Sam Dixon's Spivey Hall Blog

Violinist Cecylia Arzewski and Bach this Saturday

2011-05-18T13:41:00.000-07:00

This Saturday, May 21st at 8:15 PM, the 20th Anniversary Season of Clayton State University's Spivey Hall concludes with violinist Cecylia Arzewski playing her second and final recital of the complete works for violin solo by Johann Sebastian Bach.

For Bach-lovers, this is a feast consisting of the A-minor Sonata (No. 2), and the D-minor and E-major Partitas (Nos. 2 and 3). The program rightly concludes with the famous Chaconne from the D-minor Partita -- a piece whose inspiration power remains undiminished over the centuries, as one of Bach's supreme creations.

I first heard Cecylia in recital at Oglethorpe University, early in her tenure as concertmaster of the Atlanta Symphony, shortly after I had joined the staff as artistic administrator in the 1990-91 season. This performance included the towering Bach Chaconne in D minor. It impressed me mightily. The intensity, laser-like focus, precision, discipline, passion and imagination of her playing was undeniable. This was a woman driven by a higher calling.

A few seasons ago, I had the pleasure of hearing one of Cecylia's all-Bach recitals at Emory University's Carlos Museum. The room was full of admiring listeners, many of whom stood to hear her play. This is where the idea of inviting her to perform the complete Sonatas and Partitas as part of Spviey Hall's 2011 Spring Bach Festival took shape -- a suggestion she responded to warmly, because, as I learned, she was preparing to record them all, and they needed to be "played in."

Very soon, once her final recording sessions in New York are completed later this spring, that dream will be much closer to becoming reality -- an immense personal and artistic achievement.

I was intrigued to read Cecylia's comments about the artists whose performances of Bach had inspired her during her life-long study of these pieces -- and happily surprised, because a good number of them are not violinists, but pianists..! Her interview with Pierre Ruhe of ArtsCriticATL.com is posted here:

http://www.artscriticatl.com/2011/05/cecylia-arzewski-former-aso-violinist-brings-a-lifetime-of-bach-to-spivey-hall/

(I share her regard for Pablo Casals as a Bach interpreter, though I only know the recordings, never having heard him live. A recording featuring Casals playing the Schubert C-major String Quintet ignited my love of chamber music when I was high school; I have the recording still, and its emotional effect on me is undiminished.)

Cecylia has devoted countless hours, over decades of her life, to cultivating, honing and refining her performances of these works. As you can imagine, her recital Saturday promises to be an amazing experience on many levels.

Thus I warmly encourage anyone who cares about Bach to come and be regaled by magnifcent music, performed by one of Atlanta's foremost musicians in the acoustical splendor of Spivey Hall. Tickets for the 8:15 PM recital are just $25 at www.spiveyhall.org or at the Box Office, (678) 466-4200; a 50% discount for students with ID is available when ordering by phone or at the Box Office.

Hahn plays solo Bach, Lisitsa plays Beethoven's "Moonlight" Sonata for this Sunday's Japan Relief and Recovery benefit concert

2011-03-24T13:29:00.000-07:00

Word reached us today (Thursday) that for Sunday's special benefit concert to aid victims of the Japanese earthquake and tsunami, Hilary Hahn's work for unaccompanied violin will be J.S. Bach's Partita No. 1 in B minor, BWV 1002, a beautiful showcase for her artistry and virtuosity -- music that has earned her many fans and followers from her all-Bach debut CD recording. Pianist Valentina Lisitsa has chosen one of Beethoven's most popular sonatas, the "Moonlight" Sonata. Most of the world recognizes the famously dreamy, nocturnal first movement. It shifts effortlessly to the second movement, less sombre, more playful in character; but it's the third movement that always gets my heart going, because of the dramatic, visceral excitement it can create. And in Ms. Lisitsa's hands, I'm confident it will.

These two extraordinary musicians will together perform Beethoven's glorious "Spring" Sonata in F major, and there's more great music in store for us, too. The artists have been busy traveling and concertizing this week, and they will announce program details from the stage on Sunday afternoon.

We are honored that the Japanese Consul and Director of the Japan Information Center in Atlanta, Ms. Yukimi Kurata, will attend the concert and will offer a message of welcome and appreciation to the artists and the audience. I'm also delighted and deeply grateful that Georgia Public Broadcasting, Public Broadcastling Atlanta/WABE 90.1, FM, and 11Alive WXIA-TV have been so supportive of this benefit concert, helping us get word far and wide to attract audience members, as have more than dozen other media organizations and websites.

As I write, we have more than half of the house sold for Sunday, and I offer my heartfelt thanks to everyone who has responded! HOWEVER: There are excellent seats still available -- Spivey Hall's superb acoustics ensure that you NEVER have a problem hearing, regardless of where you sit -- and to provide the most help to Japan's relief efforts, we really would love to sell the place out! So please, continue to tell your friends, tell your neighbors, email folks, encourage them to come and enjoy what will be a fantastic and memorable concert for a very, very worthy cause.

Hearing great music is always its own reward, but we can do some very important good here for people tremendously in need, too -- which makes the experience even more meaningful.

NEWS FLASH IMPORTANT CONCERT JUST ADDED: Hilary Hahn and Valentina Lisitsa to give special violin/piano recital Sunday, March 27 to support Japanese disaster relief

2011-03-18T11:37:00.000-07:00

To purchase tickets to the Hilary Hahn/Valentina Lisitsa Japanese disaster relief concert Sunday, March 27 at 3PM, click the orange "Buy Tickets" tab on the homepage of Spivey Hall's website, http://www.spiveyhall.org/ (a per-ticket service charge applies), or call the Box Office at (678) 466-4200 for personal assistsance (no service charge).

Superstar violinist HILARY HAHN and brilliant pianist VALENTINA LISITSA to perform special concert for Japanese disaster relief at Clayton State University’s SPIVEY HALL – Sunday, March 27, 2011 at 3 PM

Ticket sales to benefit Direct Relief International’s Japan Relief and Recovery Fund

Morrow, Ga. (March 18, 2011): Grammy Award-winning American violinist Hilary Hahn and acclaimed Ukrainian-born pianist Valentina Lisitsa will perform a special benefit concert at Spivey Hall to raise funds for humanitarian aid to victims of the recent Japanese earthquake and tsunami.

Forced to cancel a recital tour of Japan made impossible by the recent natural disasters, the artists have volunteered their time and talents to give a benefit concert, raising funds to meet the increasingly urgent needs of the Japanese people, who continue to endure extreme hardships.

The musicians’ Spivey Hall concert will take place on Sunday, March 27, 2011 at 3:00 PM, on the campus of Clayton State University in Morrow, Georgia. Tickets for reserved seats are $75, available from the Spivey Hall Box Office, by telephone at (678) 466-4200, and online at www.spiveyhall.org (a service charge applies for online sales only). Proceeds will benefit the Japanese earthquake and tsunami relief efforts of Direct Relief International, which provides medical assistance to improve the quality of life for people victimized by disaster.

Hilary Hahn and Valentina Lisitsa, compelling musicians who played to a sold-out house for their most recent Spivey Hall appearance in February 2009, will perform Ludwig van Beethoven’s “Spring” Sonata in F major, plus additional works for violin and piano by Fritz Kreisler, Sergei Prokofiev, and other composers. The program also features Hahn performing music by Johann Sebastian Bach for unaccompanied violin, and Lisitsa performing a solo piano work.

31-year-old violinist Hilary Hahn is a two-time Grammy Award winner celebrated for her probing interpretations, technical brilliance, and spellbinding stage presence. Extensive touring and acclaimed recordings over the past decade and a half have made Hahn (familiar to fame at a very young age) one of the most sought-after artists on the international concert circuit. She appears regularly with the world’s elite orchestras and on the most prestigious recital series in Europe, Asia, Australasia, and North and South America.

Described by critics as an "electrifying pianist", Ukrainian-born Valentina Lisitsa has been receiving rave reviews ever since her debut at New York City’s Avery Fisher Hall. With her multi-faceted playing described as "dazzling", Lisitsa is at ease in a vast repertoire. Taking a highly individual and fearless approach to every work she performs, she has been greeted by enthusiastic audiences throughout the world.

Both artists are well-known to Spivey Hall. Hilary Hahn is a frequent and welcome guest with Atlanta's major music-presenting organizations, and Valentina Lisitsa has earned many fans from her regular appearances at Spivey Hall and elsewhere as a member of the Georgian Chamber Players.

More news about this concert soon!

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The Jupiters are back in town - and there are free tickets for educators on Saturday night

2011-03-11T12:46:00.000-08:00

Capping off their second week-long residency at Spivey Hall, the excellent JUPITER STRING QUARTET gives its second Spivey Series concert Saturday, March 12, at 8:15 PM, with a free 7:15 PM pre-concert talk featuring cellist Daniel McDonough and Clayton State music faculty member Dr. Kurt-Alexander Zeller.

It's been a busy week for the Jupiters. After arriving Monday, they delved right back into their work with PROJECT JUPITER's southside high-school chamber-orchestra partners, which have also formed their own student string quartets. The Jupiters returned to Union Grove High School and Lovejoy High School on Tuesday, and then Whitewater High School on Wednesday afternoon, working with the schools' large string ensembles as well as coaching the student string quartets.

Wednesday morning, the Jupiters made their first visit to perform and talk with students at Kennedy Middle School in Atlanta, which is a partner school of PROJECT JUPITER's corporate sponsor, The Coca-Cola Company. This encounter was a great success, something that the students and musicians all enjoyed very much, thanks to Coca-Cola's kind cooperation in fostering this connection, and extending the artistic and communty outreach power of PROJECT JUPITER to even more young people.

Thursday the Jupiters had some time to rest (!), rehearse, and see a bit of Atlanta before leading the four student quartets in a master class onstage at Spivey Hall: two from Whitewater High School in Fayetteville, where Darilyn Esterline is orchestra director; one from Lovejoy High School in Hampton, where Stephen Lawrence is orchestra director; and one from Union Grove High School in McDonough, where Kathy Saucer is orchestra director. The students did a super job, playing well and responding to the remarks made by the Jupiter Quartet to enhance their musical understanding, refine their teamwork as quartets, and bring out the most expressive qualities of the quartets movements by Beethoven and Haydn they performed. Other students, parents, teachers and music-lovers listened in, to learn more about what it takes for four musicians to come together as one as bring the music to life in performance. The students thus got a chance to play on stage at Spivey Hall -- which I think many of them will remember for quite some time.

Today (Friday as I write), the Jupiters gave a pair of warmly-received Young People's Concerts. I heard the second one, which featured music by the Quartet's favorite composer, Ludwig van Beethoven. The Jupiters played movements of early, middle and late Beethoven quartets, all of which had different characters, representing an interesting musical portrait of the various aspects of Beethoven's artistic personality throughout his life. Even in the depths of despair (going deaf, feeling terribly isolated, suffering illnesses, lacking the love he sought), Beethoven channeled his emotions and creative genius into composing music of incredible inventiveness and lasting beauty. Three of the musicians -- cellist Daniel McDonough, second violinist Meg Freivogel, violist Liz Freivogel -- gave introductions to the pieces, planting clear ideas in the audiences of ways to listening and understanding what Beethoven wrote. The students were EXCELLENT listeners and seemed to enjoy what they heard very much. Towards the end of the concert, first violinist Nelson Lee fielded a wide range of questions from the audience and gave answers as best he could. One student asked about why the musicians move and nod and twitch as they do when playing...! Nelson responded that there is no conductor on stage to guide them, so they all use movement in their own ways to give signals to each other, especially in moments that require coordination among them, and also just to express what they're feeling about the music, which also contributes to the shared experience the quartet creates when performing.

Later today, the Jupiters are to be found in Atlanta's Piedmont Park Community Center, where they'll play two 40-minute sets starting at 5:00 PM as "RANDOM ACTS OF CULTURE"! So if you're out jogging or walking your dog, taking advantage of our bright but still quite brisk early-spring weather, you might hear some outstanding music wafting over the air. If so, stop in and check out the Jupiters...they're really likeable people and you'll get a true sense of what they're about.

And that means -- in additional to being fantastic educators and advocates for the music they love -- they're about giving GREAT concerts. Thus comes the grand finale Saturday night, with a lively, engaging early Beethoven Quartet in C minor (Op. 18 No. 4), followed by two pieces by Anton von Webern, one of which is in the language of late, rich, German Romanticism (his "Lamgamersatz" or "Slow Movement'" -- an early student piece), followed by his Five Pieces for String Quartet, which while in an entirely different style of writing called the Second Viennese School (which basically up-ended the rules on how classical music is conceived and organized) -- at times very condensed and pithy, and other times given to incredible, quicksilver changes of mood -- is still very much in Webern's own personal musical language. This is another illustration of the Jupiters programmingi them of "the evolution of compositional voice" which they're tracing in their concerts this season.

After intermission, the Jupiters dig into the "red meat" of late Beethoven with the String Quartet in A minor, Op. 132, which includes a gorgeous, gorgeous slow section (the third of a total of five movements) which the Jupiters played at the Young People's Concert this morning -- a hymn of thanks from Beethoven who had regained strength and hope and energy after a long illness. This is remarkably beautiful music, the stuff that keeps fans of string quartets coming back for more. This and everything the Jupiters plays will sound magnfiicent in Spivey Hall's superb acoustics, a space ideally designed for chamber music such as this.

Each spring, Spivey Hall gratefully acknowledges the tremendous contributions that educators (teachers, principals, administrators, and others) make in the lives of young people with a concert -- and educators can attend for FREE, which is Spivey Hall's way of saying thanks. Educators can claim their free ticket at the box office from 7:15 PM on Saturday; additional tickets are just $10 each. And immediately following the concert, with the compliments of the Friends of Spivey Hall, there's a punch and cake reception honoring educators and the Jupiter String Quartet in the Spivey Hall lobby.

So come and hear some extraordinary music that the Jupiter String Quartet will bring vividly into our ears and hearts and souls...and enjoy a sugar rush with them afterwards! MUCH more interesting than preparing your taxes, channel surfing, or sorting laundry. This is a concert that the Atlanta Journal-Constitution named as one of 11 events not to miss in 2011, and experencing great live music is, of course, one of life's better pleasures.

Thus as always, I join the musicians in hopes of welcoming you to Spivey Hall. All this activity is made possible with special grants from the National Endowment for the Arts, South Arts, and the sponsorship of The Coca-Cola Company (PROJECT JUPITER's exclusive beverage sponsor) and Country Inn & Suites Atlanta I-75 South -- plus ongoing funding assistance from The Walter & Emilie Spivey Foundation, the Georgia Council for the Arts, and the wonderful Friends of Spivey Hall, who generously sustain the artistic excellence of Spivey Hall's concert and educational programming. To one and all, and especially to our PROJECT JUPITER high school partners, many, many thanks.

The Jupiters will be back for their second PROJECT JUPITER season in 2011/2012, details of which will be announced to the Friends of Spivey Hall on March 29, and then posted on Spivey Hall's new website (to be launched at the end of the month), www.spiveyhall.org, very shortly thereafter. Our 2011/2012 season book is currently in production (with a very different look than in years past, something I really like). In it you'll see there are many outstanding artists and programs in store for us. If you're not already on our mailing list, call the Spivey Hall Box Office at (678) 466-4200 or send a message from our website (via "contact us") and we'll get one sent out to you.

Beautiful Haydn, Beethoven, Brahms and Schumann from pianist Imogen Cooper

2011-02-25T14:59:00.000-08:00

Renowned British pianist Imogen Cooper won many fans in Atlanta when she gave her Spivey Hall debut in March 2008 with a program focusing principally on Schubert, a composer with whom she is closely associated. And now we're delighted she's back, having arrived in time to spend several days preparing her program for her recital at Spivey Hall Saturday, February 26 at 8:15 PM. We who work at Spivey Hall have already been regaled by the gorgeous music emanating from the stage as she practices.

Her program opens with Haydn's E-flat major Sonata, Hob.XVI.:52. Haydn is a popular spring-time opener here of late -- the St. Lawrence String Quartet and mezzo-soprano Joyce DiDonato both opened their programs with high-spirited works by Haydn. Music-lovers may sometimes be lulled into the idea that we think "we know" Haydn -- but with such an enormous output over his long life and such tremendous inventivness, Haydn is always a joy to discover OR rediscover. (Spivey Hall pianophiles who attended Richard Goode's most recent pre-concert lecture/demonstration and recital will have learned this lesson well!)

Imogen Cooper's program then turns to the German Romantics, with Beethoven's "Tempest" Sonata; the 2nd (theme and variations) movement of Brahms' String Sextet No. 1 which he arranged for piano for Clara Schumann, someone very important in his life; and, to close, Schumann's Fantasiestuecke (Fantasy Pieces), in eight extraordinary movements that capture a wide range of emotions, from the lyrical and intimate to the big and (as Imogen has been calling it) "wild." And if we as an audience are very, very enthusiastic, who knows -- we might even get an encore -- and more than one Spivey Hall patron has asked me to ask her for Schubert!

I also have some very good news to announce Saturday night before the recital regarding a certain acquisition we have been seeking to make...but I'm saving that to the event itself. Suffice it to say that I'm immensely proud and grateful that the Friends of Spivey Hall have outdone themselves in demonstrating their dedication to sustaining great music at the Southeast's most celebrated recital hall. Having proved it this once again most generously, we will (in this particullar instance) be enjoying the results for many years to come.

Spivey Hall is also looking forward to welcoming members of Public Broadcasting Atlanta's Cornerstone Society to Imogen Cooper's recital. If you're a Cornerstone Society member and missed out on the Cornerstone Society's initial offer of tickets, fear not -- there are more tickets to be had, at a special discount the Box Office (just show your membership card).

I'm truly honored that Imogen Cooper has traveled all the way from her home in London uniquely for this single recital in Atlanta. She is a marvelous pianist, a highly imaginative artist and a passionate interpreter. Another not-to-be-missed concert for anyone who loves piano classics.

And spring HAS arrived at Spivey Hall. We had a big thunderstorm with lots of rain last night. The buds on the flowering trees just outside the main entrance to the Hall have begun opening, and we can only hope that winter is now a vanquished memory! Look for Spivey Hall's 2011 Spring Flyer in your mailboxes next week....there's more great music in store for us this season.

Singing "so solidly to the heart of the music": The mesmerizing moments of mezzo-soprano Joyce DiDonato

2011-02-17T13:59:00.000-08:00

Celebrated American mezzo-soprano Joyce DiDonato gives her second Spivey Hall recital this Sunday, February 20, at 3 PM. She's on a tour leading up to her solo recital debut at Carnegie Hall, and she performed in Washington earlier this week. Writing for The Washington Post, Anne Midgette found plenty to like:

Be they bored, rapt or somewhere in between, everyone in a concert hall is moving together through the same two hours. The great achievement of a performance, though, is to suspend time so that everyone is existing, however briefly, in the same moment - a piece of distilled awareness in the form of sound.

It happened at the mezzo-soprano Joyce DiDonato's recital at the Kennedy Center Concert Hall on Tuesday night, more than once. Whether she was singing a dramatic monologue, such as Haydn's challenging "Scena di Berenice," which opened the program, or a song by Cecile Chaminade, fleeting and iridescent as a soap bubble, DiDonato would find a phrase and sing so solidly to the heart of the music, luxuriating in each note, that the sound opened and breathed and blossomed. Rather than being propelled forward, everyone hovered in the moment, together, not wanting it to end.

Not wanting it to end indeed! It's something the best singers can do that's different even with the most extraordinary instrumentalists -- the uniquely personal nature of creating music with one's voice (from the core of one's being) enables those who master it at the highest levels to bring us all into their world, in a rapturously intimate way...one of those magnificent humanizing experiences that connects music-lovers and great singers during a performance.

Midgette's review continues:

Her voice is lyrical rather than heavy or dramatic, with a shining freshness that gave a particular radiance to the French songs (the Chaminade set and Reynaldo Hahn's cycle "Veneziana), and a caramel warmth to its depths that glowed in the showstopping aria from Rossini's "Otello," supported by her eager accompanist, David Zobel.

Now, doesn't that sound enticing and delicious? If only (if only!) people who say "I don't really like singing" could hear SINGING LIKE THIS -- their minds would be forever changed!

This promises to be yet another truly memorable Spivey Hall moment. Ticket sales have been brisk for this recital by DiDonato, who graces the stages of most major opera houses, including the Metropolitan Opera, La Scala, the Royal Opera House Covent Garden, San Francisco, Munich, Vienna, and (this season ) Berlin. She performs with major orchestras and top conductors everywhere.

Moreover, she is a dedicated recitalist, committed to keeping the song recital alive and well in the USA (which is no small aspiration in a country with legislators who regularly take pride in seeking to abolish the National Endowment for the Arts -- and, in multiple ways, no small personal sacrifice -- thank you, Joyce!). She's also been a fan of Spivey Hall since first singing here, and has made mention in various media interviews of it being an extraordinary place to sing (thank you AGAIN, Joyce!).

So, my music-loving friends and readers, this one is a total no-brainer. BE HERE and you'll be so very happy you chose to spend two hours of your week and life with this lovely, extremely talented and extraordinarily accomplished artist. There are still some good tickets remaining, plus there's a free pre-concert talk at 2 PM by Clayton State University's Director of Opera and Vocal Studies, Dr. Kurt-Alexander Zeller (himself a vocalist), who will give you interesting insights into what to listen for in this program, to enhance your pleasures of experiencing this wonderful artist in recital.

We're also proud to be presenting the Atlanta debut of young Spanish organist RAUL PRIETO RAMIREZ this Saturday afternoon, February 19, at 3 PM. In addition to being something of a "rock-star" organist in Madrid, drawing big crowds to the Municipal Auditorium where he is organist-in-residence, Raul Prieto enjoys a burgeoning international concert career. He studied piano in Russia at the Rimsky-Korsakov Conservatory in St. Petersburg, and then pursued organ studies at the Hochschule fuer Musik in Stuttgart. He's released two commercial recordings, one of which was made at the Duomo in Milan (where I lived for six years and, sadly, never once heard the organ).

His program includes two of his own transcriptions for organ of virtuosic piano etudes by Franz Liszt, plus Saint-Saens' dramatic "Danse macabre," the D-major Prelude and Fugue BWV 532 by J.S. Bach, the Franck Piece heroique, and the Sonata on the 94th Psalsm by Julius Reubke as the major, closing work. Spivey Hall's organist-in-residence Richard Morris leads a pre-concert talk with Raul Prieto at 2 PM.

I expect a very lively, rewarding afternoon of music from this gifted organist and our very own "King of Instruments" -- the magnificent Fratelli Ruffatti pipe organ that is the crowning glory of Spivey Hall.

