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Off The Podium Reflections, Statistics, and Top Ten Posts
As I did last year at this time, here I review my experience writing Off The Podium this year and share some statistics, what I have learned, and come clean on what exactly this blog is about.
The year has been a wild ride. Off The Podium has provided a great means to share the activities of the department of Education & Community Engagement at the Nashville Symphony and the launch of our Accelerando program with the Nashville community and the world. It has also continued to provide me with a format and incentive to develop my writing on the topics of Music and Education – regular features of Off The Podium that now reach thousands of readers all over the world.
The most remarkable pianist of her generation – Russian-born Olga Scheps, who was raised and resides in Germany – has continued this year to develop her repertoire and career in surprising directions. I first wrote about Olga nearly a year ago, upon the release of Vocalise, her fifth CD for Sony. That article – Meet Olga Scheps – includes biographical notes, links to some videos of her performances, and an overview of her discography.
The last year has been busy for Olga – in addition to her concertizing, she has just released another disc – so I decided to write a review of some of her recent activities, and about her new recording, Satie.
This month Roger Wiesmeyer and an ensemble of local musicians – many of them members of the Nashville Symphony – will perform two benefit concerts for a local charity featuring music by Wolfgang Amadeus Mozart, as Roger has done every year at this time since 2003.
This year’s concerts will take place:
Friday, January 15, noon, at St. George’s Episcopal Church, 4715 Harding Road, Nashville.
Sunday, January 31, 6 pm, at Edgehill United Methodist Church, 1502 Edgehill Avenue, Nashville.
This year’s concert features the C minor piano concerto, K. 491 conducted by Vinay Parameswaran with Roger as piano soloist. Admission is $10, and all proceeds benefit The Contributor.
2015 Off the Podium Reflections, Statistics, and Top Ten Posts
Disclosure: self-indulgent meta-post follows
It’s the last week of 2015, and looking back I decided to review my experience writing Off the Podium this year and share some statistics, what I have learned, and in a way give an overview of what exactly this blog is about.
Writing has been something I have wanted to do for years now, and I began to write in secret some time ago, but it was last year’s career transition that found me leaving the classroom to work at the symphony that finally enabled me to begin writing in earnest. I just couldn’t put it off any more!
One night when I was a child – this would have been sometime in the 1970s – I was in bed but had not yet fallen asleep when my mother came to my room and got me to come see something important that was about to be shown on television.
This was back when all television was broadcast: before streaming, before cable, before Blu-Ray, DVD, VHS, or Beta. There were 3 commercial networks and PBS had only been broadcasting for a few years – so if something came on TV and it was important or interesting, you had to set aside time to watch it then or you would miss it, with no chance to see it again. In those days, many people organized their lives and made plans around the scheduled broadcasts of programs or events they wanted to see.
So I shuffled down the hall to my parents’ bedroom and sat on the edge of the bed in my pajamas, peering up at the small black-and white TV set that sat on a shelf high on the wall. (What seemed to my young eyes and ears like) a dowdily dressed old black woman in coke-bottle glasses stood in front of a piano trio and proceeded to astound me with the most outlandish and virtuosic singing I had ever heard. At first she sang what seemed to my limited experience to be a pretty conventional rendition (of a song I did not know – in my memory she sang How High the Moon and A-Tisket, A-Tasket in this broadcast but I don’t know if that’s accurate as I’ve been unable to locate a video on the internet that syncs with my memory of this moment) but then she closed her eyes and started to make strange movements with the hand not holding the microphone as she sang what become obvious to me was not the song but just something wild she was making up, singing nonsense. My mother told me this was called scat singing. I thought that scat was another word for poop but I didn’t say anything, I just sat there mesmerized, listening intently until it was over. I’d never heard anything like it.
It was Ella Fitzgerald of course. My father said something about Ella being the greatest jazz singer in the world, and it was clear to me (they got me out of bed to see this, after all) that to my parents – who seemed to regard this television event with the same weighty regard they had given to astronauts landing on the moon or President Nixon resigning from office – this crazy old lady was something special – anyway, she was on TV, and that was important in it’s own right. I went to bed when it was over, but sitting in my parents room that night watching Ella sing on TV made a strong impression on me, and I never forgot it.
It is my first “jazz” memory.
“I just adore it.” says Roger Wiesmeyer, speaking of Mozart’s Piano Concerto No. 24 in C minor, K. 491. “I’ve never played it on piano before. I’ve sat in the orchestra for performances of this concerto three or four times and every time it just completely captures my imagination, for at least the week after – I’ll have at least two weeks of living with it and thinking about it all the time. There is this incredible mood that Mozart casts with this piece.”
A few days ago Roger and I sat down after a rehearsal to talk about this piece, which we will be collaborating together to perform this week. Roger will be performing the solo piano part – the part originally played by Amadeus himself – and I am playing a reduction of the orchestra’s part on second piano for the first and third movements. The second movement – a slow Larghetto – will be performed by Roger joined by Nashville Symphony musicians Kate Ladner, flute; Jeremy Williams, violin; and Keith Nicholas, cello in a quartet arrangement by Johann Nepomunk Hummel, an Austrian composer and pianist who was a contemporary of Beethoven.
Olga Scheps seems poised to take on the world. A young pianist with extraordinary powers of expression, Olga has been enchanting audiences throughout Europe for several years but seems to be little known in the United States, or in the general English-speaking world. From what I have been able to learn, she has only appeared once in the U.S. – two performances of Liszt’s Concerto No. 2 with the San Antonio Symphony in 2012 – but from the pace of her concertizing and recording for the last few years, it seems like it will just be a matter of time before she begins to make similar strong impressions on music lovers on this side of the Atlantic. In 2015 alone so far Olga has performed either solo recitals or as concerto soloist with orchestras throughout Germany where she lives, in Spain, Wales, and Japan, and made debuts in Israel and Sweden. She records exclusively for Sony and has produced five CDs in the last six years – four solo recital discs and a luminous, touching recording of both Chopin concerti with Matthias Foremny and the Stuttgart Kammerorchester released in 2014. Her latest recording – Vocalise – was released in Germany on July 17.
Olga’s repertoire is a balanced combination of the very familiar (read: warhorses) and the seldom performed, and she brings to everything she plays a deeply considered emotional sensitivity to the impulses that drive the music. Although it is clear that she has the technical prowess and sheer muscle to pull off the grandest effects called for in the many masterpieces in her repertoire, it is the beautiful clarity of her approach to playing the piano and her attention to subtle details of expression which I find most remarkable.
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.