in the fabric you realize that the real beginnings probably go back a lot further than you originally thought.
Anna is a ten year old double-manual Franco-Flemish harpsichord.
Keith Jarrett Turns 70
Keith turns seventy today. For those reading this who are not familiar with him, Keith Jarrett is an American treasure, and one of the most important musicians alive today. He is among the most accomplished improvising musicians in history and we are fortunate that we live in the age of recording technology: we have a voluminous record of his career spanning nearly five decades that catalogs his development as an artist, as well as many of his experiments and side-projects. In addition to his stature now as senior jazz statesman, Keith is also an accomplished performer of classical music, with many recordings of Bach and Mozart, etc. as well as music of 20th century composers (including himself) to his credit.
I realize that beginning a post with superlatives is contentious, but considering Keith and his life as a musician, it seems fitting to me – he has been nothing if not controversial. Through his entire career Keith has very much followed his own path, refusing to compromise on his ideals even to his own detriment. Looking back on his career as he enters his eighth decade, I am not familiar with any other pianist who has accomplished such profound music-making as both jazz and classical artist. I am aware of no other musician of any genre or instrument who has filled concert halls consistently for decades with audiences who come to hear completely improvised solo concerts, led several acclaimed jazz ensembles including the longest lived (more than 30 years) and most respected piano trio still performing today, and devoted a substantial amount of time (more than a decade) and energy to recording and performing classical music, as a soloist and concerto performer, and as a composer. There is nobody else who has done this, nor done it so well, nor for so long.
One on a Part
Or, Making Lemonade at the Symphony
When the ice storm hit Nashville in February 2015, schools were closed for more than a week. Two weeks later – at the beginning of March – schools were closed again for a snow storm. As a result, the Nashville Symphony had to cancel three mornings of Young People’s Concerts at Schermerhorn and a run-out concert to a local high school: we missed 7 performances, which would have put the orchestra in front of around 10,000 students total.
When the weather had passed and all the staff were able to get back in the hall at the same time we held a meeting to comb the calendar for the possibility of making up these canceled events – our Young People’s Concerts (YPCs) are the symphony’s flagship education program, an important component in the execution of our education mission. Usually these concerts are scheduled more than a year in advance, due to the difficulty in finding times when the availability of the orchestra, the conductor, scheduled guest artists, the MNPS school calendar, and the hall all line up and allow time not only for performances but rehearsals also. Young People’s Concerts are written into the initial schedule for the orchestra each year for this reason – it’s nearly impossible to find adequate dates and times when all these elements align mid-season.
And so it proved.
Boy Wonder
The Nashville Symphony warms up in the pit at TPAC’s jackson Hall before a performance of Mendelssohn’s A Midsummer’s Night Dream with the Nashville Ballet, April 24, 2015
Nashville Symphony musicians are in the process of performing in three programs featuring the music of the German Romantic composer Felix Mendelssohn. Beginning last Friday through Sunday, the symphony accompanied the Nashville Ballet in Mendelssohn’s A Midsummer Night’s Dream at TPAC’s Jackson Hall.
Then (TONIGHT) Wednesday evening, April 29, symphony violinist Jessica Blackwell leads two string ensembles in performances of Mendelssohn’s famous Octet, as well as the Prelude and Scherzo, Op. 11 for string octet by Dmitri Shostakovich, as part of our ongoing Onstage series of free chamber music performances at Schermerhorn Symphony Center.
Finally, beginning (TOMORROW) Thursday, April 30 with performances following on Friday, May 1 and Saturday May 2, the symphony will perform Mendelssohn’s Piano Concerto No. 1 with guest soloist Benjamin Pasternack in a program that also includes music by contemporary composer Frank Tichelli and Tchaikovsky’s Symphony No. 6 “Pathetique”.
Brahms Requiem at West End UMC
Brahms Requiem at West End United Methodist Church, April 19, 2015
This weekend I was reminded of the embarrassment of riches we have in Music City. The symphony presented fabulous concerts on Friday and Saturday, featuring two works by American composer Michael Daugherty, both recent and one (Tales of Hemingway for Cello and Orchestra with the incomparable Zuill Bailey) a world premiere, alongside standard repertoire by Beethoven and Stravinsky. On Sunday, Music City Baroque presented their 10th Anniversary Season Finale with a performance of the Vivaldi Gloria at St. George’s Episcopal Church, and West End United Methodist Church presented a performance of A German Requiem by Johannes Brahms featuring their Chancel Choir under the direction of Matthew Phelps, with Margy Bredemann, soprano, and Jonathan Carle, baritone. Both of Sunday’s concerts were free.