John Adams times 2, and Los Angeles guitars times 4

2011-02-10T10:42:00.000-08:00

Saturday is definitely John Adams day in these parts. Many music-lovers I know will watch the Met Opera's 1 PM HD simulcast of NIXON IN CHINA, in Peter Sellars' new production that's garnered enthusiastic reviews. I've had the pleasure of seeing/hearing it twice, both times at the Brooklyn Academy of Music (BAM), but about 15 or so years apart. It's a fantastic piece. (I love Nixon's exuberant line, "Prime time! Prime time in the USA!") I've also heard Adams' EL NINO at the San Francisco Symphony, the premiere of DOCTOR ATOMIC at the San Francisco Opera (as well as the semi-staged performance by the Atlanta Symphony -- which reminded me of the profound beauty of one orchestral transition, the writing and sound of which is movingly sumptuous...one of those unforgettable Adams moments). A FLOWERING TREE at the Los Angeles Philharmonic (semi-staged by Peter Sellars, with Adams on the podium) was a special pleasure -- a work of grace and joy after the darkness of atomic destruction, preceded by a talk with Adams and Sellars that was wonderfully human and illuminating. A later trip to LA for THE DHARMA AT BIG SUR left me pondering a bit...but I have particular fondness for his early large-orchestra-and-chorus work, HARMONIUM, especially the final movement, "Wild Nights," to poetry of Emily Dickinson. And if ever you get the opportunity to hear baritone Sanford Sylvan sing THE WOUND-DRESSER (to poetry of Walt Whitman), go, listen, and you'll be glad you did. Phenomenally beautiful.

Adams is among our most admired and performed living composers, a true American original. Obviously, I'm a big fan. Thus it's no surprise that I jumped on the opportunity to have the St. Lawrence String Quartet perform John Adams' 2009 STRING QUARTET for their return visit this Saturday, Feb 12, at 8:15 PM. The Canadian Consulate General in Atlanta is graciously assisting us in welcoming these excellent Canadians back to Spivey Hall -- thus to Consul General Stephen Brereton and his colleagues, I offer my sincere thanks.

Adams' string quarrtet is in two movements, and Adams was inspired to write it purely on the strength of his pleasure in hearing the SLSQ perform (they are in residence at Stanford University) -- before anyone commissioned him to start writing, which is a rare occurrence for someone in such great demand, as Adams is.

I got a chance to hear a pre-release copy of the SLSQ's recording of the Adams, and all I can say is, I cannot wait to hear it performed live. So much of contemporary music comes most fully to life when there are human beings in front of you, creating the sound you hear as you also register all the non-aural messages as well. There's definitely a meaningful theatrical dimension to "taking in" such a performance. I predict this is the sort of enthralling experience that awaits us Saturday. Adams' music is characterzied by a unique energy and pulsating rhythms that, when ingeniously combined, both suspend and shift time. At its best, when it taps the subconscious, the music is both mesmerizing and enthralling. And though Adams and the word minimalism (in all its connotations) are inextricably linked, there is (again that word) a HUMAN quality to the writing that transcends technique and speaks to the spirit.

The SLSQ have played Adams' String Quartet nearly 60 times worldwide since they premiered it, and now Adams is writing a new work for the SLSQ and the San Francisco Symphony...which means I've gotta get on a plane and get myself out there for that premiere in mid-March 2012...another milestone in these artists' careers. I have the feeling this collaboration of artists and place will yield another memorable experience.

In addition to the Adams, the SLSQ is will open with a Haydn quartet, the D-major Op. 74 No. 1 -- always a joy (life was so different then, but the pleasures of this music endure)-- and Mendelssohn's youthful, lively, brilliantly-written E-flat Quartet, Op. 12. The St. Lawrence String Quartet consistently dwells in highest spheres of chamber-music excellence -- thus regular visitors here. To enhance your listening experience, Clayton State University music faculty member Dr. Kurt-Alexander Zeller gives a free pre-concert talk at 7:30 PM. Good seats are still available, so y'all come.

This Sunday, Feb 13, the LOS ANGELES GUITAR QUARTET's back in town for a 3 PM concert in one of the places in Atlanta where guitar sounds best...and there's free parking...and free Cokes at intermission...and remarakably reasonable ticket prices for artists of such high quality....now, wouldn't that be Spivey Hall...?!??!

These four guitar virtuosos combine seamlessly as one, with marvelous unity of ensemble and subtlety of expression, and often a real sense of fun, too. This is seriously fine playing, offered up in a very good-natured way, with introductions of the pieces from the musicians often as humorous as they are informative.

On the program are some LAGQ favorites, including the Overture to THE BARBER OF SEVILLE by Rossini, and a suite from Bizet's opera, CARMEN (We just had organist Todd Wilson give us a suite from CARMEN two weeks ago -- we're on a roll with CARMEN. Such a loss that Bizet died so soon after its premiere, thinking the piece was a failure...talk about great tunes!) Plus, LAGQ member Bill Kanengiser has devised a suite of "Music from the Time of Cervantes" based on both popular and courtly Iberian dances. (Bill has also written enlightening program notes for the complete program). And I'm curious to hear Peter Warlock's CAPRIOL SUITE -- a string orchestra piece transcribed for four guitars -- another throwback to the dance tunes of the past which convey such a lovely sense of grace and motion.

So another full weekend of music in store for us here. What good is sitting alone in your room!? Come hear the music play...(sorry, channeling Liza at the moment). I have to get back to writing descriptions of all the artists to be presented in our 2011/12 season, in anticipation of our Season Announcement Celebration for the Friends of Spviey Hall on March 29, when our gorgeous new season book will be unveiled.

Last night's snow is melting fast, so don't succumb to any more winter weather hysteria (although, admittedly, Atlanta was NOT designed for snow). Great music awaits. (Will anyone, at the end of their lives, wistfully regret, "I wish I'd watched more television"? Think about it.) Hope you'll be here to enjoy.

Met Opera National Council Southeast Region Auditions results

2011-02-06T15:41:00.000-08:00

It's been another great day for singing at Spivey Hall. Fifteen wonderful young singers (sopranos, tenors, baritones, a bass-baritone, a counter-tenor, but not a single mezzo-soprano!) participating in the annual Metropolitan Opera Opera National Council Auditions Southeast Region Final Auditions each sang two arias for a distinguished panel of judges: Gayletha Nichols, Executive Director of the National Council Auditions; Danielle Orlando, master vocal coach at the Academy of Vocal Arts in Philadelphia, and Principal Opera Coach at the Curtis Institute of Music; and Carroll Freeman, a tenor with a long list of major operatic and symphonic credits who became the first Valerie Adams Distinguished Professor in Opera at Georgia State University in Atlanta this fall.

This year's singers, representing Georgia, South Carolina, North Carollina, and Florida, were an especially accomplished group. Thankfully the Southeast Regional Auditions, chaired by Mrs. John (Margaret) Talmadge, was able to accommodate some adjustments to the awards to reflect the outstanding achievements of the day. John LaForge, Regional Auditions Director (and a member of the Spivey Hall Education Committee), announced the results.

Not one, but two Encourgement Awards, each of in the full amount of $1000, were given to soprano Heather Engebretsen, age 20, of Georgia; and soprano Jeanine DeBique, age 29, of North Carolina.

There was no Third Place Award (keep reading!).

The Second Place Award of $1500 was given to bass-baritone Richard Ollarsaba, age 23, of North Carolina.

The best news was that not one, but TWO singers from today's auditions were advanced to the semi-finals to be held at the Metropolitan Opera in New York City. Each receives the full Ryan Smith First Place Award of $4500. They are tenor Jayson Slayden, age 29, of South Carolina, and soprano Maria Atunez, age 26, of South Carolina.

Two pianists did the honors today: Met Audtions Southeast Region staff accompanist Russell Young collaborated with thirteen of the singers, and Daniel Solberg performed with the other two.

Congratulations to ALL the singers! It's both exciting and reassuring to know there is such amazing talent out there. I've put several of the singers on my radar and will watch their career progress with interest. You can hear them via the wonders of radio or web streaming on WABE Atlanta 90.1 FM on Monday, February 28, 2011 at 9:00 PM, when all the performances will be broadcast on The Atlanta Music Scene, produced by Tommy Joe Anderson, and hosted by the mellifluously-voiced Robert Hubert.

French Pianists, Berg's Sonata Op. 1, Liszt's B-minor Sonata

2011-01-29T14:23:00.000-08:00

Spivey Hall welcomes the illustrious French pianist PIERRE-LAURENT AIMARD in May for his Atlanta debut. His program includes two ground-breaking sonatas: a Second Viennese School masterwork by Alban Berg, his early Sonata, Op. 1; and a towering monument of musical Romanticism, the Piano Sonata in B minor by visionary virtuoso Franz Liszt.

A few days ago, I noticed an article in The New York Times about another celebrated French pianist already known to Spivey Hall audiences, Helene Grimaud. I first met Helene when she was a teenager, making her Georgia debut with the Atlanta Symphony (during the 1990/91 season, I believe), and I was artistic administrator there. I later heard her perform the Brahms D-minor Piano Concerto with Zurich's Tonhalle Orchestra, and last spent time with Helene perhaps seven or eight years ago, over dinner with conductor Esa-Pekka Salonen following a Hollywood Bowl performance of (if memory serves) Beethoven's Piano Concerto No. 4. In each instance, she played wonderfully, with tremendous strength, purpose, and musical insight.

I was not aware of the serious health problems that in the past few years gave her an enforced sabbatical from the demands of her usual crushing schedule. In the Times interview, she cites that making a Deutsche Grammophon recording, entitled "Resonances," is ultimately what revived her spirits and pulled her back into her professional life. For this, we may all be grateful.

Interestingly, for this recording, she too paired the Berg Sonata with the Liszt B-minor Sonata. Here's an excerpt from James Oestreich's article in which she relates a story about the Berg:

***

The works in the “Resonances” program, which she calls “a musical journey along the Danube,” were all new to her. The point of departure, she said, was Berg’s Opus 1 Sonata, which has fascinated her since she was 11 and discovered the music on her teacher’s piano.

Seeing how heavily her teacher had marked up the score, she wondered why, and what this music could possibly be. She asked to hear it, and was amazed to discover a foreign sound world, craggy with dissonance and ambiguous in its unmoored harmonies. It was one of many encounters she has had in life, she said, that she somehow knew would be meaningful to her later, and she was content to set the work aside.

Then, sure enough, the piece “sort of knocked on the door,” she said.

“It must sound completely demented,” she added, “but new repertory has always manifested itself to me. I wake up obsessed by a piece, or what I know about a piece.”

Liszt’s mighty B minor Sonata, bathed in heady chromatic harmonies, seemed a natural companion to the Berg, musically, and contributed to a more or less Austro-Hungarian theme that Ms. Grimaud carried through with Bartok’s six Romanian Folk Dances.

***

Hmmmm..."bathed in heady chromatic harmonies"! Rich opportunity for analysis and coloristic interpretation, certainly.

I imagine Pierre-Laurent Aimard, in creating his recital program, may likely have found other links beyond the Danube/Austro-Hungarian affinities of these two important pieces that appeal so strongly to pianists.

It goes without saying that if artists are truly inspired by what they play, audiences will be, too. For audiences, the Berg, particularly, requires very concentrated listening -- but the best way to experience it is in a passionately committed, excellently crafted performance, which I am sure M Aimard will give us.

He, too, is preparing and performing this repertoire for recording. After his Spivey Hall recital, he'll put down the Liszt Sonata for Deutsche Grammophon in Vienna, in preparation for release in commemoration of the bicentennial of Liszt's birthday in October 2011.

I am in any case keen to hear him eludicate these and other pieces by Wagner, Liszt, and Scribian in recital here -- he is one of the most penetratingly thoughtful and perceptive pianists on the international circuit today, and his Spivey Hall recital is an major musical event, not to be missed.

I am equally relieved to know that Helene Grimaud is back before the public, performing once again.

Organist Todd Wilson in recital on Saturday, January 29

2011-01-19T13:07:00.000-08:00

Spivey Hall's series of recitals by outstanding organists continues on Saturday, January 29 with a change of artist and program. Organist-in-Residence Richard Morris was scheduled to give his annual recital that afternoon, but for reasons beyond his control has had to postpone his performance to a later date.

However, the show will go on! We welcome the return to Spivey Hall of Todd Wilson. Based in Cleveland, he holds several important positions, including chairman of organ studies at the prestigious Cleveland Institute of Music, curator of the E.M. Skinner pipe organ at Severance Hall (home of the superlative Cleveland Orchestra), and artist-in-residence at Trinity Cathedral (Episcopal), where he plays the Cathedral's Flentrop organs. His many students have enjoyed professional success -- one of whom is Steven Wooddell, best known to Spivey Hall audiences as the excellent accompanist of the Spivey Hall Young Artists who also performs on our Fratelli Ruffatti pipe organ for the Young Artists/Children's Choir each December.

In addition to a far-flung concert career with numerous AGO appearances, Todd Wilson is also known to organ-lovers and audiophiles for his commercial recordings, and I'm grateful that he has agreed to step in on short notice. He's devised an attractive program that I look forward to hearing:

KARG-ELERT Chorale-Improvisation on "In dulci jubilo"; J.S. BACH Passacaglia and Fugue in C minor, BWV 582; David CONTE Soliloquy; BIZET/LEMARE Carmen Suite; FRANCK Choral I in E major; DURUFLÉ Scherzo, Op. 2; WIDOR Allegro vivace (Variations) from Symphonie V, Op. 42

I love the Bach...it has a special effect on me...once I hear the ground-bass of the famous Passacaglia, it will be rolling around in my head for many days thereafter...! The Durufle and Widor will doubtless close the program brilliantly, and I'm curious to hear the Conte Soliloquy and Edwin H. Lemare's transcription of selections from Bizet's Carmen (another piece with memorable tunes that I'll wake up hearing in my head the next day).

The recital begins at 3 PM and tickets ($30) are available from the Box Office, (678) 466-4200. There will be no pre-concert talk, but Mr. Wilson will speak about his program from the stage in the course of his recital, and will greet audience members afterwards as well.

Special note to Clayton State students enrolled in Music Appreciation: this is a great chance to get to know and hear Spivey Hall's magnificent organ, especially with the remarks the artist (who is a distinguished teacher) will make from the stage. As a Music Appreciation student with your Laker ID, you can get one free ticket. A second ticket (for a friend to attend with you) would be just $10. These tickets are only available from the Spivey Hall Box Office, so call or stop by the Box Office for more info.

Celebrate Christmas with Coro Vocati

2010-12-17T14:13:00.000-08:00

Coro Vocati is Atlanta's newest a cappella vocal ensemble. As Coro Vocati explains:

Vocati is Latin for the called, thus a choir of the called. Coro Vocati seeks to provide a professional-quality choral experience for gifted musicians who understand their 'call' to serve as music educators, church musicians, vocal teachers, singers, and conductors. Our 'raison d'etre' is to create a workshop, in rehearsal and concert, for the inspiration and continuing education of music educators and professional music colleagues.

Founder and artistic director John Dickson is a lauded choral scholar and conductor with an international CV who has worked in the US, Canada, the UK, Russia, and various European countries. He became Dean and Professor of Conducting at Mercer University's Townsend School of Music after directing choral studies and chairing conducting at Texas Tech. The driving force behind Coro Vocati, Dr. Dickson has persuaded 25 busy music professionals in the metro-Atlanta/Macon area to squeeze even more time out of their full and complex lives to make music together under his leadership. For Sunday's concert (Dec 19) at 3 PM, they are joined by organist Michael McGhee -- and Coro Vocati alto Carol Goff will double as piainst in this program, too.

Coro Vocati made its Spivey Hall debut last December in a Christmas concert for high school students, and I'm glad they're back -- I'm keen to hear what they'll sound like with a full year's experience as an ensemble, supported by a more developed administrative infrastructure.

Thus still a relatively young organization. But artistically very promising! Their Christmas program, "Heaven and Earth in Little Space," is organized topically:

I. Introit
II. The Mystery
III. The Rose
IV. The Virgin
-intermission
V. The Kings
VI. The Carols

And there are several works of special interest I'm looking forward to, foremost among them Morten Lauridsen's O magnum mysterium, the original Lo How a Rose E'er Blooming by Praetorius and a setting of this 16th-century melody by Jan Sandstroem, born in 1954 -- plus two pieces by Herbert Howells, whose work for vocal ensemble I really enjoy (my first discoveries were courtesy of the Dale Warland Singers, from my Minnesota days), and Eric Whitacre's Lux arumque, a profoundly beautiful piece. Lighter works also have their moments in this program, which also features a piece by Moses Hogan that I expect will be in the tradition of the African-American spiritual, Glory, Glory, Glory to the Newborn King -- and this celebration ends with A Musicological Journey Through the Twelve Days of Christmas by Craig Courtney (also born in 1954), which (from the title alone) will likely add a moment of jollity to Sunday's concert...!

Throughout the program, there are opportunities for individual members of Coro Vocati to shine as soloists, and John Dickson will surely "connect the dots" of the varied and diverse works by offering some commentary from the stage along the way.

So come hear some excellent choral music in Spivey Hall on Sunday to lift your spirits -- the Hall's acoustics are especially gratifying (for the performers and the audience alike) for singing, and this program offers a wealth of Christmas treats. After this performance, Spivey Hall is silent until the New Year. HAPPY HOLIDAYS TO ALL!

Five Holiday Concerts at Spivey Hall this weekend!

2010-12-10T12:54:00.000-08:00

The Spivey Hall Children's Choir's three December concerts, Joe Gransden's Big Band Holiday Show with guest vocalist Francine Reed, and The Atlanta Singers' annual Spivey Hall Christmas concert are all happening this weekend -- lots of great festive music in store for us here!

The first of the three Children's Choir concerts is Friday evening at 7 PM, when all 170+ of the entire Chiildren's Choir Program membership sing, spotlighting the Spivey Hall Young Artists under the direction of Craig Hurley, and the Children's Choir under the direction of Dr. Martha Shaw. At the time of writing, there are about 18 tickets remaining for Friday's concert. The Saturday and Sunday concerts (both at 3 PM) by the Children's Choir -- which also showcase the advanced singers of the Tour Choir performing John Rutter's Dancing Day with harpist Nella Rigell -- are sold out!

These are joyous occasions, especially when everyone on stage and in the audience is singing along with Spivey Hall's Fratelli Ruffatti organ for "Hark! The Herald Angels Sing" and "O Come, All Ye Faithful" -- such a big, stirring, majestic sound! I look forward to it greatly each season -- it never fails to move my spirit. Spivey Hall could not be more proud of the talented musicians in the Children's Choir Program, and we are truly grateful for the dedication and talents of Dr. Martha Shaw, Judy Mason, Craig Hurley, Steven Wooddell, Carol Abarr and Sharon Bonner -- the "Big 6" responsible for the strength and success of the Children's Choir Program, working closely with the students and their families. A bonus to the great music: if you like cookies, there are cookies in abundance after each peformance (yum).

Saturday night at 8:15 PM, jazz trumpeter and vocalist Joe Gransden returns to Spivey Hall for his Band Band Holiday Show and a very special guest vocalist, Francine Reed. The Atlanta Journal-Constitution's AccessAtlanta.com has named this performance a "Hot Pick" for this weekend http://blogs.ajc.com/atlanta-music-scene/2010/12/09/4701/

"If you’re looking for a swinging holiday, here’s the place to be. The Atlanta trumpeter and his band will be joined by the bold, big-voiced Francine Reed. The charisma of these two beloved performers could light up Spivey Hall without benefit of electricity."

And Sunday evening at 7:30 PM, The Atlanta Singers and conductor David Morrow perform "A Nowell Fantasy," with mostly a cappella (unaccompanied) holiday music ranging from the 16th to the 20th centuries, including Tomas Luis de Victoria's O Magnum Mysterium, Eric Whitacre's Lux Arumque, and Jocelyn Hagen's See Amid the Winter Snow with cellist Ismail Akbar, plus We Wish You a Merry Christmas, The Twelve Days of Christmas, and audience participation in sing-alongs of The First Nowell and Angels We Have Heard on High.

The Atlanta Singers regularly perform in December at Spivey Hall. The Atlanta Journal-Constitution has warmly praised this tradition:

"This little concert could well be the musical highlight of the whole holiday season in Atlanta, just in terms of the pure joy for the listener. And as for technique, anyone who has ever sung in a choir will sit in wonder. These guys are money."

And a great value, too -- tickets for The Atlanta Singers are just $20 for adults and $10 for children.

Tickets are available online at www.spiveyhall.org or from the Box Office, which opens one hour before concert time.

And don't forget -- next weekend (Sunday, December 19 at 3 PM) there's Coro Vocati and conductor John Dickson. See the website for details...and a special blog post about this early next week.

It's PROJECT JUPITER week! Welcome the Jupiter String Quartet

2010-11-15T13:14:00.000-08:00

The four excellent musicians of the Jupiter String Quartet arrive this evening (Monday) to launch the first week of their three-season Spivey Hall residency -- a very welcome event, and the long-awaited result of about 18 months of planning!

THE JUPITER STRING QUARTET

From left to right: Daniel McDonough, cello; Meg Freivogel, violin;

Liz Freivogel, viola; and Nelson Lee, violin.

This initiative is called PROJECT JUPITER, and will have the musicians deeply engaged with the community in outreach and education work in addition to performing, representing both Spivey Hall and themselves as highly talented and accomplished living ambassadors of string quartet music. They're also four friendly, tremendously articulate and interesting people, and I'm sure that all who come in contact with them will be glad they did.

Leading up to to their Saturday evening Spivey Series concert on November 20th at 8:15 PM (with a pre-concert talk with Clayton State music faculty Dr. Kurt-Alexander Zeller at 7:15) at which they'll be performing two quartets by Beethoven plus Gyorgy Kurtag's exquisite Microludes for String Quartet, the Jupiters will be undertaking the following:

- Playing in the atrium of the world's busiest airport, Atlanta's Hartsfield-Jackson International (right here in Clayton County) in two "sets" from 5 PM to 7 PM on Tuesday

- Making music for residents of the GoldenCrest Senior Community in Stockbridge on Wednesday

- Visiting three southside high schools (Union Grove HS, Lovejoy HS, and Whitewater HS) to work with their chamber orchestras and conductors, as well as student string quartets that will be featured in a Spivey Hall master class led by the Jupiters in March

- Rehearsing with the annual Spivey Hall Chamber Orchestra Workshop musicians from area high-schools, and taking part in the performance conducted by guest clinician Bob Phillips at Spivey Hall on Friday at 7:30 PM

- Rehearsing for their Spivey Series debut on Saturday (they already made their Spivey Hall debut last January, giving a great pair of Young People's Concerts -- but this is their subscription series debut)

- And generally getting know metro Atlanta, which they'll be discovering in full-week visits at least twice a season for three seasons.

(Hmmm....they'd better eat their Wheaties...!)

The first season of Project Jupiter has been generously funded by special grants from the National Endowment for the Arts, South Arts, Country Inn & Suites Atlanta I-75 South, and as part of Spivey Hall's 2010/11 Twentieth Anniversary Season sponsored by The Coca-Cola Company.

And I'm delighted to announce that the National Endowment for the Arts has ALREADY funded Season 2 of Project Jupiter, awarding Spivey Hall an even larger grant for the 2011/12 season. The Friends of Spivey Hall are also helping make Project Jupiter a reality. Many thanks to all!

The Jupiters have two commercial CDs out on the Marquis Classics label and they'll be available at Spivey Hall when the Quartet performs here.

Here's the press release that went out a few weeks ago about Project Jupiter. Do yourself a favor and come hear the Jupiter String Quartet perform -- you'll be glad you did.

* * *

Clayton State University’s Spivey Hall launches "PROJECT JUPITER,"

November 15 – 20

MORROW, Georgia (Oct. 28, 2010): Clayton State University’s Spivey Hall welcomes the Jupiter String Quartet November 15 – 20 for the inaugural week of "Project Jupiter," a multi-year partnership that will involve the Quartet in a wide variety of performance, teaching, community outreach, and audience development activities in Atlanta’s Southern Crescent.

During the first week of its 2010-2011 season residency that coincides with Spivey Hall’s Twentieth Anniversary Season, the Jupiter String Quartet will work with student musicians at three south-side partner schools: Lovejoy High School in Hampton, Stephen Lawrence, Orchestra Director; Union Grove High School in McDonough, Kathy Saucier, Orchestra Director; and Whitewater High School in Fayetteville, Darilyn Esterline, Orchestra Director. In addition to working with large group ensembles, the Jupiters will mentor student quartets formed as an educational and artistic initiative of Project Jupiter. These quartets will take part in a public master class with the Jupiters at Spivey Hall in Spring 2011.

The fall Project Jupiter residency also dovetails with the annual Spivey Hall Chamber Orchestra Workshop, during which outstanding student string musicians from area schools have the opportunity to come together and work with a nationally renowned conductor. For 2010, the distinguished clinician is Mr. Bob Phillips, noted chamber music educator, composer, and author of over 50 works of strings pedagogy. The workshop’s concluding public performance will take place on Friday, November 19 at 7:30 PM, where students will be joined by the Jupiters on stage for two pieces.

Additionally, the Jupiters will present two public outreach performances, the first in the Atrium of Hartsfield-Jackson International Airport (Tuesday, November 16, 5:00 – 7:00 PM), the second at Golden Crest Assisted Living Residence at Eagle’s Landing in Stockbridge (Wednesday evening, November 17).

The week culminates in a Spivey Series concert, November 20, at 8:15 PM, with a pre-concert talk by Jupiter cellist Daniel McDonough in dialogue with Clayton State University music faculty member, Dr. Kurt-Alexander Zeller, at 7:15 PM.

For their first performance in Spivey Hall’s annual series of concerts by outstanding international musicians, the Jupiters have chosen two works by Ludwig van Beethoven (1770-1827), whose string quartets are central to the chamber music repertoire, as well as a primary focus of the Jupiters’ three-season residency: an early quartet, Opus 18 No. 2 in G major, and a late quartet, Opus 130 in B-flat major.

The program also includes the 12 Microludes for String Quartet (Hommage à Mihály András), Opus 13, composed in 1977/78 by contemporary Hungarian composer, György Kurtág (b. 1926) – lyrical, fleeting, intricately-woven short pieces that the Jupiters will introduce with spoken commentary from the stage before performing them.

This program is the first of several that will explore the theme “the evolution of compositional voice,” and the distinctive ways in which composers over several centuries have written for the ensemble of two violins, viola, and cello.

Project Jupiter, a natural extension of Spivey Hall’s far-reaching Education Program, was spearheaded by Spivey Hall’s Executive & Artistic Director, Samuel C. Dixon, in consultation with the Jupiter String Quartet musicians and the Spivey Hall Education Committee, an advisory group chaired by Jay Wucher that identifies ways for Spivey Hall to respond to music education needs in its region. Spivey Hall Education Manager Catherine Striplin leads the implementation of Project Jupiter, a significant addition to the scope of Spivey Hall’s award-winning Education Program that includes the renowned Spivey Hall Children’s Choir Program, popular Young People’s Concerts, choral, chamber orchestra and jazz-band workshops, master classes by distinguished guest artists, and professional development opportunities for teachers, all of which serve more than 18,000 individuals annually from throughout Atlanta and beyond.

A generous $9,000 grant awarded to Clayton State University in December 2009 from the National Endowment for the Arts’ prestigious and highly competitive "Access to Artistic Excellence" program provides Spivey Hall essential resources to launch the first year of the anticipated three-season Project Jupiter, which also receives a special grant from South Arts, as well as deeply appreciated operating support from the Georgia Council for the Arts, Clayton State University, the Walter & Emilie Spivey Foundation, and the Friends of Spivey Hall. Country Inn & Suites Atlanta I-75 South is the official hotel sponsor of the Jupiter Quartet, and The Coca-Cola Company, as corporate sponsor of Spivey Hall’s Twentieth Anniversary Season, is the exclusive beverage sponsor of Project Jupiter. Spivey Hall and the Jupiter String Quartet musicians extend their thanks to all of these entities, as well as its high school and community partners, for making this important residency possible.

Additional support is already being sought to continue, extend and enrich the program.

The JUPITER STRING QUARTET, formed in 2001, consists of violinists Nelson Lee and Megan Freivogel, violist Liz Freivogel (older sister of Meg), and cellist Daniel McDonough (husband of Meg, brother-in-law of Liz). They currently reside in Boston, Massachusetts.

In addition to its extensive concert schedule, the Jupiter String Quartet places a strong emphasis on developing relationships with future classical music audiences through outreach work in schools and other educational performances. They believe that chamber music, because of the intensity of its interplay and communication, is one of the most effective ways of spreading an enthusiasm for “classical” music to new audiences.

The Jupiters have received several major chamber music honors, including first prize in the Banff International String Quartet Competition, grand prize in the Fischoff National Chamber Music Competition, membership in Lincoln Center’s Chamber Music Society Two, and Chamber Music America’s Cleveland Quartet Award, which “honors and promotes a rising young string quartet whose artistry demonstrates that it is in the process of establishing a major career.” The Quartet also won the 2005 Young Concert Artists International auditions; most recently, they were the recipients of a coveted Avery Fisher Career Grant.

In addition to their extensive schedule of performances in chamber music series and festivals throughout North America and beyond, the Jupiter String Quartet has earned accolades for its compact disc recordings on the Marquis label. Following the critical success of their first CD of quartets by Benjamin Britten and Sergei Prokofiev, the Jupiters’ second Marquis CD, released in 2009, features two masterworks of the Romantic repertoire: Felix Mendelssohn’s final Quartet in F minor, Opus 80, and another of Ludwig van Beethoven’s late quartets, the Quartet in F major, Opus 135.

The Jupiter String Quartet (www.jupiterquartet.com) is managed by Bill Capone of Arts Management Group, Inc., New York.

Tickets to the Jupiter String Quartet’s Spivey Hall performance on Saturday, November 20, 2010 at 8:15 PM are available from the Spivey Hall Box Office, telephone (678) 466-4200, and online at www.spiveyhall.org.

# # #

Celebrating 20 years, Spivey Hall welcomes The Coca-Cola Company as corporate sponsor

2010-11-08T14:19:00.000-08:00

A new sponsorship supports the Jupiter String Quartet’s "Project Jupiter" residency, a visual retrospective of Spivey Hall’s first twenty years, and the acquisition of a new concert grand piano

The Coca-Cola Company and Clayton State University’s Spivey Hall have revived a decades-old relationship through a corporate sponsorship of Spivey Hall’s Twentieth Anniversary Season of high-quality music education programs and concerts by superb international guest artists.

The Coca-Cola Company, headquartered in Atlanta, was a Founding Donor to the campaign led by The Walter and Emilie Spivey Foundation to build Spivey Hall in the late 1980s, making a pivotal gift that helped ensure the campaign’s success. These generous and far-sighted gifts haven proven to be exceptionally fruitful investments in the region’s cultural development and enrichment.

From the very first dedication concert at Spivey Hall, given by superstar violinist Itzhak Perlman on January 23, 1991, the Hall’s world-class acoustics have drawn universal accolades from artists, audiences and critics alike. Spivey Series concerts by distinguished international musicians supported by The Spivey Foundation quickly established a reputation of excellence for the intimate, elegant, 392-seat hall – a reputation extended to millions of listeners via frequent nationwide public-radio broadcasts.

Spivey Hall’s service to the region was further enhanced by the creation of music education programs under the guidance the Spivey Hall Education Committee and its chairman, Jay Wucher, responding to the needs of metro-Atlanta teachers and students though fine music, and now serving some 18,000 individuals each year.

Marking a significant milestone in the Hall’s history, The Coca-Cola Company’s new sponsorship sustains the excellence for which Spivey Hall is renowned, and directly supports three Twentieth Anniversary Season initiatives. The first is "Project Jupiter," a three-year residency by the critically-acclaimed Jupiter String Quartet, designed to develop greater appreciation for string chamber music through partnerships with three high schools in Clayton, Fayette, and Henry counties. In addition to regular Spivey Hall performances for schoolchildren and adults, the Jupiter String Quartet will give numerous outreach concerts in metro Atlanta, thereby introducing new audiences to the pleasures of hearing chamber music expertly performed, and heightening awareness of Spivey Hall’s community-service mission of access to fine music. The Coca-Cola Company is the exclusive beverage sponsor of Project Jupiter.

Coca-Cola sponsorship funds make possible the production of a ten-panel, full-color display for Spivey Hall’s lobby, celebrating the artistic and community-service highlights of the Hall’s first twenty seasons. This exhibit, to be unveiled in January 2011, will illustrate for concert-goes and visitors the broad scope of Spivey Hall’s achievements, especially in presenting international artists and ensembles whose performances have significantly enriched the musical wealth of the region, and in the creation of the award-winning Spivey Hall Children’s Choir Program under the direction of Dr. Martha Shaw. Augmenting the display on a rotating basis will be photographs and program books autographed by guest artists, and other memorabilia that tell the story of Spivey Hall’s rise to national and international prominence.

Additionally, The Coca-Cola Company sponsorship supports the Friends of Spivey Hall Piano Fund, established with a seed gift from The Chaparral Foundation to acquire a new Steinway grand piano, which will enhance Spivey Hall’s ability to meet the performance needs of the world’s foremost concert pianists who appear each season in the Spivey Series. With major funding also committed by Clayton State University, The Coca-Cola Company sponsorship and additional gifts from the Friends of Spivey Hall will soon enable the Piano Fund campaign to reach its goal. Delivery of the new Steinway grand piano is anticipated later this season.

"I am delighted and sincerely grateful that the long relationship between Spivey Hall and The Coca-Cola Company has been strengthened and rekindled through this sponsorship," said Spivey Hall Executive & Artistic Director Samuel C. Dixon. "As a Founding Donor of Spivey Hall, The Coca-Cola Company helped make access to first-rate classical, jazz, and world music possible for millions of people in Georgia and across the country. Our Twentieth Anniversary Season sponsorship reinforces our commitment to serve people of all ages through fine music, and to extend our tradition of artistic excellence as Spivey Hall enters its third decade."

Spivey Hall’s home is Clayton State University, an outstanding comprehensive university of the University System of Georgia offering bachelor’s and master’s degrees, which through a 2009 partnership agreement designated Coca-Cola as the exclusive provider of non-alcoholic beverages on campus.

More on guitartist Roland Dyens' program

2010-10-04T20:44:00.000-07:00

Sensitive, highly imaginative, freely expressive, evocative, and soulful are apt words to describe the wonderful music we heard from guitarist Roland Dyens on Sunday afternoon. Several patrons asked me about work titles that M. Dyens announced from the stage. I don't have a complete list, but among the highlights I jotted down, we heard, before intermission, Dyens' original compositions entitled "G-sharp" (his favorite note) and "Los Angeles," plus his own arrangements of works by Albeniz (was it a tango?), Tchaikovsky ("Barcarole") and Chopin (a waltz)...plus a very personal and attractive take on Django Reinhardt's "Nuages" ("Clouds") and some Villa-Lobos to close. After intermission, three pieces by Fernando Sor, four by Brazilian legend Pixinguinha (including the gorgeous "Rosa" Waltz, and "Lamento"), Afro-Brazilian music by Baden Powell (not to be confused with the founder of the Boy Scouts!), and, as a most satisfying encore, Roland Dyens' own composition, "Comme le jour" ("Like the Day"), an 18th-birthday present to his daughter...music with tremendous heart. Bravo et merci, Roland!

Program news for guitarist Roland Dyens, and pianist Louis Lortie

2010-09-28T19:01:00.000-07:00

One of the more pleasurable and interesting parts of my job is evaluating, choosing, and sometimes shaping the repertoire that Spivey Hall guest artists perform. Sometimes it's known immediately from an initial exchange about an engagement what the artist will perform; this can take place up to two years in advance of the artist's arrival at Spivey Hall. More often, especially with duos or individual artists in recital, the program comes together six months to a year in advance.

And sometimes, no one knows what the program will be until the audience is seated and listening to the music. That's the case with many jazz artists, and it's true in the instance of the remarkable French guitarist Roland Dyens, who makes his Spivey Hall debut this Sunday, October 3, 2010, at 3 PM. When I requested a program a few weeks ago from his manager (which ordinarily we would publish on our website and in the program book), I received the following, and I think the phrase "Classical player in his fingers, Jazz player in his mind" rather aptly sums up what our audience may expect from this multi-talented musician, who speaks five languages fluently and whose artistry cannot be easily compartmentalized.

Roland Dyens

CONCERT PROGRAM

Roland Dyens is unique in the classical guitar world, in that he always starts his concerts with an improvised piece. Each of these spontaneous compositions is different from his last concert or his next. You and he will experience this first piece of music together, for the first time.

Classical player in his fingers, Jazz player in his mind ...

In the world of jazz, the notion of a concert program does not exist. Roland Dyens rarely gives prior notice of the pieces that he will play in recital. It is his way of creating the best possible atmosphere, by taking into account his audience, the acoustics of the hall and especially his deep desire to be true to his feelings at the moment that he actually interprets the music.

In the same way, the improvisation is a sort of “tuning in” process, a prelude that is as indispensable for this special artist as it was for the lute players in the past, awaiting the “Suite.”

In order to create the warm connection with his public that he treasures, Dyens prefers to announce his program from the stage, as the evening unfolds.

This creates an interesting link between the world of jazz and those classical lovers who have a taste for musical innovation.

I, for one, am intrigued by what we'll hear!

I recently also had program news of a more concrete nature. The outstanding French-Canadian pianist Louis Lortie, an extraordinary musician renowned for his Chopin, is keeping extremely busy in this Chopin year (March 1, 2010 marked the 200th anniversary of Frederic Chopin's birth). Spivey Hall pianophiles will recall Louis' triumphant debut here, when he astounded us with an immensely rewarding performance of the complete Chopin Etudes, brought to life with tremendous panache and jaw-dropping feats of virtuosity.

For his return on Sunday, October 17, 2011 at 3 PM, he offered Spivey Hall several choices of repertoire, including another great all-Chopin program, interweaving Nocturnes and Impromptus and culminating with Chopin's majestic Sonata No. 3 in B minor, and this was happily agreed almost a year ago.

But (as my tombstone will read), "Artists and programs subject to change." Louis has embarked on an ambitious multi-year project of recording Chopin's solo piano works for the Chandos label, in a series of very carefully-conceived programs that mix and match repertoire in a synergistic way, such that the juxtaposition of works heightens the listener's appreciation of each, and the overall artistic result is greater than the sum of the parts. (This is what someone profoundly familiar with this repertoire, as Louis truly is, can achieve, and the results can be fascinating.) The program offered to Spivey Hall and originally announced was tied to these recording plans, and because these plans have changed, the repertoire he's performing this fall has also changed. I should note that in addition the solo recitals he's giving this fall, he's being welcomed by many orchestras as soloist in Chopin's Piano Concerto No. 1 in E minor...and there are, indeed, limits to how much repertoire any pianist can carry in a given period, even for someone with near super-human abilities.

Fear not -- we will still have an superbly attractive all-Chopin program to look forward to: the four Scherzos, complemented by related Nocturnes, and the F-sharp major Barcarolle, Op. 60. The Scherzos offer up some of Chopin's most dazzling and inspired writing, with fiery openings, lyrical middle sections, and blistering finales that vividly demonstrate why Chopin was such an original composer for the piano, and justly celebrated not solely for his virtuosity, but also for the depths of Romantic expression he could summon. The Scherzos conjure up excitement through their technical fireworks, as well as a big build-up and release of dramatic tension. By contrast, the Nocturnes, while also pulsating with life, are less aggressive, and dwell more extensively on the reflective, atmospheric, inner world of Chopin's creative genius. The Barcarolle (reminiscent of Venetian gondolas in the moonlight), which separates two Nocturne/Scherzo pairings in the first half of the program, has an expansive tendency that is at first suggested, but ultimately fully realized, moving gloriously upward and outward in spirit.

All of this is first-rate Chopin. The four Scherzos and most of the Nocturnes he'll perform are featured in Volume 1 of his Chandos Chopin cycle, and his playing on this CD is simply exhilarating. I wouldn't doubt there might be some marvelous encores, too. No one who loves beautiful solo piano music should miss Louis Lortie's recital, which promises to be one of the great artistic highlights of Spivey Hall's Twentieth Anniversary Season.

Welcome back the Takacs Quartet!

2010-09-25T09:07:00.000-07:00

The superlative musicians of the Grammy Award-winning TAKACS QUARTET are back at Spivey Hall tonight (Saturday, Sept 25 '10) to open our Twentieth Anniversary Season, in a program that culminates with Franz Schubert's lyrical and dramatic "Death and the Maiden" String Quartet. The Takacs Quartet is truly a favorite ensemble of Spivey Hall music-lovers, and we are delighted to welcome them back. The concert begins at 8:15 PM, and some good seats are still available, either online at www.spiveyhall.org, or by calling the Box Office at (678) 466-4200 from 7:15 PM onward.

Prior to the concert, Clayton State University music faculty professor Dr. Kurt-Alexander Zeller will speak about the program,which includes the third of Franz Joseph Haydn's "Apponyi" Quartets (the Takacs have been playing them, and their new CD recording is due out soon; we'll have recent Takacs CDs issued by the Hyperion label for sale at tonight's concert). This free pre-concert talk begins at 7:15 PM in Room 157 of the Music Education Building, adjacent to Spivey Hall, and reachable via Spivey Hall's lower lobby.

Following the concert, we celebrate the return of the Takacs Quartet and the beginning of what promises to be an extraordinary Twentieth Anniversary Season. I wish to express my deep and abiding gratitude for the loyalty of our subscribers and the generosity of our donors, and especially this evening's Friends of Spivey Hall Concert Sponsor, Mr. Richard F. Tigner, for making a critical difference in sustaining the artistic excellence of Spivey Hall's programming. Thank you!!

The entire audience is warmly invited to join the musicians, members of the Atlanta consular corps, and special guests at a reception in the lobby immediately following the concert. The Honorary Consulate of the Republic of Hungary joins the Friends of Spivey Hall in hosting this reception, and Spivey Hall extends its warm thanks to the Honorary Hungarian Consul, Mr. John F. Parkerson, Jr., for his gracious collaboration in welcoming the Takacs Quartet back to Spivey Hall.

Last fall, we surveyed many of our patrons, and one of the things they asked for was better signage on campus -- it seems that finding Spivey Hall can pose a challenge, especially at night. We have duly taken note! Patrons arriving this evening (and for future concerts) will see signs indicating critical turns on campus, and indications of Spivey Hall parking areas. We hope this will make a positive difference in making patrons' experience at Spivey Hall a more enjoyable one.

Summer is over, fall is here. Bring on the music!

HAPPY LISTENING!

UPDATED Spivey Hall 2010-2011 Season Concerts - including jazz!

2010-06-03T13:34:00.000-07:00

Spivey Hall proudly presents its 20th ANNIVERSARY CONCERT SEASON, featuring a collection of extraordinary international artists performing a rich variety of great music.

A summary of concert dates, artists, and what we know about their programs is given below, grouped by series.

Jazz fans, many thanks for your patience: details about our JAZZ SERIES are announced below. If you wish to add any tickets to a subscription order already placed, please just give the Box Office a call. If you've been holding off making your subscription order, there's no better time than now!

IN GENERAL: To order a create-your-own-series subscription (with a discount of 10% if you purchase tickets to four, five or six concerts, or a 20% discount for seven or more concerts), or to receive a copy of our 2010-2011 Season Book with additional information about the artists, or for any questions about these concerts, please telephone the SPIVEY HALL BOX OFFICE at (678) 466-4200, ext. 1, and one of our Patron Services staff members will be happy to assist you.

We sincerely appreciate the loyalty of our subscribers and the generosity of our donors who help make each Spivey Hall concert season possible. We look forward to welcoming music lovers -- those who already know the joys of hearing great music here, and those who have yet to discover these wonderful pleasures -- to Spivey Hall next season!

***

CLAYTON STATE UNIVERSITY - SPIVEY HALL
2010-2011 SEASON CONCERTS

++ PIANO SERIES ++

LOUIS LORTIE – Sun Oct 17 ’10 3 PM – $45

A program of works by CHOPIN interweaving a selection of Nocturnes and Impromptus, culminating with his magnificent Piano Sonata No. 3 in B minor, Op. 38

IMOGEN COOPER – Sat Feb 26 ’11 8:15 PM – $45

HAYDN Sonata in E-flat major, Hob XVI/52
BEETHOVEN Sonata in D minor, Op. 31 No. 2, “Tempest”
BRAHMS Theme &Variations from String Sextet, Op. 18*
*transcribed for Clara Schumann in 1860
SCHUMANN Fantasiestücke, Op. 12

HAOCHEN ZHANG – Sat Apr 16 ’11 8:15 PM – $35 – Spivey Hall Debut
Program to be announced.

(Important note: The DAY and the TIME of Haochen Zhang's concert were, unfortunately, originally incorrectly listed in our season book -- more proof that we are human! The DATE, April 16, which happens to be a SATURDAY, is correct, and like all Spivey Series Saturday evening concerts, concert time is 8:15 PM. Apologies...we have made the correction in the season books available from the Box Office. Future publications will have the correct information, and the tickets themselves will bear the correct day, date and time.)