Meet The Recorder
1996 (click images to enlarge)
This is the first in a series of occasional posts about the recorder, its historical and contemporary repertoire, its champions, and its place in music education.
Being a recorder player has been a humbling experience. The recorder is not highly regarded in American musical culture, and most people who know of the instrument only know it because they were given a cheap plastic recorder in elementary school and learned to play a few simple tunes on it in a classroom setting. Occasionally I meet someone who is familiar with it from its occasional use by folk music groups or recognizes the instrument from the opening of Led Zeppelin’s Stairway to Heaven (or perhaps I’ve Seen All Good People by Yes). Most people – including many classical musicians I have met, and many elementary school music teachers who actually teach recorder to their music classes – are unaware of or uninformed about the recorder’s long history, or of its beautiful if modest historical repertoire that includes works written specifically for recorder by masters including J.S. Bach, Händel, and Vivaldi, or of it’s employment in virtuosic avant-garde compositions since the 1960s.
SOUNDCHECK for all students
I just learned today that the Nashville Symphony has changed our program for student tickets to be inclusive of all students, from Kindergarten through university and graduate school. This program – called SOUNDCHECK – provides $10 tickets to Aegis Sciences Classical Series performances and has been in existence for years, but until this week the program has been limited to students enrolled in undergraduate or graduate programs.
Our Friend Sebastian
Anna Magdalena Bach’s autograph of Menuet in G, 1725
Today is the 330th birthday of Johann Sebastian Bach.
Like so many of us, I first encountered his music as a child. I don’t actually remember the first time I heard it – it might have been at church, it might have been in a piano lesson. I am pretty certain that the first piece that I became aware of and associated with his name was Menuet in G. It was only years later that I learned that scholars actually now believe this piece was written by Christian Petzold (1677-1733), but no matter. Sebastian is still credited as the composer in most piano books one will encounter, and if it was good enough for his children…
Something Old, Something New
The symphony is off for spring break, and there are two important musical events taking place in Nashville this week. Both of these concerts involve symphony musicians – as well as other outstanding artists both from our community and elsewhere – and considered together are a good example of the breadth of music-making happening in our city.
On Thursday evening, March 26 at 7:30 pm, intersection will present their debut performance at The Platform, a relatively new Nashville event venue. Led by Nashville Symphony Chorus Director and previous Associate Conductor Kelly Corcoran, intersection is a new Nashville ensemble dedicated to presenting 20th and 21st century music in innovative performances. For those who have been following this, it has been a long time coming, and it will be exciting to see what Kelly and the ensembles she has gathered share with us on Thursday night.
Thursday night’s performance is titled Transfiguration, and in addition to the music of five living composers – Arvo Pärt, Sean Shepherd, Jonathan Harvey, Sofia Gubaidulina, and Ned Rorem – also includes new choreography by Nashville dance collective New Dialect, and visual elements provided by Zeigeist Gallery. Nashville Scene’s more in-depth article on Transfiguration and intersection is here.
And then on Friday evening, March 27, Christ Church Cathedral presents the Ninth Annual BACHanalia, Nashville’s annual celebration of the music of Johann Sebastian Bach. Presented in the church’s sanctuary by local musicians, the music begins at 5 pm and continues without pause until 11. One of the musical highlights of the year, our annual Bach festival as usual features both traditional and unorthodox performances of Sebastian’s music. The full program may be viewed here.
The acoustics in the church’s beautiful sanctuary are particularly well-suited for this event, of which I have very fond memories (I participated in 2008 with a recorder quartet comprised of myself and three students – we played selections from The Art of Fugue – and again in 2014, when I led the Nashville School of the Arts Chamber Choir in a performance of Cantata 106, with soloists from Blair School of Music accompanied by musicians from the Nashville Symphony and Music City Baroque, with former NSA choir director Michael Graham at the harpsichord).
From 2009-2012 (at least), BACHanalia was presented on the same night as the Hume-Fogg Battle of the Bands, in which my son performed every year. Each of those years I would catch his band’s act, then run down to the cathedral for as much of Sebastian’s music as I could hear before running back to the school’s auditorium for the award presentation at the end of the night. Luckily they are only two blocks apart!
The church offers food and drink in their fellowship hall during the concert for those who need sustenance to last the night, the event is free, and listeners are encouraged to attend as much or as little as they wish.
Walter Bitner 