PIERRE-LAURENT AIMARD – Sat May 7 ’11 8:15 PM – $60 – Spivey Hall Debut

WAGNER Piano Sonata in A-flat major
BERG Piano Sonata, Op. 1
SCRIABIN Piano Sonata No. 9
LISZT Piano Sonata in B minor

++ STRING SERIES ++

TAKACS QUARTET – Sat Sept 25 ’10 8:15 PM – $50 – Pre-concert Talk 7:15 PM – Season Opening Concert

SCHUBERT Quartet Movement in C minor, D.703
HAYDN String Quartet in E-flat major, Op. 71 No. 3
DANIEL KELLOGG Soft Sleep Shall Contain You: A Meditation on Schubert's “Death and the Maiden”
SCHUBERT String Quartet in D minor, D. 810, “Death and the Maiden”

JUPITER STRING QUARTET – Sat Nov 20 ’10 8:15PM – $40 – Pre-concert talk 7:15 PM

BEETHOVEN String Quartet in G major, Op. 18 No. 2
KURTÁG 12 Microludes for String Quartet, Op.13
BEETHOVEN String Quartet in B-flat major. Op. 130

ST. LAWRENCE STRING QUARTET – Sat Feb 12 ’11 8:15 PM – $45 – Pre-concert talk 7:15 PM

HAYDN String Quartet in D major, Op. 74 No. 1
MENDELSSOHN String Quartet in E-flat major, Op. 12
JOHN ADAMS String Quartet (2009)*
*commissioned for and premiered by the SLSQ

JUPITER STRING QUARTET – Sat Mar 12 ’11 8:15 PM – $40 – Pre-concert Talk 7:15 PM

BEETHOVEN String Quartet in C minor, Op. 18 No. 4
WEBERN Langsammersatz
WEBERN Five Movements for String Quartet, Op. 5
BEETHOVEN String Quartet in A minor, Op. 132

++ VOICE SERIES ++

ALEK SHRADER, tenor (Spivey Hall Debut) & ROGER VIGNOLES, piano – Sun Nov 7 ’10 3 PM –$40 – Pre-concert Talk 2 PM
JUBILANT SYKES, baritone & CHRISTOPHER PARKENING, guitar – Sat Dec 4 ’10 8:15 PM – $50

JOYCE DIDONATO, mezzo-soprano & JULIUS DRAKE piano – Sun Feb 20 ’11 3 PM – $50 – Pre-concert talk 2 PM

STILE ANTICO – Sun Apr 3 ’11 3 PM – $40 – Spivey Hall Debut

CHANTICLEER – Sat Apr 30 ’11 8:15 PM – $50

++ GUITAR SERIES ++

ROLAND DYENS – Sun Oct 3 ’10 3 PM – $35 – Spivey Hall Debut

CHRISTOPHER PARKENING, guitar & JUBILANT SYKES, baritone – Sat Dec 4 ’10 8:15 PM – $50

LOS ANGELES GUITAR QUARTET – Sun Feb 13 ’11 3 PM – $40

JOHN WILLIAMS – Sun Mar 20 ’11 3 PM – $60 – Spivey Memorial Concert

++ ORGAN SERIES ++

JANE PARKER-SMITH – Sat Oct 9 ’10 3 PM – $30 – Pre-concert Talk 2 PM

RICHARD MORRIS – Sat Jan 29 ’11 3 PM – $30

RAUL PRIETO RAMIREZ – Sat Feb 19 ’11 3PM – $30 – Pre-concert Talk 2 PM – Spivey Hall Debut

PAUL JACOBS – Sat Mar 19 ’11 3 PM – $30 – Pre-concert Talk 2 PM

++ SPIVEY HALL 2011 SPRING BACH FESTIVAL ++

CECYLIA ARZEWSKI, violin
Sat Mar 5 ’11 8:15 PM – $25
and
Sat May 21 ’11 8:15 PM – $25
BACH: COMPLETE SONATAS & PARTITAS FOR SOLO VIOLIN

Mar 5:
Sonata No. 1 in G minor, BWV 1001
Partita No. 1 in B minor, BWV 1002
Sonata No. 3 in C major, BWV 1005

May 21:
Sonata No. 2 in A minor, BWV 1003
Partita No. 3 in E major, BWV 1006
Partita No. 2 in D minor, BWV 1004

PAUL JACOBS, organ – Sat Mar 19 ’11 3 PM – $30 – Pre-concert Talk 2 PM

Program to include works by J.S. BACH

HOPKINSON SMITH, German theorbo – Sun Apr 10 ’11 3 PM

J.S. BACH (arr. H. Smith) Suite No. 1 in G major, BWV 1007; Suite No. 2 in D minor, BWV 1008; Suite No. 3 in C major, BWV 1009

++ SPIVEY HALL CHILDREN'S CHOIR PROGRAM ++

Spivey Hall Young Artists & Spivey Hall Children’s Choir
Fri Dec 10 ’10 7 PM – $25 adults/$12.50 children

Spivey Hall Children's Choir & Spivey Hall Tour Choir
Sat & Sun, Dec 11 & 12, '10 3 PM – $25 adults/$12.50 children

Spivey Hall Young Artists & Spivey Hall Children’s Choir
Fri May 13 ’11 7 PM – $20 adults/$10 children

Spivey Hall Children’s Choir & Spivey Hall Tour Choir
Sat & Sun, May 14 & 15 ’11 3 PM – $20 adults/$12.50 children

++ JAZZ/SWING SERIES ++

Sat Oct 23 '10 8:15 PM - $45

JOSHUA REDMAN
Joshua Redman, saxophone
Reuben Rogers, bass
Gregory Hutchinson, drums

“At his best, Joshua Redman seems a class apart for technique, invention and artistry. This US maestro has contemporary saxophone covered” (Evening Standard, London). Hailed as a creative leader in jazz, Joshua Redman performs selections from his 2009 Nonesuch release, COMPASS, which “easily ranks among his most rewarding recordings” (The Washington Post).

www.joshuaredman.com

Sun Dec 5 '10 3 PM - $40

BAPTISTE TROTIGNON
Baptiste Trotignon, piano
Mark Turner, tenor saxophone
Matt Penman, bass
Gregory Hutchinson, drums

A favorite of European jazz festivals, the brilliant young French pianist Baptiste Trotignon, among the brightest talents on the international jazz scene, makes his Atlanta debut following the success of his latest CD release, SHARE.

Presented in collaboration with the French Consulate General in Atlanta

www.baptistetrotignon.com

Sat Dec 18 '10 8:15 PM - $40

JOE GRANSDEN’S BIG BAND HOLIDAY SHOW

Atlanta’s favorite jazz trumpeter returns to Spivey Hall with his own top-notch big band to swing into the holiday season.

www.joegransden.com

Sun Jan 23 ’11 3 PM – $40

THE GLENN MILLER ORCHESTRA

Nobody put more Americans "In the Mood" for great swing music than the legendary Glenn Miller, who fronted the most famous big band of all time. The hit-maker's legacy continues with The Glenn Miller Orchestra's incomparable performances of such beloved tunes as "Moonlight Serenade," "American Patrol," "Pennsylvania 6-5000" and "Chattanooga Choo-Choo." Treat yourself to wonderful music from the Swing Era that's sure to put a bounce in your step and a smile on your face.

www.glennmillerorchestra.com

Sat Jan 22 '11 8:15 PM - $40

MULGREW MILLER TRIO
Mulgrew Miller, piano
Derrick Hodge, bass
Rodney Green, drums

Spivey Hall welcomes back Mississippi-born Mulgrew Miller, a celebrated jazz pianist whose extensive performance schedule and acclaimed recordings have won him loyal fans internationally. “True to his blues-tinged upbringing, he’s a bop intellectual with an unabashed gift for populism. That explains both the thundering jabs in his sparking runs and the sleekness in his writing and arranging” (Time Out NY).

www.mulgrewmiller.com

Sat Mar 26 '11 8:15 PM - $40

RENE MARIE
VOICE OF MY BEAUTIFUL COUNTRY
Rene Marie, vocals
Kevin Bales, piano
Rodney Jordan, bass
Quentin Baxter, drums

“One of the most sensuous songbirds ever captured on disc, Rene Marie's torch burns hotter, and oft-times brighter, than any of her peers” (JazzTimes). For her long-awaited Spivey Hall debut, Rene Marie performs her acclaimed program, VOICE OF MY BEAUTIFUL COUNTRY, a uniquely personal mix of songs that have influenced her entire life.

www.renemarie.com

++ REGIONAL ENSEMBLES ++

Check our website, http://www.spiveyhall.org/, as well as our fall, winter and spring flyers, for details about other performances by Regional Ensembles that may be added throughout the season, or call the Box Office at (678) 466-4200.

Gaubert VIVANT! - A tribute to Philippe Gaubert
Nicolas Duchamp, flute & Barbara McKenzie, piano
Sun Oct 31 ’10 3 PM – $30

Atlanta Chamber Players / Paula Peace, artistic director
Sun Nov 14 ’10 3 PM – $30

Coro Vocati / John Dickson, conductor
Sun Dec 19 '10 3 PM – $25

Metropolitan Opera National Council Auditions
Sun Feb 6 ’11 **2 PM** – $35

Southern Crescent Chorale / Janice Folsom, conductor
Sun Feb 27 ’11 3PM – $15

Georgian Chamber Players
Sun Apr 17 ’11 3 PM – $30

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Bach's St. John Passion this Saturday...and Sunday chamber music

2010-04-28T13:26:00.000-07:00

A major work by one of the Western world's most enduringly influential composers is being given a rare performance at Spivey Hall this Saturday, May 1st, at 8:15 PM. Johann Sebastian Bach's Passion According to St. John will unite the William Baker Festival Singers & Chamber Orchestra, organist Sue Goddard, and six vocal soloists under the baton of Dr. William O. Baker. The vocal soloists are Clayton Jolly as the Evangelist (a critical part in both Bach Passions), Dr. Oral Moses as Jesus, soprano Arietha Lockhart, alto Thressa Gardner, tenor Matthew Perret, and bass Stephen Ozcomert.

This performance marks the culmination of the William Baker Festival Singers' 25th anniversary season. I don't believe either the St. John Passion or the St. Matthew Passion has been performed in Spivey Hall's 19-season history, though I may be wrong. (Unfortunately, Spivey Hall still does not have a complete database of performance repertoire accessible via computer, though we do have thousands of physical (paper) event files with performance information. Compiling such a database is no small feat...but I vow it will happen, someday soon -- certainly in time for Spivey Hall's 25th Anniversary.)

In any case, to experience this work is always an important musical event. The beauty of Bach's writing shines warmly in this piece. My last encounter with it was at the Ojai Music Festival in California several summers ago; the outdoor setting and sound system proved problematic for the artistic forces involved. No such worries at Spivey Hall: our superb acoustics are ideal for a performance of this nature.

Spivey Hall audiences have been growing accustomed to our odd-year Spivey Hall Bach Festivals (our third will take place in the spring of 2011). It's a pleasure to have a chance to hear this glorious and substantial composition by Bach in a non-festival year.

I'm also happy to report that Clayton State University (home to Spivey Hall) has a special tie to one of the artists in this performance. Among the performers in the William Baker Festival Singers is a CSU alumnus, Nelson Burke. A 2004 graduate of the Clayton State School of Business, Burke’s musical career began at an early age. His mother was a jazz pianist and vibraphone player. Burke sang in his high school choirs, and learned a little bass guitar, but he didn’t catch the music bug until the late 1990s when a friend introduced him to a project group called the Summer Singers of Atlanta, part of the William Baker Choral Foundation. A couple years later, Nelson successfully auditioned for the select group -- the William Baker Festival Singers. He continues to perform regularly both as a classical as well as a jazz singer.

What's more, popular Atlanta organist Sue Goddard is, I am told, one of the many people who knew (and to some degree was influenced by) the visionary founder of Spivey Hall, Emilie Parmalee Spivey, who of course was an organist herself, both at Atlanta's North Avenue Presbyterian Church and later at The Temple. At Spivey Hall we're always pleased when Emilie's magnificent Fratelli Ruffatti organ gets another opportunity to be played, heard, and appreciated.

The William Baker Festival Singers, a 40-voice ensemble, has produced 17 nationally released recordings in their 25 seasons, been featured in numerous radio and television programs, and toured across the South, including annual performances before capacity audiences at Charleston’s Piccolo Spoleto Festival.

Just remember: it's going to RAIN both Saturday and Sunday. So, do your gardening and lawn-work by Friday, and make plans to hear some great music this weekend at Spivey Hall.

Because, in addition to the St. John Passion, the GEORGIAN CHAMBER PLAYERS will treat us to Robert Schumann's delightful Piano Quintet in E-flat major, and two duo-piano works by Frederic Chopin: an early C-major Rondo and Camille Saint-Saens' arrangement of the renowned "Funeral March" Piano Sonata No. 2. Celebrated husband-and-wife team Valentina Lisitsa and Alexei Kuznetsoff take the spotlight in the Chopin pieces on the first half. Ms. Lisitsa is the solo pianist in the Schumann, and is joined by Georgian Chamber Players co-founders and ASO principals Reid Harris (viola) and Christopher Rex (cello), plus two special guests. One is the newly-appointed concertmaster of the Atlanta Symphony Orchestra, David Coucheron, who was been active with the ASO this season even in advance of his formal start this September. This will be the first chance that music-lovers at Spivey Hall get a chance to hear and welcome this important and highly promising young musician, who has also signed on as member of the Georgian Chamber Players. The other violinist in the Schumann is Rebecca Anderson, another remarkably accomplished young musician. Sunday's performance begins at 3 PM.

Both Saturday night and Sunday afternoon, I know I will be thinking often of Beth Newdome, a long-time member of the Georgian Chamber Players who passed away earlier this year following a valiant battle with cancer. I met her in my Atlanta Symphony days, when she was a member of the orchestra. Even after she moved to Florida State to take a teaching position, she continued her association with the Georgian Chamber Players and loved getting back to Atlanta to see her many friends and colleagues, and perform at Spivey Hall. I have many fond memories of her playing not just the violin (the esteemed concertmaster of the Boston Symphony, Joseph Silverstein, told me she had a truly wonderful natural talent) -- but also untold hands of bridge on the back of buses during the ASO's 1991 European Tour. She was a superlative musician, and a clever, funny, wonderful friend who will be dearly missed by the many people whose lives she touched. Listening to a Bach Passion always leads my thoughts to dwell on the meaning of our lives on this earth, and the Georgian Chamber Players are dedicating their Sunday performance to Beth's spirit. A memorial scholarship has been established in her name, and there's a fabulous picture of her at the scholarship website:

http://www.farfuture.net/bethnewdome/

Paying Tribute to Teachers...and the Spiveys

2010-04-16T14:26:00.000-07:00

Spivey Hall pays tribute to teachers at Saturday evening's 8:15 PM recital by critically-acclaimed guitarist Jason Vieaux, whose program encompasses a fascinating mix of works by Albeniz, Bach, Brouwer, and the legendary American guitarist Pat Metheny (in Vieaux's own arrangements sanctioned by Metheny). Since it's Spivey Hall's 2010 Teacher Appreciation Night, any teacher or educational administrator is welcome to attend this performance for FREE, and may purchase a companion ticket for just $10. It's our way of saying THANK YOU to educators for all they do, in the classroom and beyond, to make a positive difference in the lives of young people. Good seats are available; plus there's a post-concert cake-and-punch reception with Jason Vieaux afterwards. Tickets are available at the door on Saturday night, or call (678) 466-4200 to leave a message ( the box office opens at 7:15 PM).

We also pay our annual tribute to the visionary founders of Spivey Hall, Walter and Emilie Spivey, with Sunday's 3 PM recital by internationally celebrated pianist Richard Goode, who gives the 2010 Spivey Memorial Concert.He will peform two Preludes and Fugues from Book II of J.S. Bach's Well-Tempered Clavier, three Classical-period sonatas by Joseph Haydn, and Robert Schumann's marvelous Kreisleriana, one of the composer's hallmark works, rich with Romantic character. Richard Goode is revered the world over for his extraordinary depth of musical understanding and expression. As an added bonus, he will present a free pre-concert talk at 2:00 PM (one hour before concert) from the stage; his topic is Haydn's piano sonatas, and he will illustrate his talk with musical examples at the piano. A few tickets are still available, either online at http://www.spiveyhall.org/ or from the Box Office.

This recital promises to be one of the great artistic highlights of our 2009/10 concert season, which draws to a close in May. Come hear some great music while you can!

Spivey Hall 2010-2011 Season Announced

2010-03-19T11:54:00.000-07:00

I had the great pleasure of presenting the details of Spivey Hall's 2010-2011 season to a group of about 65 Friends of Spivey Hall (our donors) and special guests on Thursday evening, March 18th, at the residence of Drs. Bryan and Norma Edwards in Buckhead -- a beautiful high-rise condominum by the name of Gallery on Peachtree Road, with an interesting collection art work on display in the main-floor areas in which we were privileged to gather. Many thanks to our Friends Bryan and Norma for hosting us so graciously.

Spivey Hall's Twentieth Season includes important artists making their first Spivey Hall performances (often their Atlanta debuts) as well as favorite artists our audiences have greatly enjoyed in the past. The number of concerts is up from the current season, thanks to the enduring generosity of the Friends of Spivey Hall.

I am lastingly grateful to the Friends of Spivey Hall for their tremendous loyalty and the many ways in which they sustain Spivey Hall's artistic excellence and ongoing success. This 2010-2011 musical offering would be not possible without their support. Their gifts enable great music to thrive for tens of thousands of people who pass through the doors of Spivey Hall each year, as well as the millions of people who hear Spivey Hall performances via public-radio broadcasts. To the Friends, my heartfelt thanks.

I also wish to express my gratitude to our faithful subscribers (the core of Spivey Hall's audience) as well as the single-ticket buyers from more than seven states and 50 Georgia counties. The world's foremost musicians praise not only Spivey Hall's superb acoustics, but also its exceptional audiences -- rapt, attentive, appreciative, and enthusiastic. Artists yearn for audiences like this! The acoustical splendor of Spivey Hall enables a truly gratifying connection to be made between artist and audience, enabling great music to sound vivid and immediate in a very personal way. As fans of Spivey Hall will readily attest, such a connection inspires artists and audiences alike.

Last night also marked the debut of our 2010-2011 season book -- another elegant and attractive creation by our friends at U1 Design in Atlanta (thank you, Dale and Anthony, and thanks also to Spivey Hall
Marketing Manager Sue Volkert). The season book also includes details of performances by Clayton State University's Department of Visual and Performing Arts faculty, ensembles, and guest artists, all with free admission save for the Clayton State Opera (just $10 adults/$5 students).

The season book is presently being mailed to all Spivey Hall patrons of record who have purchased tickets in the past three years, and should be arriving in mailboxes in about ten days (depending on your local post office service). If your address has changed during that time, or you're not a member of that cohort and wish to receive a season book, just call the Spivey Hall Box Office at (678) 466-4200 or email spiveyhall@clayton.edu and our Patron Services staff will gladly send you a copy.

In the coming weeks, I'll be adding blog posts that give more details about the artists listed below, series by series. The artists' websites, Google, and YouTube can easily give you more information to augment the bare bones of what's listed below, and the descriptions published in the season book.

But for the time being, here are the details, listed below by series. Note that you don't have to purchase an entire series to subscribe -- they're listed in series simply because (as we've often been told!) patrons like to see the artists grouped by type. The season book also includes a chronological listing of all concerts announced to date, and we'll again publish our pocket-sized season mini-calendar to be sent out with tickets.

Subscriptions providing preferred seating are now on sale through May 31st, with subscriber discounts of 10% for four, five or six concerts purchased, and a 20% discount for a purchase of seven or more concerts.

We hope to have information about all the concerts, and individual concert listings, available on our website in early April, at which time single tickets will go on sale. both online and via the Box Office; however, single-ticket orders will not be filled until all subscribers are seated (call the Box Office for more details).

A great wealth of music performed by outstanding artists is in store for us! I look foward to welcoming you often to Spivey Hall next season!

Clayton State University – Spivey Hall
2010-2011 Concerts

PIANO SERIES

Louis Lortie – Sun Oct 17 ’10 3 PM – $45

A program of works by CHOPIN interweaving a selection of Nocturnes and Impromptus, culminating with the Piano Sonata No. 3 in B minor, Op. 38

Imogen Cooper – Sat Feb 26 ’11 8:15 PM – $45

HAYDN Sonata in E-flat major, Hob XVI/52
BEETHOVEN Sonata in D minor, Op. 31 No. 2, “Tempest”
BRAHMS Theme &Variations from String Sextet, Op. 18*
*transcribed for Clara Schumann in 1860
SCHUMANN Fantasiestücke, Op. 12

Haochen Zhang – Sat Apr 16 ’11 8:15 PM – $35 – Spviey Hall Spivey Hall Debut

Program to be announced. (IMPORTANT NOTE: The DAY and the TIME of this concert is, unfortunately, incorrectly listed in the season book -- more proof that we are human! The DATE (April 16, which happens to be a SATURDAY) is correct, and like all Spivey Series Saturday evening concerts, concert time is 8:15 PM. Apologies...we will make amends in future publications, and the tickets themselves will bear the correct day, date and time.)

Pierre-Laurent Aimard – Sat May 7 ’11 8:15 PM – $60 – Spivey Hall Debut
WAGNER Piano Sonata in A-flat major
BERG Piano Sonata, Op. 1
SCRIABIN Piano Sonata No. 9
LISZT Piano Sonata in B minor

STRING SERIES

Takacs Quartet – Sat Sept 25 ’10 8:15 PM – $50 – Pre-concert Talk 7:15 PM – Season Opening Concert

SCHUBERT Quartet Movement in C minor, D.703
HAYDN String Quartet in E-flat major, Op. 71 No. 3
DANIEL KELLOGG Soft Sleep Shall Contain You: A Meditation on Schubert's “Death and the Maiden”
SCHUBERT String Quartet in D minor, D. 810, “Death and the Maiden”

Jupiter String Quartet – Sat Nov 20 ’10 8:15PM – $40 – Pre-concert talk 7:15 PM – USA

BEETHOVEN String Quartet in G major, Op. 18 No. 2
KURTÁG 12 Microludes for String Quartet, Op.13
BEETHOVEN String Quartet in B-flat major. Op. 130

St. Lawrence String Quartet – Sat Feb 12 ’11 8:15 PM – $45 – Pre-concert talk 7:15 PM

HAYDN String Quartet in D major, Op. 74 No. 1
MENDELSSOHN String Quartet in E-flat major, Op. 12
JOHN ADAMS String Quartet (2009)*
*commissioned for and premiered by the SLSQ

Jupiter String Quartet – Sat Mar 12 ’11 8:15 PM – $40 – Pre-concert Talk 7:15 PM

BEETHOVEN String Quartet in C minor, Op. 18 No. 4
WEBERN Langsammersatz
WEBERN Five Movements for String Quartet, Op. 5
BEETHOVEN String Quartet in A minor, Op. 132

VOICE SERIES

Alek Shrader, tenor (Spivey Hall Debut) & Roger Vignoles, piano – Sun Nov 7 ’10 3 PM –$40 – Pre-concert Talk 2 PM

Jubilant Sykes, baritone & Christopher Parkening, guitar – Sat Dec 4 ’10 8:15 PM – $50

Joyce DiDonato, mezzo-soprano & Julius Drake, piano – Sun Feb 20 ’11 3 PM – $50 – Pre-concert talk 2 PM

Stile Antico – Sun Apr 3 ’11 3 PM – $40 – Spivey Hall Debut

Chanticleer – Sat Apr 30 ’11 8:15 PM – $50

GUITAR SERIES

Roland Dyens – Sun Oct 3 ’10 3 PM – $35 – Spivey Hall Debut

Christopher Parkening, guitar & Jubilant Sykes, baritone – Sat Dec 4 ’10 8:15 PM – $50

Los Angeles Guitar Quartet – Sun Feb 13 ’11 3 PM – $40

John Williams – Sun Mar 20 ’11 3 PM – $60 – Spivey Memorial Concert

ORGAN SERIES

Jane Parker-Smith – Sat Oct 9 ’10 3 PM – $30 – Pre-concert Talk 2 PM

Richard Morris – Sat Jan 29 ’11 3 PM – $30

Raúl Prieto Ramírez – Sat Feb 19 ’11 3PM – $30 – Pre-concert Talk 2 PM – Spivey Hall Debut

Paul Jacobs – Sat Mar 19 ’11 3 PM – $30 – Pre-concert Talk 2 PM

SPIVEY HALL 2011 SPRING BACH FESTIVAL

Cecylia Arzewski, violin – Sat Mar 5 ’11 8:15 PM – $25 & Sat May 21 ’11 8:15 PM – $25
BACH Complete Sonatas & Partitas for Solo Violin

Mar 5:
Sonata No. 1 in G minor, BWV 1001
Partita No. 1 in B minor, BWV 1002
Sonata No. 3 in C major, BWV 1005

May 21:
Sonata No. 2 in A minor, BWV 1003
Partita No. 3 in E major, BWV 1006
Partita No. 2 in D minor, BWV 1004

Paul Jacobs – Sat Mar 19 ’11 3 PM – $30 – Pre-concert Talk 2 PM
Program to include works by J.S. BACH

Hopkinson Smith, German theorbo – Sun Apr 10 ’11 3 PM
J.S. BACH (arr. H. Smith) Suite No. 1 in G major, BWV 1007; Suite No. 2 in D minor, BWV 1008; Suite No. 3 in C major, BWV 1009

Spivey Hall Children’s Choir Program

Spivey Hall Young Artists & Spivey Hall Children’s Choir
Fri Dec 10 ’10 7 PM – $25 adults/$12.50 children

Spivey Hall Children's Choir & Spivey Hall Tour Choir
Sat & Sun, Dec 11 & 12, '10 3 PM – $25 adults/$12.50 children

Spivey Hall Young Artists & Spivey Hall Children’s Choir
Fri May 13 ’11 7 PM – $20 adults/$10 children

Spivey Hall Children’s Choir & Spivey Hall Tour Choir
Sat & Sun, May 14 & 15 ’11 3 PM – $20 adults/$12.50 children

JAZZ/SWING SERIES

Details of the Spivey Hall 2010-2011 Jazz Series will be announced this summer. Subscription seating and discounts will still be available when the Jazz Series brochure is published and mailed. To request a Jazz Series brochure, call the Spivey Hall Box Office at (678) 466-4200 or email spiveyhall@clayton.edu.

One event is already confirmed and on sale:

The Glenn Miller Orchestra – Sun Jan 23 ’11 3 PM – $40

REGIONAL ENSEMBLES

Check our website, http://www.spiveyhall.org/, as well as our fall, winter and spring flyers, for details about other performances by Regional Ensembles that may be added throughout the season, or call the Box Office at (678) 466-4200.

Gaubert VIVANT! - A tribute to Philippe Gaubert
Nicolas Duchamp, flute & Barbara McKenzie, piano – Sun Oct 31 ’10 3 PM – $30

Atlanta Chamber Players / Paula Peace, artistic director – Sun Nov14 ’10 3 PM – $30

Coro Vocati / John Dickson, conductor – Sun Dec 19 '10 3 PM – $25

Metropolitan Opera National Council Auditions – Sun Feb 6 ’11 **2 PM** – $35

Southern Crescent Chorale / Janice Folsom, conductor – Feb 27 ’11 3PM – $15

Georgian Chamber Players – Sun Apr 17 ’11 3 PM – $30

Joshua Bell / Jeremy Denk recital: the show will go on

2010-02-13T09:10:00.000-08:00

Friday's snowfall gave most of Atlanta a covering of about 3 to 4 inches of white stuff we just don't see that often...! As I write, it's about 12:15 pm Saturday. My 3-mile drive to the campus was uneventful. Road surfaces receiving sunlight are dry in many places, though areas not receiving sunlight can be a little crunchy or slippery. Georgia Navigator shows mostly green for metro Atlanta, meaning that traffic is moving -- though, with any luck, for safety, at reduced speeds. And Weather.com predicts temperatures mostly above freezing until 8 PM, slipping a few degrees afterwards, though these predictions are a few degrees higher than they were yesterday at this time.

After a few adjustments to flight plans, both Joshua Bell and Jeremy Denk are indeed going to be at Spivey Hall for tonight's 8:15 PM recital. So, the show is on. The house is 99% sold out. We're putting out BOTH coat racks in the lobby! It's not hard getting to or around the Clayton State campus, though please be very careful as you walk to the Hall itself from the parking lot -- and wear sturdy cold-weather shoes (leave your Gucci loafers and Manolo Blahnik stilettos at home tonight!).

People attending Joshua Bell and Jeremy Denk's recital tonight may expect to hear one of the most exciting concerts of Spivey Hall's 2009/10 season.

Friends of Spivey Hall at the $100 level or more who cannot use their tickets tonight may call the Box Office at (678) 466-4200 to take advantage of their same-day ticket exchange privileges, if necessary. The Box Office will also be able to respond to any other ticketing questions.

Metropolitan Opera National Auditions results

2010-01-31T14:49:00.000-08:00

This afternoon Spivey Hall hosted the Southeast Region Final Auditions of the Metropolitan Opera National Council Auditions, in which 13 vocalists hailing from North Carolina, South Carolina, Georgia and Florida competed for the opportunity to advance to the National Finals at the Metropolitan Opera in New York. The Hall was full of opera-lovers eager to hear the these talented young singers.

And here are the results!

The Ryan Smith First Place Award went to soprano Leah Crocetto, age 30, of Florida, who sang "Ernani, involami" from Verdi's Ernani and "Chi il bel sogno di Doretta" from Puccini's La rondine.

The Second Place Award went to soprano Taylor Johnson, age 23, of South Carolina, who sang "Dilette amiche" from Verdi's I vespri siciliani and "Donde lieta usci" from Puccini's La boheme.

The Third Place Award went to mezzo-soprano Cynthia Hanna, age 27, of North Carolina, who sang "O mio Fernando" from Donizetti's La favorita and "Werther! Qui m'aurait dit la place" from Massenet's Werther.

Encouragement awards were given to baritone Joshua Conyers, age 21, of North Carolina, who sang "Hai gia vinta la causa" from Mozart's Le nozze di Figaro and "Come paride vezzoso" from Donizetti's L'elisir d'amore; and to tenor Samuel Levine, age 25, of Florida, who sang "Fra poco a me ricovero" from Donizetti's Lucia di Lammermoor and "The Ride to Rome" from Britten's The Rape of Lucretia.

The pianist for all of the prizewinners (and most of the contestants) was the Met Audition Southeast Region's staff accompanist, Ben Leaptrott.

The judges were Gregory Henkel, the San Francisco Opera's Director of Artistic Administration, Gayletha Nichols, Executive Director of the Metropolitan Opera National Council Auditions, and Robin Thompson, a classical performing arts consultant and long-time opera professional with major American opera companies, including the New York City Opera.

Another great afternoon of music at Spivey Hall, whose acoustics are so sympathetic to singing. Congratulations to all the contestants!

If you missed the Auditions, you can tune into Atlanta's WABE 90.1 FM on Monday, March 8th 9:00 PM to hear the radio broadcast produced by Tommy Joe Anderson and hosted by Robert Hubert, or listen to it streamed on the Internet at http://www.pba.org/ (click the "Listen now" button on the homepage, a little right of center).

JUST IN: Program details for Joshua Bell/Jeremy Denk and Gerald Finley/Julius Drake

2010-01-11T17:15:00.000-08:00

We've just received repertoire details for two important concerts in the coming months.

Supremely distinguished superstar violinist JOSHUA BELL and the excellent pianist JEREMY DENK return to Spivey Hall for a Saturday, February 13, 2010 recital at 8:15 PM -- a sold-out concert with a growing wait list.

This a fantastic program. Those lucky enough to have tickets are in for a real treat -- an experience that will be, without question, one of of the most high-energy and artisically memorable evenings of the 2009/10 season. The Schumann First Sonata glows with the true soul of German Romanticism, and the Grieg Third Sonata (the most popular and, I think, best of his three) is an especially lovely piece. Plus the eternal beauty of Bach to begin, and the spectacular Ravel Sonata to close. (Encores, too, I suspect are likely.)

J. S. BACH Sonata No.4 for Violin & Piano in C minor, BWV1017
Largo
Allegro
Adagio
Allegro

EDVARD GRIEG Sonata No. 3 for Violin & Piano in C minor, Op. 45
Allegro molto ed appassionato
Allegretto espressivo alla romanza — Allegro
Allegro animato

—Intermission—

ROBERT SCHUMANN Sonata No. 1 for Violin & Piano in A minor, Op. 105
Mit leidenschaftlichem Ausdruck
Allegretto
Lebhaft

MAURICE RAVEL Sonata for Violin & Piano (1927)
Allegretto
Blues: Moderato
Perpetuum Mobile: Allegro

Plus, Jeremy Denk will give a piano master class on stage at Spivey Hall earlier that day at 11 AM. Denk, a Bard College Conservatory of Music faculty member, will coach students and reveal insights in matters of technique, interpretation and style in his own inimitable, highly knowledgeable, and delightfully articulate way. Tickets are just $10.

Later in the season, on Sunday, March 14, 2010, the immensely gifted and widely celebrated Canadian bass-baritone GERALD FINLEY makes his Spivey Hall and Atlanta recital debut with the superb British pianist (and frequent Spivey Hall guest artist) JULIUS DRAKE, peforming songs they have recorded to enthusiastic critical acclaim on the Hyperion label. Clayton State University's Dr. Kurt-Alexander Zeller will give the pre-concert talk at 2 PM prior to the 3 PM performance.

This promises to be a totally delectable afternoon of music. If you love song recitals, do NOT miss this one! Good seats are still available from the Spivey Hall Box Office, (678) 466-4200, as well as online via our website.

The artists will perform:

ROBERT SCHUMANN: Heine settings

I
Tragödie I, II Op. 64 No.3
Der arme Peter I, II, III Op. 53. No. 3

II
Lehn’ deine Wang’ Op.142 No. 2
Es leuchtet meine Liebe Op.127 No.3
Dein Angesicht Op.127 No. 2
Mein Wagen rollet langsam Op.142 No. 4

III
Belsazar Op. 57
Die feindlichen Brüder Op. 49 No. 2
Abends am Strand Op. 49 No. 3
Die beiden Grenadiere Op. 49 No. 1

—Intermission—

MAURICE RAVEL: Histoires naturelles

SAMUEL BARBER: Four Songs
The Daisies
Solitary Hotel
Bessie Bobtail
Nocturne

CHARLES IVES: Four Songs
West London
In the Alley
Charlie Rutledge
Slugging a Vampire

And, of course (as my tombstone will read), "Programs and artists subject to change." But with any luck, the only change will be warmer weather -- we're still FREEZING in Atlanta! No more of this snow and ice stuff, please!

Blackout's bass player wins Thelonius Monk Award

2009-10-30T13:18:00.000-07:00

Stefon Harris and Blackout -- outstanding young jazz artists -- perform selections from their critically-acclaimed CD release, Urbanus, tonight (Friday, October 30th) at Clayton State University's Spivey Hall. Show time is 8:15 PM (one 90-minute set, no intermission), and tickets available at the door. (From Spivey Hall's website homepage, click on the picture of Harris & Blackout to learn more about what's in store.)

Ben Williams, Blackout's bass player, is the 2009 winner of the prestigious Thelonius Monk International Bass Competition. The New York Times ran the following news item about the competition. The award includes a cash award of $20,000. Take a look at the panel of judges (!!) -- major musicians all.

Spivey Hall is proud to welcome these extraordinarily talented jazz artists to Atlanta, who have just finished another successful run at Dizzy's Club Coca-Cola for Jazz at Lincoln Center.

October 11, 2009, 11:25 pm — Updated: 1:29 pm
Thelonious Monk Competition Winner Announced

By Ben Ratliff
The winner of the 2009 Thelonious Monk International Bass competition is Ben Williams. Mr. Williams, 24, originally from Washington, D.C. but now a strong and sought-after musician in New York, is a member of Blackout, Stefon Harris’s hip-hop-influenced band. He has also performed recently with groups led by Marcus Strickland (you can hear him on Mr. Strickland’s album “Idiosyncrasies”) and Jacky Terrasson.

He won in Sunday night’s finals, playing Oscar Pettiford’s “Tricrotism,” with a rhythm section including the pianist Geoffrey Keezer and the drummer Carl Allen, and Juan Tizol’s “Caravan,” with the singer Dee Dee Bridgewater joining the group.

Second and third place went to two other adopted New Yorkers: Joe Sanders, 25, originally from Milwaukee, and Matt Brewer, 26, from Oklahoma City.The annual competition (this was the 22nd edition) focuses on a different instrument each year. This year, 15 contestants on acoustic bass played for 12 minutes each at Baird Auditorium at the Smithsonian, in front of a panel of judges including Charlie Haden, Dave Holland, Bob Hurst, Christian McBride, and John Patitucci. The winner was announced after the concert and finals at the Kennedy Center in Washington. The first prize is $20,000, to go toward college-level music scholarships, and a recording contract with Concord Records.

You can hear Mr. Williams with Stefon Harris and Blackout on the band’s recent album, “Urbanus,” or during its run of shows Oct. 22-25 at Dizzy’s Club Coca-Cola in New York, www.jalc.org/dccc.

As at Spivey Hall, so at Carnegie Hall

2009-10-06T08:14:00.000-07:00

Carnegie Hall's website has two audio clips about Christine Brewer's imminent recital there, which follows her Spivey Hall debut this Saturday with the same program.

http://www.carnegiehall.org/article/box_office/events/evt_11862.html?sourceCode=8700

Both clips include snippets of Christine's singing. Give a listen to Jeremy Geffen's description of Christine as a leading dramatic soprano not just of strength and power, but also of remarkable subtlety and nuance.

This season and every season, there are several artists performing at Spivey Hall who have just performed or are about to perform at Carnegie Hall. It's a pleasure to be in such good company!

Tickets are still available in both locations...but at Spivey Hall, you can experience her recital in the intimacy of a 392-seat hall with excellent acoustics, you can greet Christine Brewer and Craig Rutenberg afterwards, and we serve free soft drinks and (new this season) coffee and tea at intermission.

Plus, there's free, easy and convenient parking, and you don't have to hop on a plane to La Guardia or JFK! Not bad, eh?

Glorious singing: soprano Christine Brewer

2009-10-02T09:38:00.000-07:00

There's no question about it: internationally-celebrated American soprano Christine Brewer has a truly magnificent voice. But a voice, no matter how impressive its sound, is not enough when it comes to the art of the song. In order for a singer to communicate fully to the audience, the singer must demonstrate, moment by moment, an intimate understanding, and a relationship with the meaning, of the words she is singing.

I'm proud to have known Christine Brewer for almost twenty years. When she made her first appearance with the Atlanta Symphony in the early 1990s (performing and recording the Dvorak Stabat Mater under the direction of Robert Shaw), I was the ASO's artistic administrator. Christine amazed and delighted everyone. Soon thereafter, I took a similar position at the Saint Louis Symphony. Sadly, the Saint Louis Symphony Chorus' beloved director, Thomas Peck, passed away in my time there. At his memorial service at Powell Symphony Hall, Christine (who is from the Saint Louis area and enjoyed a special relationship with Tom) sang. One of her selections was a Harold Arlen song. She performed it with tremendous heart, conveying the meaning of the words with profound sincerity, warmth, and beauty, in a very natural, loving way. She moved everyone deeply. I have often remembered the spirit she summoned through the artistry of her singing that day.

Her career has skyrocketed since she first came to Atlanta, where she is rapturously welcomed by enthusiastic Atlanta Symphony audiences in her frequent appearances. She is also a favorite recitalist at one of the world's foremost recital halls, London's Wigmore Hall, which presents so many renowned singers each season.

Finally, Christine's many fans in Atlanta may experience the magic she can conjure up in recital. She is (at last) making her Spivey Hall recital debut, on Saturday evening, October 10th. Her pianist is the excellent Craig Rutenberg, who in addition to his work at the Metropolitan Opera is a frequent collaborator in performances, recordings and broadcasts with major singers worldwide.

She has created a program of works with texts -- and music -- of extraordinary richness. Proofreading our program book for her recital, I was struck by the headiness of the Romantic texts, and the musical sumptuousness, of so many the songs Christine will sing, especially in the Wagner, Strauss and Marx works on her program.

Richard Wagner's Wesendonck Lieder foreshadow, in various aspects, the passion of Tristan und Isolde. In the second, "Stehe still!" (Be Quiet!), mortal man contemplates eternity through love:

When one eye another drinks in bliss,
And one soul into another sinks;
One nature in another finds itself again,
And when each hope's fulfillment is finished,
When the lips are mute in astounded silence,
And no wish more does the heart invent:
Then man recognizes the sign of Eternity,
And solves your riddle, holy Nature!

Since Christine first announced the details of her program, I have been waiting for the moment when she will sing Richard Strauss' "Befreit" (Relieved, Op. 39 No. 4), a song in which sound and sense are forged into a powerful beauty of spirit, inspired by love, life and death:

You will not cry. You will smile very gently;
and as if you were departing I return your glance and kiss.
Our dear four walls!
You furnished them and decorated them,
I turned them into your world --
O, happiness!

Then you will ardently grasp my hands
and will leave me your soul,
leaving me behind with our children.
You gave me all your life,
I want to give it back to them --
O, happiness!

It will happen very soon, we both know.
We have relieved each other from the pain,
so I'll give you back to the world.
Then you will appear to me only in my dreams
and bless me and weep with me --
O, happiness!

Joseph Marx's "Selige Nacht" (Blissful night) is similarly evocative:

In the arms of love we slumbered blissfully,
at the open window the summer wind listened,
and carried away the peacefulness of our breathing
into the moonlight.

And from the garden the fragrance of roses cautiously
swept over our bed of love
and gave us wondeful dreams.
Dreams of desire, so full of longing.

Such rich words. Such opulent music by which to extend them and add dimensions of meaning to their sound. Such wonderful opportunties for expression! I'm so eager to hear what Christine will make of them in Spivey Hall's excellent acoustics, which singers truly relish.

In the program's second half, words continue to hold pride of place with music, in the pungently witty Cabaret Songs that Benjamin Britten set to texts by poet W.H. Auden. These, too, provide ample occasions for the singer to create character through sound, especially with the inflection of words, careful nuance of dynamics, and finely calibrated timing and delivery. (Be sure to watch Christine's facial expressions during these.) There are some passing moments of humor, but generally they carry a bitter aftertaste...truth conveyed with world-weariness and sardonic wisdom. The Cabaret Songs assume a sombre mood to close, with "Funeral Blues" -- a poem that film audiences know from the funeral scene in the Hugh Grant/Andie MacDowell hit Three Weddings and a Funeral. Britten's music give the words vivid coloring. The final quatrains:

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song:
I thought that love could last forever: I was wrong.

The stars are not wanted now; put out every one.
Pack up the moon and dismantle the sun,
Pour away ocean and sweep up the woods;
For nothing now can come to any good.

Definitely not jolly...but undeniably affecting. Words and music masterfully combined. If you've not heard these songs before, I imagine they'll stay with you long after the recital's over.

Following the Cantata by American composer John Carter, which draws artfully on the traditions of the African-American spirtual (revealing yet another dimension of Christine Brewer's amazing artistry -- be prepared for a mighty finale), the formal program closes with a selection of songs in English entitled Echoes of Nightingales -- songs that describe not only birds, hills, landscapes, and other manifestations of the natural world, but also the wealth of human emotion they inspire. The texts to some are artful and picturesque, others simpler and more direct, such as "If I Could Tell You" (music by Idabelle Firestone (1874-1954), text by Madeleine Marshall (1899-1993)):

If I could tell you
The thoughts I cherish
And all the ways you are dear to me.

A tender feeling
Of love revealing
When e're your smiling face I see.

I could capture
The blue of heaven
That wondrous rapture
Within your eyes.

If I could tell you
Of my devotion
If I could pledge all my love so true.

Then my confession
Would find expression
In all the music my heart sings to you!

Words and music. Heart and soul.

A great experience awaits us in the presence of Christine Brewer and Craig Rutenberg, who open Spivey Hall's nineteenth season of concerts by distinguished international musicians. I look forward to welcoming them, and the fortunate music-lovers who get to hear them, on October 10th. As always, fine music, superbly performed by outstanding artists, is the ultimate reward at Spivey Hall.

Daniel Pyle performs organ music by Bach and Alain - Friday, Sept 18

2009-09-11T10:29:00.000-07:00

Clayton State University music faculty member Daniel Pyle gives the first of the 2009/10 season's recitals at Spivey Hall, performing organ works by German baroque master Johann Sebastian Bach and modern French composer Jehan Alain (1911-1940). Admission is free (no tickets are required) for this concert, presented by the Department of Visual and Performing Arts on Friday, September 18, 2009, at 7:30 PM.

Alain's organ teachers included Marcel Dupre, and Paul Dukas was among those who taught him composition. His style reflects the influence of the major French composers of his time (Debussy and Messiaen) while also incorporating Asian and jazz influences into some of his works.

Wikipedia.com (not always the most scholarly or accurate of sources, but generally informative) tells us:

Always interested in mechanics, Alain was a skilled motorcyclist and became a dispatch rider in the 8th motorized armor division of the French Army. On June 20, 1940, he was assigned to reconnoitre the German advance on the eastern side of Saumur, and encountered a group of German soldiers at Le Petit-Puy. Coming around a curve, and hearing the approaching tread of the Germans, he abandoned his motorcycle and engaged the enemy with his carbine, killing sixteen of them before being killed himself. He was posthumously awarded the Croix de Guerre for his bravery, and according to [musicologist] Nicolas Slonimsky, was buried, by the Germans, with full military honors.

(I personally know of no living organists who are also courageous patriots on motorcycles, but the world of organists is large and highly diverse -- thus I should not be surprised if some do exist! Hmm...I wonder what organist-in-residence Richard Morris would look like on a Harley-Davidson...)

The Alain works Professor Pyle will perform are Litanies; Aria; Variations on a Theme by Clement Jannequin; and, with his wife, flautist Catherine Bull, Three Movements for Flute and Organ.

His program also includes a generous offering of works by Bach: the Toccata and Fugue in F major, BWV 540; Variations on "Sei gegruesset, Jesu guetig," BWV 768; the Passacaglia in C minor, BWV 582, and the Prelude and Fugue in E minor, BWV 548 (nicknamed "The Wedge" owing to a particular quality of one of its themes).

Spivey Hall's organ is a magnificent Fratelli Ruffatti pipe organ, custom made for us in Padua, Italy. With its three manuals, and 4,413 pipes organized into 77 ranks, it contains a wealth of expressive possibilities for performing a wide range of repertoire, as demonstrated by a host of distinguished international organists who have appeared here its dedication concerts in 1992. Simply put, it's an exceptionally fine concert organ.

Because of the very special tonal qualities of the pipes created for an organ, each instrument is unique. No two are quite alike. Thus performances of the same Bach piece played by the same organist on two different organs (even those with similar pipes) will each have its own distinct sound. Music-lovers attuned to the special characters of pipes take great pleasure in hearing familiar works through the aural spectrum of different pipe organs' unique tonal personalities.

Moreover, in performing any work, the organist makes critical choices in realizing what's written in the score by deciding which pipes to deploy at any given moment of the piece. Some composers, chiefly modern and contemporary composers, are quite explicit about their expectations; but in any performance, the taste and imagination of the organist is revealed not just in articulation and phrasing, but also in his highly personal selection of pipe combinations, thereby creating the color and texture of the sound that conveys so much meaning to the listener.

Bach, of course, was known throughout Germany for his expertise in evaluating organs, and would often be called upon to give new instruments a thorough work-out and assessment. With his deep knowledge of the instrument, Bach wrote virtuosically for the organ, not just in the conception of his works, but in their performance. Alain, inspired by and trained in the great traditions of the French school, will also provide Professor Pyle ample opportunities to explore and exploit the tonal characteristics of Spivey Hall's Albert Schweitzer Memorial Organ.

If it weren't for Emilie Spivey's love of the organ, there wouldn't be a Spivey Hall. An organist at Atlanta's North Avenue Presbyterian Church, as well as at The Temple, she was also a friend of the legendary American concert organist, Virgil Fox. Thus it's quite fitting that the first recital of Spivey Hall's 19th concert season features the organ.

A glorious sound pours forth from our organ, especially with Spivey Hall's superb acoustics, and in major climaxes, the listening experience never fails impress when the sound physically surrounds you, palpable even through your feet on the floor...!

Early next month, we will also begin welcoming our visiting guest artists, starting with the internationally- celebrated American soprano, Christine Brewer (a star of the world's foremost opera, concert and recital stages), with pianist Craig Rutenberg (from the Met Opera's music staff) on Saturday, October 10th. Subscriptions are still available by calling the Box Office at (678) 466-4200. Single tickets may be purchased by phone (no service charge!) or by ordering through our website, www.spiveyhall.org (a per-ticket fee, paid to our online ticketing service provider, applies to website sales).

More soon about the artists and programs in store for us this season -- and some thoughts still echoing in my head from extensive travels this summer to hear music and musicians.

Notable book signing in Atlanta this Wednesday, June 24

2009-06-22T15:23:00.000-07:00

An Atlanta resident, musician, and Spivey Hall patron, Zhanna Dawson, is the focus of a recent book by her son, journalist Greg Dawson, entitled Hiding in the Spotlight. Her story is truly extraordinary. As described in a review by Publisher's Weekly:

In this remarkable recreation of the WWII years, Dawson, a columnist at the Orlando Sentinel, writes about his mother, pianist Zhanna Arshanskaya in an account reminiscent of Wladyslaw Szpilman's The Pianist. As a child in the Ukraine, Zhanna was offered a scholarship to the Moscow State Conservatory.

Her life changed in 1941 when Nazis grouped her Jewish family with thousands to be executed; Zhanna and her sister, Frina, escaped to roam the countryside as fugitives, hiding and surviving. With a new name and a non-Jewish identity, Zhanna performed for unsuspecting Nazis. Arriving in New York in 1946, the sisters enrolled at Juilliard on scholarships. Zhanna married violist David Dawson, and the couple moved in 1948 to Bloomington, Ind., joining the music faculty at Indiana University.

To research his mother's homeland, Dawson traveled to Ukraine, including Dorbitsky Yar, where 15,000 Jews were murdered, among them Zhanna and Frina's parents. On a memorial listing the dead, Dawson was shocked to find his mother's name: “I had come that close to nonexistence.” With italicized selections from his mother's own writing, Dawson skillfully weaves the story of her life and music into a vibrant tapestry, tattered and torn, yet triumphant.

Greg and Zhanna Dawson will be at the Buckhead Barnes & Noble (2900 Peachtree Road NE, Atlanta, GA 30305, 404-261-7747) this Wednesday, June 24, at 7:00 PM for a special booksigning event. I imagine not a few of Spivey Hall's pianophile patrons will recognize Zhanna; she was also featured recently in The Atlanta Journal-Constitution in relation to the book's release. I look forward to seeing them there, and encourage you to attend as well!

More about Greg, Zhanna, and Hiding in the Spotlight: http://www.hidinginthespotlight.com/

mezzo Magdalena Kozena...and violinist Julia Fischer

2009-05-07T10:43:00.000-07:00

The extraordinary Czech mezzo-soprano Magdalena Kozena returns to Spivey Hall Friday night (May 8 at 8:15 PM), an event I've long awaited. In her last appearance, she sang operatic arias by Gluck and Rameau with Les Violons du Roy and Bernard Labadie. This time, she performs a recital of songs by Purcell, Schumann, Duparc, and Berg.

The Robert Schumann songs are his cycle Frauenliebe und -Leben, the centerpiece of her 2006 New York recital. Here are excerpts of what Anthony Tommasini had to say in his New York Times review, "Clear Views on Life and Love" (Nov 21 '06):

You might think that for an important New York recital a noted mezzo-soprano would be wary of performing a chestnut like Schumann’s “Frauenliebe und Leben.” This classic song cycle tells the story of a young woman in love, from first crush to wedded bliss to motherhood and, in its despairing final song, widowhood.

On Sunday afternoon at Alice Tully Hall, the Czech mezzo-soprano Magdalena Kozena. . .made this cycle the major work on her much-anticipated recital. Her vocally elegant, emotionally direct and stylistically aware performance recaptured the poignancy and originality of this inspired Schumann work. [. . .]

She brought Mozartean clarity to her account of the Schumann, a refreshing break from the weighty, overly emotive performances this intense cycle often receives. Ms. Kozena boasts a true lyric mezzo-soprano voice, with dusky colorings that stem from her low register yet carry through into her shimmering high notes.

She sang the first song, “Seit ich ihn gesehen,” in which the protagonist tells of being blinded to everything but the image of her beloved, almost as a confessional. The tenderness she conveyed as the character’s progress through womanhood continued was undercut by intimations of tragedy. . . .

Her Purcell set (in Benjamin Britten's edition) includes favorites such as "Music for awhile." I'm also looking forward to the colorfully atmospheric French songs by Duparc (more familiar music that retains its freshness when sung with spirit), as well a work that will be an important discovery for some: Alban Berg's amazing Seven Early Songs, which close her formal program with Czech pianist Karel Kosarek. I last heard the Seven Early Songs last September in Milano -- they require "active listening" (attention and energy) from the listener, but can evoke an incredibly beautiful, soulful, ethereal yet deeply personal world -- as an artist the stature of Kozena can summon up. Come hear Kurt Zeller's pre-concert talk at 7:15 PM and you'll gain a great understanding of what to expect. I predict the effect will be magical.

The last of our visiting guest artists for the 2008/09 season is the phenomenal young violinist, Julia Fischer, who makes her Spivey Hall debut on Saturday, May 9 at 8:15 PM. For someone still in her 20s, she is exceptionally accompished. Her recordings wins prize internationally (she's now exclusive to Decca). She's a faculty member of a distinguished music school in Frankfurt -- one of the youngest ever to be so appointed. She enjoys huge popularity worldwide. She's invited to perform with the world's leading orchestras and conductors. She's an avid chamber musician. And if this weren't enough, she also made her concerto debut in Frankfurt as a pianist in the Grieg Concerto. The mind boggles....

Atlanta audiences applauded her performances of the Tchaikovsky Violin Concerto a few seasons back. Spivey Hall audiences will hear her perform Mozart, Prokofiev, Beethoven, and Martinu sonatas for violin and piano with her recital partner, Milana Chernyavska (also making her debut). We may expect to be dazzled.

Sunday at 3 PM, we welcome the Georgian Chamber Players for their spring Spivey Hall concert (a late addition to our season), featuring two heady Russian Romantic works: the lyrical Arensky Piano Trio in D minor, and Taneyev's G-minor Piano Quintet (Taneyev was the soloist who premiered Tchaikovsky's Piano Concerto No. 1). Ukraine-born pianist and GCP member Valentina Lisitsa takes the spotlight in both pieces, and the GCP members are joined by guest violinist Maria Bachmann, a highly accomplished soloist, chamber musician, and recording artist. Tickets are $30 (not $40 as our postcard erroneously stated -- apologies!). If mom likes chamber music, come celebrate Mother's Day at Spivey Hall.

Next weekend: the Spivey Hall Children's Choir annual spring concerts...and the season will draw to a close. It's been a great one, with immensely rewarding performances, several of which will stay with me for years to come.

More soon on other topics, including next season, already announced, with subscriptions coming in steadily. Thank you, thank you, THANK YOU, loyal Spivey Hall patrons!

Springtime chamber music...and ducklings

2009-04-24T13:58:00.000-07:00

Spring is truly here and the weekend weather will be wonderfully sunny and warm. Our Spring Bach Festival continues on Sunday (April 23) at 3 PM, when three outstanding instrumentalists -- Emmanuel Pahud (flute), Trevor Pinnock (harpsichord) and Jonathan Manson (cello) -- perform Bach Flute Sonatas; their EMI recording of these works was released back in October. Each musician takes a solo turn as well, so we'll also have the pleasure of hearing Bach's First Suite for Unaccompanied Cello, Telemann's flute Fantaisie in D major, and a Purcell Suite in A minor for Harpsichord. (It's been long time since we've heard solo harpsichord in recital at Spivey Hall. ) I love the program's mix of works. This promises to be an utterly delightful performance.

Mr. Pahud, an EMI recording artist and principal flute of the Berlin Philharmonic, has performed at Spivey Hall to critical and popular acclaim in past seasons. We gladly welcome him back. Mr. Pinnock -- a leading figure in historically-informed performance, as well as founder and long-time conductor of The English Concert, with which he made many superb recordings -- makes his Spivey Hall debut, as does Mr. Manson, who is principal cellist of the Amsterdam Baroque Orchestra and active in other early-music circles and ensembles. Clayton State University Music Department faculty member Dr. Kurt-Alexander Zeller gives the pre-concert talk at 2 PM, which never fails to give patrons effective ways of enhancing their appreciation and understanding of the music to be performed.

I do believe this Bach Festival program will suit the mood of our springtime Sunday afternoon very well. As much as I love Mahler's Sixth Symphony, which the Atlanta Symphony is performing with Donald Runnicles this week, I confess that I'm just not ready to contend with its anguish, darkness and angst when the weather's this fine and my mood is up.

Weather was an issue for the Atlanta Chamber Players earlier this season -- their March 1st Spivey Hall concert got SNOWED out...! Thankfully, schedules in April somehow meshed, so the rescheduled performance takes place tomorrow (as I write), Saturday, April 25, at 8:15 PM. Theirs is a program of three beautiful works. Beethoven's Serenade for Flute, Violin, and Viola features ASO principal flute Christina Smith, with her ASO colleagues violinist Justin Bruns and violist Catherine Lynn; more woodwinds in the spotlight, with Poulenc's delightful and very effective Trio for Piano, Oboe, and Bassoon, in which ACP artistic director and pianist Paula Peace is joined by ASO principal oboe Elizabeth Koch and principal bassoon Carl Nitchie. After intermission, and with the participation of ASO players John Meisner (violin) and Brad Ritchie (cello), the program concludes with the Piano Quintet in E major, Op. 15, of Erich Wolfgang Korngold, known for his fabulous film scores from the golden days of Hollywood, but also the opera "Die tote Stadt." His musical language is richly Romantic, his textures embrace the voluptuous, and his melodies can be very shapely indeed. I've only ever heard the Korngold Piano Quintet on CD, so I'm looking forward to hearing it performed live.

Another sign of spring: the waterfowl around Spivey Hall who call Swan Lake home have been nesting, and ducklings are in evidence! I know I'm something of a broken record on this topic (and I guess that phaseology dates me a bit), but the ducklings are my favorites. They always make me smile. One of the swans on the lake has been especially aggressive in chasing away the Canada geese from a specific area, so it's likely they're expecting, too. Cygnets always draw special ooohs and aaahs from Spivey Hall patrons, who enjoy strolling lakeside before performances and during intermission, particularly on bright afternoons. So perhaps a ballet of the newly-hatched chicks (pace Mussorgsky and Pictures at an Exhibition) may also entertain us on Sunday.

Welcoming back Chanticleer

2009-04-14T19:54:00.000-07:00

Some of Spivey Hall's happiest days are when Chanticleer sings here. The twelve talented men of Chanticleer are tremendous audience favorites everywhere they perform -- based in San Francisco, they travel the world -- but they are especially welcome at Spivey Hall, where they sing frequently, to our great delight.

Chanticleer's a cappella artistry is ideally suited to the intimate size and acoustical wonders of Spivey Hall -- we can see the singers easily, we can hear them beautifully. Our connection to their music-making is complete, and thus immensely satisfying. In this magnificent setting, we can appreciate every nuance of what they sing, be it a 17th-century sacred Mexican work, a favorite American shape-note song, a new work written especially for Chanticleer, or a rousing spiritual.

Such a variety of music as this awaits us this Friday and Saturday, April 17 and 18.

Friday's program is "Wondrous Free," which traces interlacing traditions of American song. The title is taken from the first line of what may be the earliest surviving American secular composition, "My Days Have Been So Wondrous Free" -- with words by Doctor Parnell, and music by a friend of George Washington and a signer of the Declaration of Independence, Francis Hopkinson. Craig Russell writes poetically in his introduction to this program:

American song reflects its geography and its histories; it is not a singular path nor a story of a single people, but instead is a flowing, ever-evolving stream of peoples and stories that weave together much like the tributaries of the Mississippi. And like that river, it is broad, awe-inspiring, and always changing in its course. American song, too, is like the American landscape: it can be rugged like the Rockies, contemplative and reverent like the swatch of colors painted across the Blue Ridge, kinetically rhythmic like the trains on their rails as they run into Chicago, or serenely introspective like the waves that wash ashore on the Outer Banks of North Carolina. Like Montana's "big sky," American song has a breadth of horizon that seems to have no limiting boundary.

The program is in eight sections, spanning a group of early American songs; Mexican works of the 1600s; two humorous madrigals by P.D.Q. Bach (1807-1742)?, "edited with feeling by Professor Schickele," namely, "The Queen to Me a Royal Pain Doth Give" and "My Bonnie Lass She Smelleth," guaranteed to lighten the mood of the evening, incite some smirking and laughter, and linger in your memory (whether you want them to or not!); and the three gorgeous songs of the young Samuel Barber's Reincarnations, inspired by Irish poetry.

Plus there's a work by the celebrated Native American composer Brent Michael Davids (b.1959), Night Chant, a prelude to love-making set to a movingly simple and direct text in Mohican words and Native American "vocables," the evocative translation of which I can't help but transcribe:

I have something I want to say to you.
It's night. Let's sleep together.
We're beautiful. We're beautiful.
It's right. It's right. It's right. It's right.
My heart is at peace.
My heart is at peace.

The program continues with two other contemporary American works: The Homecoming (In Memoriam Martin Luther King, Jr.) by David Conte to text by John Stirling Walker (composed for Chanticleer) and "Sleep, My Child" from Eric Whitacre's musical/opera Paradise Lost: Shadows and Wings (specially transcribed for Chanticleer). Following a set of Stephen Foster songs (which no program surveying American song could be without), Chanticleer will close the program with a selection of folk songs, popular songs and spirituals to be announced.

And that's just the FIRST program. On Saturday, we have "Divine Tapestry," which includes the early American and Mexican works that open Friday's program, but then explores connections between plainsong (Gregorian chant) and historically important composers Tomas Luis de Victoria (1548-1611) and Josquin Desprez (ca. 1450-1521), going on to embrace three very different Russian, English and German sacred works by Pavel Chesnoskov, John Tavener, and Franz Biebel, and concluding with three American spirituals -- "Rock a My Soul," "Deep River," and "Hold On!" -- sung as only Chanticleer can sing them, the first and last in arrangements by Chanticleer's esteemed artistic advisor (and Georgia native), Joseph Jennings.

This extraordinary program is performed without intermission, which I believe is done to heighten the intensity of the musical experience in store for us. Spivey Hall dedicates this program to the memory of Dorothy ("Dotty") Davis -- like her husband, Wilkes (now living in Florida), a passionate fan of Chanticleer, an ardent Spivey Hall subscriber, and a Charter Member of The Friends of Spivey Hall. Dotty, herself a singer, who passed away in October 2007, truly cherished Chanticleer. We'll be thinking of her this Saturday night, and I'm sure she'll be with us in spirit.

As if you couldn't tell, I'm also an enthusiastic member of the Chanticleer fan club. What an incredible range of musicianship these two programs require. What fascinating juxtapositions of works they contain. And what phenomenal stylistic versatility Chanticleer commands! These singers are simply amazing.

When first I received the two programs' repertoire details, I got very excited. Perhaps too excited...because in response to earlier versions of our promotion of these concerts, I received some feedback indicating we might be dwelling too heavily on the historical and musicological aspects of the programs -- to put it bluntly, "too much information" -- which may have been a bit hard for people to digest.

That was hardly my objective! Don't get me wrong, and don't let the details distract you. The main attraction is -- and always is -- CHANTICLEER! And Chanticleer delivers the musical goods in deeply gratifying ways! Still, I'm sure I'm not alone among music-lovers who hunger for interesting repertoire, so carefully chosen and prepared, that feeds our imaginations and sense of discovery, with fantastic programs like these.

What Chanticleer brings us is unique. Their visits to Spivey Hall are memorable because their musicianship is great, they sing with plenty of heart, WHAT they sing is so interesting, and the feeling they create in the hall with the audience is so palpable, so strong, and so rewarding. It's a feeling that reminds me of a patron's comment after he heard the Academy of Ancient Music perform the six Brandenburg Concertos with such success a few weeks ago: "THIS is what Spivey Hall is all about." Amen!

I'm personally grateful that Chanticleer is including in this visit to Atlanta a session with three high school men's choruses. On Friday, they're going to Starr's Mill High School in Fayetteville to lead a master class. The ensembles performing are Sandy Creek High School (Millie Turek, director); McIntosh High School (Amy Foster, director); Starr’s Mill High School (John Odom, director).

Chanticleer makes a practice of reaching out to young musicians to enhance their understanding of the art of a cappella singing. This is how important musical traditions are carried forward. Much great music-making unquestionably starts with the notes and the score, but goes far beyond it in ways that aren't always written down -- instead, the insights of great artists are passed from one generation to the next through performance, by teaching one-on-one, and by conveying ideas that can best be understood through sound, as musicians give them to each other. We're hoping that the young singers will be as enthralled by Chanticleer as audiences are, and that their time together will reap valuable musical benefits for everyone.

Friday's concert is getting close to selling out (UPDATE on Friday afternoon: only a very few tickets remain!). Saturday's is not far behind, but there are a still few more seats available for Saturday.

Don't hesitate! Chanticleer can recharge your musical batteries and give you a sense of well-being like few ensembles can. Come listen, and be inspired.

(A note to my friend and blog reader, Greg: I hope this font size makes for easier reading. Sometime this summer, I'm going to find a way to change the blue background of my blog, to enhance the general legibility of my posts.)

Bach Festival Opener: The Brandenburg Concertos

2009-03-26T11:10:00.000-07:00

The Spivey Hall 2009 Spring Bach Festival opens this Sunday with a feast of Johann Sebastian's most popular instrumental works: all six of the Brandenburg Concertos, performed by London's Academy of Ancient Music under the direction of harpsichordist Richard Egarr, who's featured as a soloist in the Fifth Brandenburg.

The timing is perfect for our Spring Bach Festival. The flowering trees on the Clayton State University campus are resplendently in bloom. And the ducks, geese and swans are nesting (there are five large duck eggs in the grass outside the box office entrance that we're watching carefully) -- so life is renewed once again, and we can celebrate with some glorious music by Bach.

The Brandenburg Concertos are such buoyant, high-spirited pieces. They're all in major keys, with outer movements either Allegro or livelier, and the writing for the instruments is full of character.

The Academy of Ancient Music is on a nationwide tour this month performing the Brandenburgs, and yesterday there was a review in The New York Times of their Carnegie Hall performance in Zankel Hall. I don't entirely understand Allan Kozinn's choice to dedicate one-third of the review to the shortest of all movements (two chords) in the Third Concerto, but he wrapped it up by writing, "But the Sixth, for low strings; the Fourth, with its bright recorder lines; and the Fifth, in which Mr. Egarr brought a dramatic flair to the harpsichord solo, were all as shapely and energizing as you’ll hear them."

The AAM and Egarr have recorded the Brandenburgs, and these are zesty performances. I confess to a preference for the even-number concertos, partially because I was a recorder player and loved playing bits of the Second and the Fourth (the opening themes of the Second have been buzzing my head for days now), and also because, as a teenager at music camp in The Hague, campers and faculty performed the Sixth, and I was enhralled by the sonorities of the strings, especially in the first movement; I hadn't heard such impressive string playing up close before.

The Brandenburgs also played a role in my formative experiences as a collector of recordings. Growing up in the northern Italian city of Monza, outside of Milano, I would spend time in a good record store (more about that later in another blog post), but also a discount department store that still operates 40 years later (I visited it again last September): UPIM. At the time, UPIM sold inexpensive LPs with performances by lesser-known European ensembles, featuring mostly Baroque and Classical works, with a strong representation of Italian composers (a bonanza of Vivaldi, Scarlatti, Albinoni, etc. -- UPIM knew its market).

One of my very first recording purchases were two LPs of complete Brandenburg Concertos at UPIM, for about $6 -- such a bargain! I listened to them over and over again. Like so much of sturdy, well-conceived Baroque music, even if the performances aren't (ahem) superlative, the essential spirit of the music can still come through. I played those LPs so much, the grooves pretty much disappeared, but I had them for years.

So I'm excited about getting a first-rate period-instrument ensemble to make its Spivey Hall debut with this great music. To celebrate the opening of the Bach Festival our bonanza of Brandenburgs, we're taking a slightly longer intermission to enjoy a mini-reception with free food and beverages following Concertos 1, 6, and 2, which will give us energy to savor Concertos 5, 3, and 4 in the second half.

Because the AAM is a period-instrument band, the sound will be unlike that of a modern symphony orchestra. The textures of strings, winds, and brass, with harpsichord, theorbo and guitar among the continuo instruments, reveal this music in a different light. So, even if you're familiar with these magnificent works, here's an oportunity to rediscover them. The AAM's recording of the Brandenburgs has certainly opened my ears and (especially with some choices of tempos) made me reconsider my understanding of them. Such is the glory of great music -- there's always more to appreciate, especially when performed by outstanding artists.

We also have a special pre-concert talk speaker: Predrag Gosta, who's music director of Atlanta's New Trinity Baroque and a harpischordist and organist himself, intimately familiar with the Brandenburgs and period-instrument practice. His talk is at 2 PM, and the concert starts this Sunday, March 29, 2009, at 3 PM. A few dozen tickets are (at time of writing) still available.

Patron feedback methods, old and new

2009-03-17T10:16:00.000-07:00

We've reinstituted the Feedback Box at Spivey Hall. It's amazingly low-tech. It's a paper box on a table on the upper level near the entrance to the Box Office, with comments cards and a pen. The Feedback Box is there for patrons to bring to our attention any comments, suggestions, questions, and/or words of concern or praise. Patrons may also complete the cards later and send them to us via snail-mail.

And the first comment card is in! I found it in the Feedback Box just now.

It seems to have been submitted by one of our younger patrons who attended Monday's Young People's Concert by the Swiss Wind Quintet. I was out of town on Monday, but Sunday's Swiss Wind Quintet performance with CSU music faculty pianist Michiko Otaki was utterly delightful, and word has it that the YPC was also wonderful.

So, Mikayle's Feedback Box comment card about the Swiss Winds Quintet reads, "That was awesome!" Mikayle even added a pronunciation guide to her name: "ma-ka-lee."

Thanks, Mikayle -- I'm glad you enjoyed it!

Soon we shall embrace a 21st-century method of receiving feedback from patrons -- an email address. (What a concept, eh??) A feedback link is now available.

From Spivey Hall's website's home page, www.spiveyhall.org, click "About Spivey Hall" at the top, then "Contact Us," and in the drop-down box, click "Feedback" at the bottom of the list.

Patrons "vote" and give us feedback with their attendance, ticket purchases, and donations, but we love to know more about what they experience before, during and after a visit to Spivey Hall. We often receive very valuable observations, comments, and suggestions from patrons we see at concerts, and I hope the email address will both facilitate and encourage their feedback.

Of course, patrons may always call the Box Office at (678) 466-4200 and speak with us during business hours, Tuesday through Friday. Now, that's a time-honored tradition using good old-fashioned 19th-century technology -- the telephone, and talking to another human being. (I think Emilie Spivey would approve.)

If we can help, please let us know!

Celtic music from The Boys of the Lough -- and Swiss winds

2009-03-13T12:52:00.000-07:00

We're getting a jump on St. Patrick's Day celebrations with the BOYS OF THE LOUGH on Saturday night. A good time will be had by all. The Boys are great fun. They spin terrific tunes and tell tales in their charmingly low-key way. Dave Richardson, from Northumberland, plays mandolin, cittern, English concertina, and button accordion; he also composes. Kevin Henderson is a prize-winning fiddler from the Shetland Islands. Cathal McConnell, who hails from County Fermanagh, plays flute and whistle and performs vocals, and is a truly legendary figure in traditional Irish music. Brandon Begley, "a genial giant from the Dingle peninsula in County Kerry," plays button accordion and melodeon and supplies vocals. Malcolm Stitt, originally from the Scottish Highlands, is a guitarist barely out of his 20s who adds to the Boys (according to one reviewer) "youthful rhythmical fizz."

What's amazing to realize is that the Boys (the first full-time professional Celtic band to arise on the international scene) have toured in the USA more than 70 (!!) times, and their performances and recordings have been spread over five decades. "True originals coming directly from the tradition," reads their bio, "the Boys have earned respect on both sides of the Atlantic and continue to act as role models for countless younger musicians. Their concerts, recordings, and compositions have been crucial in bringing about the current explosion of interest in all facets of Celtic music."

The Boys are no strangers to Spivey Hall. I really enjoyed them last time there were here and invited them back. I hope their many fans, throughout metro Atlanta and beyond, will abandon their television sets, rise from their couches, head to our beautiful jewel of a hall where superb acoustics and close proximity to the stage enable artists and audiences to really connect, and enjoy excellent Celtic music in the congenial company of the Boys Saturday night (March 14) at 8:15 PM. Or, in simple terms, "Y'all come!"

Sunday afternoon at 3 PM, the focus shifts to Switzerland, when we welcome the SWISS WIND QUINTET. Two of these musicians are native Swiss, and the other three have made Switzerland their home working as professional musicians in leading Swiss ensembles. They're going to perform a 1967 Wind Quintet by Swiss composer Jost Meier (whose opera The Dreyfus Affair was performed by New York City Opera in 1996) -- and it just so happens that Sunday is Mr. Meier's 70th birthday. Also on the program are Ligeti's Six Bagatelles for Wind Quintet, one of the best 20th-century works for this combination of instruments and always intriguing to hear.

The Swiss Wind Quintet is joined by Clayton State University's faculty pianist and Director of Keyboard Activities, MICHIKO OTAKI, for a work of German Romanticism by Ludwig Thuille -- his Sextet for Piano and Winds, Op. 6, which will be a happy discovery if you've never heard it -- very gratifying; and, to open the program, Mozart's Quintet in E-flat major for Piano and Winds.

I have a special fondness for the Mozart Quintet. My mother wanted me play the French horn, so I took up the instrument as a third grader in my public elementary school's music program, with free prviate lessons (not such a common opportunity these days). To give me an idea of how the French horn could really sound, she sat me down next to our Magnavox stereo console and made me listen to Dennis Brain's Angel recording of the Mozart Quintet, an LP that included Mozart's D-major Horn Concerto. At first, the Quintet didn't make much sense to me, but I always admired the warm, rounded, elegant horn playing of Dennis Brain. Ultimately, it took root.

The Mozart Quintet and Tchaikovsky's Nutcracker Suite both had a major influence on my earliest classical-music consciousness, followed by my teenaged discoveries of recordings of the Bach Brandenburg Concertos, the Schubert C-major String Quintet with Pablo Casals, and Brahms' Double Concerto, which (still as a horn player) I performed with our community orchestra and members of the Guarneri String Quartet. If I can point to any one single event that led me to a career in music, it was this Brahms Double Concerto experience. I was hooked.

So -- back to the future -- Mozart and much more on Sunday, when we also welcome the new Consul General of Switzerland, Mr. Claudio Leoncavallo, for his first Spivey Hall concert. (I'm curious to learn if he's related to Verismo composer Ruggiero Leoncavallo, whose one-act opera, Pagliacci, ranks high in my pantheon of Italian operas.) The Swiss Consulate General in Atlanta is very generously hosting a post-concert reception in honor of the Swiss Wind Quintet, whose US tour is supported by the Swiss Arts Council, Pro Helvetia (which graciously welcomed me to Switzerland last summer for a study tour of the Swiss music scene -- a wonderful experience I have yet to blog, all my good intentions notwithstanding). Prior to the 3 PM concert, Dr. Otaki and her Dept. of Music colleague, Dr. Kurt-Alexander Zeller, are giving a free talk at 2 PM about the program. I expect Dr. Otaki will illustrate some of the highlights of the Mozart and/or and Thuille at the piano, which is a great way to appreciate some musical moments of interest in the performance that follows.

Next weekend: Guitarist John Williams (March 21 at 8:15) - sold out. Pianist Murray Perahia (March 22 at 3 PM) - sold out. If you want to attend but don't have tickets, call the box office to put your name on the wait list, since tickets do sometimes become available closer to the day of the performance.

Terell Stafford, Belcea Quartet, Yevgeny Sudbin this weekend

2009-03-06T08:13:00.000-08:00

With all the dire economic news pummelling us this week, I, for one, am ready for some excellent music this weekend.

Terell Stafford is an amazing jazz trumpeter who works with the best in the business. I had the pleasure of hearing him again in January in New York City, where he performed with the Grammy Award-winning Vanguard Jazz Orchestra. A year earlier, I was wowed by his playing with the Clayton Brothers at Dizzy's Club. For his Spivey Hall debut, Terell will be joined by Tim Warfield on saxophone, Gerald Clayton on piano, Rodney Whitaker on bass, and Dana Hall on drums. Their performance tonight is also Spivey Hall's 2009 Teacher Appreciation Night. As our way of saying thanks to the important people who make a critical difference in the lives of young people both inside and outside the classroom, teachers and administrators can attend for free (call the Box Office for details, or just show up at about 7:30 PM -- tickets still available). We'll also have a reception afterwards for everyone. It's going to be a great night, so come listen if you can.

There is such good buzz in the music business right now about the recently refurbished Alice Tully Hall at in New York's Lincoln Center for the Arts. Not only is the exterior architecture stunning and elegant -- I couldn't believe my eyes when my taxi drove past it a few months ago -- the best part is, the acoustics of this hall are, by all accounts, demonstrably improved -- which is VERY good news for the world of chamber music.

I'll be eager to hear what the musicians of Belcea Quartet have to tell me on Saturday when they're here. They've just performed at Alice Tully Hall. Steve Smith in The New York Times calls them "a group that thrives on works that demand vigor, quick reflexes and a keen sensitivity to matters of balance and nuance." What's more: "In “Death and the Maiden” the quartet emphasized clarity and poise over raw, nervy power, producing an account of potent concentration, even during a Presto taken at a breathless clip. One final note of approval goes to the revitalized hall, which allowed this ensemble’s most intricate detailing to register and resound."

As in New York, the Belcea Quartet will perform Schubert's "Death and the Maiden" String Quartet at Spivey Hall, plus there are beautiful Haydn and Britten quartets to begin, and a pre-concert talk given by Dr. Kurt-Alexander Zeller at 7:15 PM.

In this three-debut triple-whammy weekend, Russian pianist Yevgeny Sudbin takes the stage on Sunday at 3 PM. He, too, offers us Haydn, plus sonatas by Scarlatti, mazukas by Chopin, two "Fairy Tales" by Russian Nikolai Mednter (whom Rachmaninov called "the greatest composer of our time"), and Prokofiev's powerful Sonata No. 7 in B-flat. Subdin's also been in the news. Earlier this winter, he gave a recital at Washington's Kennedy Center, which Anne Midgette covered for The Washington Post. Only in our national's capital would a music review make reference to a member of the new Obama administration!

With the insouciance born of ability and success, Yevgeny Sudbin, looking not unlike a young Rahm Emanuel -- dark-ringed eyes in a thin and handsome face -- sat at the piano at the Terrace Theater on Saturday afternoon and produced some formidable music.

The sound he made was thick and dark and rich: Russian-school virtuosity, but without cloying heaviness. In the first movement of Haydn's Sonata in B Minor, which opened the program, it also had a springy elasticity that conveyed the spirit of the music, as if the sound were informed by the lighter twang of Haydn's fortepiano, like a shadow on the wall behind him.

The Russian-born Sudbin, 28, projects a wunderkind persona: able to fling out technical fireworks, offer insightful and intimate Scarlatti, write articulate program notes that give an insight into what he thinks about what he is playing (something too often absent from the classical-music equation). He has been garnering critical raves, particularly in England, where he now lives; and his string of recordings on the Bis label (Scarlatti, Scriabin, Rachmaninoff) have picked up a slew of accolades and awards.

Mr. Sudbin has indeed writtten insightful program notes for this concert, and as is virtually always the case at Spivey Hall, you can meet him afterwards in the reception room to speak with him. Just remember, though, we "Spring Ahead" on Sunday with the time change, so you need to set your clocks ahead by an hour on Saturday night if you don't want to miss the first half!

Patrons please note, it's also a triple-event weekend at the Atlanta Motor Speedway, with the fourth race of the 2009 NASCAR Sprint Cup season on Sunday; this can sometimes slow down traffic here on the Southside, and construction continues on I-75 South around Morrow's exit 233, so do yourself a favor and give yourself a little extra time getting here.

The snow that fell so heavily on Sunday is now 99% gone (the Atlanta Chamber Players' concert planned for that afternoon has been rescheduled to Saturday, April 25, 2009 at 8:15 PM -- more on this soon). The temperture will be in the mid 70s, with sun and bright skies. The geese, ducks and swans are nesting in the bushes around the lake adjacent to Spivey Hall -- no signs of offspring yet, however. (My favorites are the ducklings. I can't help but smile when I see them on my way to lunch.) Spring must be on its way.

A postscript: Spivey Hall's 2009/10 season of concerts will be announced soon -- anyone who's bought a ticket here in the last five years or so should look for our new season book in their mailboxes in early April. I'm glad to say there's plenty of great music in store for us.

A heavenly program from The Hilliard Ensemble

2009-02-13T10:01:00.000-08:00

Yes...MORE great singing. Hilary Hahn's eagerly anticipated recital on Sunday is sold-out, and the waiting list for tickets continues to grow. But there's much more this weekend. The four male singers of The Hilliard Ensemble (which takes its name from the British miniaturist painter Nicholas Hilliard) are, simply put, extraordinary artists, and they're back with us tomorrow (Saturday, February 14th).

There's always much to learn and enjoy from The Hilliard Ensemble. Connoisseurs of vocal programming know that The Hilliards' programs are masterfully conceived. I'm most fond of the ones that juxtapose early and contemporary music, since the stylistic contrasts among the works, as experienced in performance, tend to heighten the expressiveness of the music synergistically, which in turn heightens my sense of discovery.

Thus when I saw their program Arkhangelos, which combines early chant and sacred music from several centuries of Christian tradition with works by excellent living composers such as James Macmillan, Arvo Paert, Ivan Moody and Jonathan Wild, I was intrigued. The highly informative program notes provided by The Hilliards are another valuable dimension their performances. These are intrepid music historians and researchers who enrich the repertoire by commissioning new works, consistently finding miraculous ways of interweaving the old with the new. There is a deeply satisfying meaning to their music-making that is altogether too rare.

So...we are promised a mystical musical journey with The Hilliards as our expert guides. Beyond appreciating the religious significance of the works and their texts, I also look forward to sitting back and basking in the glorious and gratifying sound they make (a hedonistc response to a sacred program that cannot be denied).

In retrospect, I suppose I could have requested an earthier or more romantic program for Valentine's Day -- but this is love of a transcendent sort....sustenance for the soul. Let love and chocolate abound, however. We'll have complimentary chocolates for everyone. Endorphins can boost the appreciation of music, surely one of life's greatest pleasures. (My colleagues at Spivey Hall are very familiar with one of my favorite mottos: "A little bit of chocolate goes a long way, and more goes farther.")

And of course, the acoustics of Spivey Hall provide an ideal showcase for the music they make. The Hilliard Ensemble deserves all the critical praise accorded them for their far-flung concert tours and first-rate recordings. If you're remotely inclined to come, don't hesitate, join us -- you will be glad you did.

Singers' Corner

2009-02-05T13:51:00.000-08:00

Tenor Lawrence Brownlee sang superbly in his January Spivey Hall recital debut. He had a great night, as did we in the audience! Next up among our singers: this Saturday, February 7, Dutch mezzo Christianne Stotijn gives us jewels from the song literature, with an abundance of Brahms in the first half of her program, which ends with what is probably my favorite Brahms song, "Die Mainacht" (May Night). This song, like others in this program, invokes the singing of the nightingale, beloved of Romantic poets. It makes me wish I were a mezzo (in my next life, I want to come back as Erda). The closing measures of the song, for piano alone, is more proof of Brahms' musical genius. Ms. Stotijn is joined by distinguished pianist Joseph Breinl. The second half opens with six gorgeous songs by Grieg (Op. 48) set to German poetry, and closes with a selection of Tchaikovsky songs (a recording project for Ms. Stotijn), including "None But the Lonely Heart" and others whose soulful tunes will tug with sentiment and wistful melancholy at heartstrings in the true Russian fashion.

Christianne Stotijn would seem to be conductor Bernard Haitink's favorite Mahler mezzo at the moment (artistically, that says a great deal) -- and hearing her Brahms Alto Rhapsody in a freebie CD that arrived with one of the British music magazines in the fall, I can safely predict this will be one of those Spivey Hall recitals after which people tell me, "I didn't know her at all, but she's fabulous!" -- and those people who didn't attend, but heard about it later, will chastise me, "Why didn't you tell me she would be that good?!?"

There are still tickets for her Saturday recital, so don't hesitate...treat yourself. (Go hear Christine Brewer sing Strauss opera arias with Donald Runnicles and the Atlanta Symphony TONIGHT, so you can savor both! I'm heading out the door myself to Symphony Hall shortly....) Another Saturday singing pleasure will be the Met Opera's HD broadcast of Lucia di Lammermoor by Donizetti. The incomparable Anna Netrebko sings Lucia, but -- this just in -- her tenor will NOT be Rolando Villazon, as planned -- he's ill and has pulled out, which of course saddens many...we at Spivey Hall (who have heard him sing resplendently in recital) can feel the disappointment acutely.

However, the tenor who WILL sing Edgardo amazed me at Marilyn Horne's 75th Birthday Celebration at Carnegie Hall a few weeks ago -- a Polish tenor by the name of Piotr Beczala, who sang Donizetti's "Una furtiva lagrima" from L'elisir d'amore, splendidly, with warm tone, excellent intonation, big round stylish expressive phrases, and a very attractive personality that reached across the footlights. Beczala is also singing Lensky in the Met's Eugene Onegin at the moment, and is slated for even bigger roles in future seasons. So, Met HD fans, I believe you're in for a real treat, if Mr. Beczala rises to the occasion -- and I expect he will.

The Horne birthday bash was a concert I'll remember for years to come. Such a line-up of incredible talent. There was a fairly comprehensive New York Times review, so I won't rehash everything, but suffice it to say that the singers who performed who also have given recitals at Spivey Hall -- Nicole Cabell, Isabel Leonard, Susan Graham, David Daniels, Dmitri Hvorostovsky, Thomas Quasthoff, Karita Mattila, Thomas Hampson, Samuel Ramey, Frederica von Stade, and Joyce DiDonato -- were all magnificent, each in his or her uniquely personal way. The pianists -- Carrie-Ann Matheson, Martin Katz, Brian Zeger, and Warren Jones (all Spivey Hall artists except, I think, for Carrie-Ann, but I hope that won't be for long) -- brought their invaluable support and inspiring musicianship to this party as well, yielding consistently gratifying results.

There were so many highlights to these memorable performances. Each of these superb artists is deservedly celebrated and commands huge respect. Still, there were some especially notable moments. Martin Katz, in addition to collaborating with so many of these stars, also joined composer William Bolcom for four-hand piano accompaniment of "A Song of Praise" which Bill wrote for Marilyn (musically very clever, and good fun); plus, as a special tribute to a song near and dear to the honoree, he played a solo rendition of Stephen Foster's "I Dream of Jeannie," which was truly touching. Hvorostovsky was his elegant, charismatic self; Mattila projected her aura of incredible artistry; Graham sounded fantastic, luxuriating in her French aria, and was utterly delightful; Quasthoff never fails to amaze me for his humanity and spirit as a singer and a human being; Daniels radiated irresistibly stylish coloratura and virile charm; Hampson confirmed his ability to summon the spirit of Mahler like few singers can, with Warren Jones extracting all possible expression from the piano in a truly profound interpretation (playing all selections from memory); and DiDonato joyously nailed "Tanti affetti" from Rossini's La donna del lago, which took pride of place to close the program ingeniously devised by Marty Katz and Matthew Epstein, both close personal friends and professional colleagues of Marilyn Horne.

Having Marilyn Horne in the house, these singers put their best foot forward to honor a living legend who knows a thing or two (or two million) about great singing. It brought out the best from everyone, which was exhilarating. There was a lot of love coming from the stage, in addition to exceptionally beautiful music-making.

One of the great pleasures of my life was working two summers in California with Marilyn Horne at the Music Academy of the West. Jackie, as she is lovingly known by her family, colleagues, and the untold number of young singers she continues to mentor, support and develop through the Marilyn Horne Foundation (dedicated to sustaining the art of song), is truly one of my idols. The consummate professional, the supreme artist, the inspiring teacher, the dedicated mentor, she also has one of the biggest and most giving hearts of anyone I've had the privilege to know, combined with a robust sense of humor and phenomenal strength of spirit. As you can imagine, when she finally took the stage of Carnegie Hall, the audience roared with love and praise. She gave (as the Times reported) "motherly hugs" to all the celebrated artists gathered to honor her. She reminds me why I love music, why I love the music business, why music matters, and what incredibly precious gifts musicians make to enrich our lives. Happy 75th, Jackie, and many, many more. I'm among your millions of fans around the world who revere you, thank you, and wish you only the best.

A plethora of great pianists

2009-02-02T09:49:00.000-08:00

We had no concerts this past weekend (a rare occurence during the regular season), but Spivey Hall's valiant and dedicated piano technicians, Craig Miller and Chuck Cook, were giving our two Steinways, Emilie and Walter, lots of special care and attention in anticipation of recitals by pianists Radu Lupu, Jean-Yves Thibaudet and Yevgeny Sudbin in the next five weeks. Later in March, Murray Perahia gives the 2009 Spivey Memorial Concert and a piano master class; and in May, capping off the Spivey Hall 2009 Spring Bach Festival, Angela Hewitt will appear in duo recital and present a master class focusing on interpreting Bach at the piano. (More on these last two artists, plus pianist Jenny Lin, in a future post.)

These outstanding artists will perform some of the most magnificent works of the solo piano repertoire. Among the three Beethoven sonatas he's chosen for his recital this Friday, February 6, Radu Lupu will perform the dramatic "Pathetique" Sonata; after intermission, he will guide us into the other-worldly beauties of Schubert's last piano sonata, the B-flat Sonata, D.960. Mr. Lupu is renowned for his affinity with Schubert's works, and his Decca recording of this sonata won him a Grammy Award. He collaborates with the most distinguisihed orchestras and conductors internationally, and his recitals are always major musical events.

We are honored to be welcoming him back. "No pianist gets a lovelier tone out of the instrument. It glows from within," praises The New Yorker. I first met Mr. Lupu some 15 years ago when he performed a Mozart piano concerto with David Zinman and the Minnesota Orchestra. I've since heard him perform in Chicago, Amsterdam, New York and other cities. His understanding of his chosen repertoire seems to grow ever richer and more profound. I fully expect to be enthalled by hearing him reveal aspects of these familiar sonatas that I've never heard before. Such is the eloquence of great music intepreted by a truly distinguished artist.

Another internationally celebrated pianist and Decca recording artist, Jean-Yves Thibaudet is very well known to Atlanta, having performed many times with the Atlanta Symphony. He makes his Spivey Hall debut (at last!) on Saturday, February 21. A versatile artist who performs works by Chopin, Liszt, Brahms and Rachamaninov but also George Gershwin, Aram Khachaturian, Duke Ellington, virtuosic transcriptions of opera arias, and new works by contemporary composers such as Iranian-born Behzad Ranjbaran, he has also participated in creating music for films, including the Oscar- and Golden Globe-winning film, Atonement.

Mr. Thibaudet has consistently won superlatives for his interpretations of the music of French composers Claude Debussy and Maurice Ravel, whose immensely colorful and imaginative works are pillars of the solo piano repertoire. His program offers a feast of them. Book II of Debussy's Preludes, which explore wonderfully subtle and varied characters ending with the spectacular"Feux d'artifice" ("Fireworks"), comprises the first half of the program, followed by Ravel's wistfully exquisite Pavane for a Dead Princess, and culminating with Miroirs ("Mirrors"), including the popular "Alborada del gracioso" ("The Jester's Dawn Song"). If you've never heard this music before, you would want Jean-Yves Thibaudet to introduce you to it, for you are unlikely to hear more vivid, beautiful, insightful or persuasive performances of these Impressionist masterworks.

We're grateful to long-time subscribers, donors, and avid concert-goers Jeff Adams and Susan Hunter for being The Friends of Spivey Hall Concert Sponsors of this auspicious debut, and sincerely appreciate the assistance and collaboration of the French Consulate General in Atlanta in helping us welcome Mr. Thibaudet to Spivey Hall. A reception in his honor for the entire audience will follow the recital.

New to Atlanta and Spivey Hall is the brilliant young pianist Yevgeny Sudbin, who makes his debut on Sunday, March 8. Ten days ago, he gave a solo recital at the Kennedy Center in Washington, DC. Anne Midgette, writing for The Washington Post, started her review with the following words:

With the insouciance born of ability and success, Yevgeny Sudbin, looking not unlike a young Rahm Emanuel -- dark-ringed eyes in a thin and handsome face -- sat at the piano at the Terrace Theater on Saturday afternoon and produced some formidable music.
The sound he made was thick and dark and rich: Russian-school virtuosity, but without cloying heaviness. In the first movement of Haydn's Sonata in B Minor, which opened the program, it also had a springy elasticity that conveyed the spirit of the music, as if the sound were informed by the lighter twang of Haydn's fortepiano, like a shadow on the wall behind him.
The Russian-born Sudbin, 28, projects a wunderkind persona: able to fling out technical fireworks, offer insightful and intimate Scarlatti, write articulate program notes that give an insight into what he thinks about what he is playing (something too often absent from the classical-music equation). He has been garnering critical raves, particularly in England, where he now lives; and his string of recordings on the Bis label (Scarlatti, Scriabin, Rachmaninoff) have picked up a slew of accolades and awards.

We, too, shall hear him perform a Haydn sonata (in E minor), preceded by two Domenico Scarlatti sonatas, followed by Chopin Mazurkas, two Fairy Tales by Nikolai Medtner, and to close the program, Prokofiev's Sonata No. 7, subtitled "War Sonata No. 2: Stalingrad" -- an emotional powerhouse that combines massive sonorities and incisive brilliance with delicacy and quicksilver changes of mood. As such, it's an excellent vehicle for Mr. Sudbin's impressive virtuosity.

Mr. Sudbin has been an especially popular guest artist at the BBC Proms in London. I first came to know his music-making through his CDs of Russian music; however, he's also in the process of recording all the Beethoven piano concertos. I'm proud to introduce him to Atlanta, and eagerly await the experience of hearing him in person.

Met Opera National Council Auditions winners

2009-01-25T14:46:00.000-08:00

Each year Spivey Hall proudly hosts the Southeast Region Finals of The Metropolitan Opera National Council Auditions. The panel of three distinguished judges -- Mikael Eliasen of The Curtis Institute of Music, Metropolitan Opera tenor and opera director Antholny Laciura, and prominent New York City vocal coach Jonathan Dudley -- named the following winners today (Sunday, January 25, 2009) from among the 12 contestants:

The Ryan Smith First Place Award ($4300) - Jodi Burns, soprano, age 21, of North Carolina, who sang "V'adoro, pupille" from Handel's Giulio Cesare and Juliette's Waltz ("Je veux vivre") from Gounod's Romeo et Juliette.

Second Place ($1,600) - Katherine Blumenthal, soprano, age 29, of Georgia, who sang "A vos jeux, mes amis" from Thomas' Hamlet and "Tornami a vagheggiar" from Handel's Alcina.

Third Place ($1,000) - Janette Zilioli, soprano, age 30, of Florida, who sang "Ah! non credea mirarti...Ah! Non giunge" from Bellini's La sonnambula and "Ain't it a pretty night" from Floyd's Susannah.

The $500 Peg Gary Encouragement Award was given to baritone Daniel Scofield, age 22, of Georgia, who sang "Hai gia vinta la causa" from Mozart's Le nozze di Figaro and "Ah! per sempre" from Bellini's I puritani.

And The Atlanta Opera Guild Encouragement Award (augmented today by the Met Opera National Council) of $500 went to soprano Bethany Hoerst, age 25, of Florida, who sang "Da tempeste" from Handel's Giulio Cesare and "O waer' ich schon" from Beethoven's Fidelio.

Congratulations to the winners and to all the contestants from Florida, Georgia, North Carolina and South Carolina!

If you couldn't be at Spivey Hall to hear these young talents in person, tune in to WABE 90.1 FM on Monday, February 16 at 9:00 PM to hear their performances aired on Atlanta Music Scene, also streamed on WABE's Public Broadcasting Atlanta website, http://www.pba.org/.

Interview with tenor Lawrence Brownlee

2009-01-21T14:15:00.000-08:00

Celebrated bel canto tenor and Atlanta resident Lawrence Brownlee recently gave an interview to WABE 90.1 FM's Wanda Yang Temko -- listen here for their conversation with recorded excerpts of his singing -- which is gorgeous.

http://publicbroadcasting.net/wabe/.artsmain/article/2/51/1459955/Classical/Bel.canto.at.its.best.comes.to.Atlanta/

He makes his recital debut at Spivey Hall this Saturday, January 24, 2009 at 8:15 PM with pianist Martin Katz, whom I heard play beautifully at Carnegie Hall last Sunday at Marilyn Horne's 75th birthday celebration concert (an unbelievable event! more on this soon). Tickets are still available. This performance is likely to be one of the great highlights of the season, so if you love great singing, don't miss it!

More good news: tenor Lawrence Brownlee's program

2008-12-05T13:30:00.000-08:00

Following yesterday's receipt of Murray Perahia's program details, I have the happy news today of what star tenor Lawrence Brownlee will sing for his Spivey Hall debut on Saturday, January 24, 2009 at 8:15 PM -- news made happier still in that the excellent Martin Katz, who performed at Spivey Hall twice last season with David Daniels and Christine Schaefer, will be Mr. Brownlee's pianist.

I
MOZART
Misero, o sogno o son desto?
Concert aria, K.431

II
DUPARC
Chanson triste
Extase
Le manoir de Rosemonde
Soupir
Phidylé

III
ROSSINI
Languir per una bella,
from L’italiana in Algeri

INTERMISSION

IV
LISZT
Three Sonnets by Petrarch
Pace non trovo
Benedetto sia ’l giorno
I’ vidi in terra angelici costumi

V
DONIZETTI
Ah, mes amis, quel jour de fête,
from La Fille du regiment

VI
JOHN CARTER
Cantata (1964)
Prelude
Rondo
Recitative
Air
Toccata

This promises to be a great recital. An elegant Mozart concert aria to open, with an interesting variety of songs. I love the Duparc and Liszt, and I'm eager to hear the Carter Cantata, which I understand combines elements of African-American spirituals and classical forms in an expressive modern style. PLUS...we'll hear two wonderful bel canto opera arias by Rossini and Donizetti, complete with vocal bravura, and not a few high notes! (Check out http://www.youtube.com/ or the New York Times on the web and you'll get the idea.) And perhaps some encores...?

Performing in the company of some very illustrious "big names," Lawrence Brownlee would seem to have taken pride of place at the most recent Richard Tucker Foundation Awards gala, in October. Vivien Schweizter wrote in The New York Times:

Artists supported by the foundation, created in 1975 to assist emerging singers with awards, grants and performance opportunities, include Lawrence Brownlee. This impressive tenor, the recipient of the 2006 Richard Tucker Award, is earning recognition for his prowess in bel canto roles. Here he sang "Languir per una bella" from Rossini's "Italiana in Algeri" with aplomb, easily navigating the coloratura hurdles with a warm, sweet timbre."

So, Atlanta will hear this same aria...in the glorious acoustics of Spivey Hall. Obligatory avviso: programs (but not, I hope, artists) subject to change.

Mr. Brownlee stays busy at major opera houses in Europe, and returns to the Met Opera in May for Rossini's La cenerentola. When not performing hither and yon, he calls Atlanta home, and I'm proud that Atlanta area music-lovers -- and all our loyal vocal recital fans who travel from afar, including Savannah, Florida, Tennessee, the Carolinas and Alabama -- will have a chance to hear him sing in January. In his free pre-concert talk at 7:15 PM, Clayton State University's Dr. Kurt-Alexander Zeller (himself a tenor) will give informative historical and musical insights into the program.

The day after Lawrence Brownlee and Martin Katz perform, Spivey Hall hosts the Southeast Regional Finals of the Metropolian Opera National Council Auditions, on Sunday, January 25 at 2:00 PM. This is traditonally one of the season's most popular and highly-anticipated events. It'll be an exciting weekend for singing.

Murray Perahia program announced

2008-12-04T10:49:00.000-08:00

The blog is back! It actually never went away, but I did -- extensive travels over the summer and into the fall (more on that later).

The great news of Murray Perahia's recital program has broken my blog log-jam.

Just today I've learned that for his Sunday, March 22 '09 recital program, he'll perform Bach's Partita No. 6 in E minor, BWV 830; Beethoven's Piano Sonata No. 15 in D major, Op. 28, "Pastoral"; and Brahms's Variations and Fugue on a Theme by Handel, Op. 24 -- a beautiful program which I'm tremendously eager to hear him play.

Mr. Perahia also is giving a master class at Spivey Hall on Saturday, March 21 '09, and we're receiving applications of pianists who wish to participate (deadline for receipt of applications: Friday, Feb. 20 '09). Music-lovers, piano teachers, aspiring pianists, and people who just wish to come, listen and learn may also attend -- see the Spivey Hall website for details.

We are immensely proud to be welcoming Murray Perahia back to Spivey Hall. His master class and recital promise to be great highlights of the season.

US recital debut: English soprano Kate Royal

2008-03-23T12:53:00.000-07:00

English soprano Kate Royal makes her US recital debut this Friday night (March 28, 2008) at Spivey Hall. Ms. Royal has generated significant excitement among fans of great singing, principally through her appearances in opera at the Glyndebourne Festival, the Paris Opera, the Royal Opera Covent Garden and the English National Opera, as well as in concert appearances with the Berlin Philharmonic and at the BBC Proms in London. She's given recitals in London, Edinburgh, Amsterdam, Barcelona, and Cologne. I first knew of her from her Hyperion recording of Schumann Lieder with Graham Johnson, and then received from her London management an early copy of her debut CD for EMI Classics, for which she now records exclusively.

After listening to the EMI sessions for about 20 minutes, I picked up the phone, called the UK and invited her to sing in recital here. It's rare that I act so directly (almost impulsively) to engage a new artist, but such artful, gorgeous, beautifully intelligent, nuanced and expressive singing is not commonplace!

Thus I'm proud her North American recital tour begins here at Spivey Hall. Ms. Royal will perform with the excellent pianist Roger Vignoles. From Atlanta they go cross-continent via the Northeast (New York's Frick Collection, Middlebury College and Montreal) to Vancouver, British Columbia and Berkeley, California.

Their program focuses on Spanish songs of Rodrigo and Granados, selections from Canteloube's Songs of the Auvergne, three of Debussy's exquisite Cinq poemes de Baudelaire, and to close, a generous offering of Lieder by Richard Strauss, including the Mädchenblumen (Maiden-Flowers), Opus 22, as well as "Einerlei," "Ich wollt ein Sträusslein binden" and "Als mir dein Lied erklang."

One of my duties at Spivey Hall is proofing every program book we publish. There is a vast amount of detailed information presented in program books, especially in those of vocal recitals, for which we always strive to include the original texts and translations (and for chamber music and piano recitals, program notes). Plus there are always the bios of the artists, which artists and managements submit in various degrees of correctness and consistency when it comes to spellings of institutions, musicians and work names, presented in about a dozen languages, for which legitimate variants exist.

This is detailed and highly time-consuming work. Thankfully I don't do it alone -- Sue Volkert and Nick Jones are my valiant comrades in preparing the books, shepherding them through their various versions of edits and more edits, week after week -- but ultimately I have to sign off on them...which is why, on a Sunday afternoon (Easter Sunday, no less), I've just spent three hours poring over four program books.

I do this -- we do this -- because reading the program books is a significant dimension of our audiences' experience when they come here to listen, and making that connection between artist and audience through the performance of fine music is what Spivey Hall is all about. And I tend to read and edit best when it's quiet, people are gone and the phone isn't ringing.

There are times I rant and rave about editing program books, and curse it as an onerous obligation -- there's always so much in addition to this work I could be doing. But more often, reading the material and thinking about the program selections gets me in the mood for the music we're about to hear.

I've just had such an experience, both in recalling and eagerly anticipating the beauty of the Strauss songs. I applaud Ms. Royal for her selections -- not only are they likely to illustrate her artisty to great effect, but the Mädchenblumen, in particular, are to my way of thinking perfectly appropriate for springtime. The German poetry is by Felix Ludwig Julius Dahn, and Ms. Royal's management has kindly supplied (and secured rights to) translations by Emily Ezust, which read naturally, easily, clearly and invitingly...like fresh air.

The songs and their texts are wonderfully evocative -- and indeed timely, since now in Atlanta, even after damaging tornados last weekend and the ferociously heavy rains, it's getting warm, and the trees, the bushes and the flowers are starting to bloom. Spring really is in the air, so these songs, even though they're not about spring flowers, per se, will nonetheless be sung at an opportune moment. Alas, my blog program apparently won't cooperate in listing parallel columns of original texts and translations, but here, at least, is the English. Read for yourself, and see if this doesn't get you in the mood for spring.

Richard Strauss
Mädchenblumen
Op. 22 (Felix Ludwig Julius Dahn)

Kornblumen (1888)
Cornflowers

Cornflowers I call these figures
that gently, with blue eyes,
preside quietly and modestly,
placidly drinking the dew of peace
from their own pure souls,
communicating with everything that is near,
unconscious of the precious sensitivity
that they have received from
the hand of God.
We felt so close to you,
as if you were going through a field of crops
through which the breath of evening blew,
full of pious quietude and full of mildness.

Mohnblumen (1888)
Poppies

They are poppies, those round,
red-blooming, healthy ones
that bloom and bake in the summer
and are always in a cheery mood,
good and happy as a king,
their souls never tired of dancing;
they weep beneath their smiles
and seem born only
to tease the cornflowers;
yet nevertheless,
the softest, best hearts often hide
among the climbing ivy of jests;
God knows one would wish to
suffocate them with kisses
were one not so afraid
that, embracing the hoyden,
would spring up into a full blaze
and go up in flames.

Epheu (1886–8)
Ivy

But ivy is what I call that maiden
with soft words,
with the simple, bright hair,
gently waving brown about her,
with brown, soulful doe’s eyes,
who so often stands in tears,
in her tears simply
irresistible;
without strength and
self-consciousness,
unadorned with secret
blossoms,
yet with an inexhaustible, deep
true inner sentience
that under her own power she can
never yank herself up by the roots;
such are born to twine
lovingly about another life:
upon her first love
she rests her entire life’s fate,
for she is counted among those
rare flowers,
those that only blossom once.

Wasserrose (1886–8)
Water Lily

Do you know the Water Lily,
fairy-like and celebrated in legend?
It waves its colourless,
transparent head
on an ethereal, slender stem,
and it blooms on a reedy pond in a wood;
protected by the lonely swan
that circles round it,
Sit opens only to the
moonlight
whose silver gleam it
shares.
Thus it blooms, the magical
sister of the stars,
desired by the dreamy,
dark moth
which yearns for it from afar on
the edge of the pond,
and never reaches it for all its
yearning.
Water Lily is my name for the
slim,
raven-haired maiden with
alabaster cheeks,
with deep foreboding thoughts
in her eyes,
as if she were a ghost
imprisoned on earth.
Her speech is like the silver
rippling of water,
her silence like the foreboding
stillness of a moonlit night;
she seems to exchange glances
with the stars
who she understands because
their natures are the same;
you can never tire of looking
into her eyes
surrounded by long, silken
lashes,
and, as if bewitched by their
blessed grey,
you believe all fanciful dreams
about fairies to be true.

Dahn's poetry inspired Strauss to write some glorious music. I have high hopes for this Friday, and urge everyone who loves great singing to hear Kate Royal, either here at Spivey Hall, or elsewhere on her Spring 2008 Recital Tour, for I expect it will be a most memorable experience.

The building's shaking, and we're happy

2008-03-11T12:30:00.000-07:00

When the organ's being played at Spivey Hall, everyone here knows it. The three-manual, 77-rank, 4,413-pipe Albert Schweitzer Memorial Organ, built by Fratelli Ruffatti of Padua, Italy, sets the whole building shaking. In the back offices of the Hall (a space no longer given over to dimly lit storage and a lonely marketing manager's desk after this year's refurbishment), conversations are covered by the constant whoosh of air through the adjacent blowers and wind chambers. In other offices next to the recording control booth, closest to the auditorium itself, it's hard sometimes to hear yourself think, far less talk. The roar of the organ pipes comes straight through my walls, too, particularly the lowest notes that make lots of ordinarily quiet objects (including the windows) shudder. In big climaxes, it feels as if Spivey Hall is about to launch into outer space.

I'm not complaining -- it's magnificent! And this week, the forces are even mightier, since the organ is augmented by more musical star-power: the Atlanta Symphony Brass Quintet. As I type, the brass players -- trumpets Tom Hooten and Michael Tiscione, horn Richard Deane, trombone George Curran and tuba Michael Moore -- are rehearsing with Spivey Hall's organist-in-residence Richard Morris. Truly, I have not heard a more robust or glorious sound in this hall!

The six will be playing together in such varied works as Salvum fac populum tuum by Charles Widor, Rolf Smedvig's arrangement of "Sheep May Safely Graze" from Bach's Cantata BWV 208, "A Mighty Fortress is Our God" as arranged by Vaclav Nelhybel (a book fell from one my shelves just a minute ago during that one), Gary Olson's setting of "Let Nothing Ever Grieve Thee," Brahms' Op. 30 (of a quieter, more contemplative nature, comparatively speaking), and the Grand Choeur Dialogue by Eugene Gigout, in Rich Mays' arrangement. Plus there's the sprightly Voluntary No. 1 by William Boyce for two trumpets and organ, with all its buoyant ceremonial splendor.

Talk about BIG! This is a larger-than-life experience that will have music surging through every member of the audience, and may actually lift some of them off their seats. (And in a strange way, it's somewhat consoling to know that the acute annoyance of any errant and disruptive @#&$ 7$*&! cell phone left on by its inattentive and inconsiderate owner, should this wretched device happen to ring during the performance [unpublishable invective from the Executive & Artistic Director deleted], may be utterly swallowed up by the sound of what people REALLY want to hear.)

In addition to the arrangements, there are works for solo brass (Anthony DiLorenzo's Fire Dance and "Londonderry Air" in Robert Hepple's setting) as well as for solo organ (Bach's G-major Prelude and Fugue, BWV 550 and the lovely Aria by Charles Callahan, which highlights the diverse tonal character of Spivey Hall's organ so attractively).

Richard Morris and the ASBQ perform this Saturday, March 15th at 3 PM. The organ also gets another workout this weekend when the Southern Crescent Symphony gives an afternoon concert featuring three local organists -- Ann Manuel, Rick Massengale, and Jackie Reed -- performing highlights of the repertoire for organ and orchestra, including the third movement of Copland's Organ Symphony, the Poulenc Organ Concerto for String Orchestra and Timpani, and the very popular concluding Maestoso from the Saint-Saens "Organ" Symphony, all under the direction of conductor Richard Bell. Concert time on Sunday, March 16th is 3 PM.

Of distinctively different character (and not requiring the organ) will be our kick-off of St. Patrick's Day festivities with the all-star Irish instrumental quintet, Lunasa. Throughout the U.S., U.K., Canada, Australia, Europe and beyond they win accolades as one of the finest, freshest Irish bands to reach international prominence in recent years, taking traditional Irish music in new directions to new audiences. Inspired by Ireland's great 1970s group, the Bothy Band, Lunasa uses melodic interweaving of wind and string instruments, pairing flutes, fiddle, whistle and pipes. Check out their website, http://www.lunasa.ie/. The boys in the band are celebrating their 10th anniversary as Lunasa, and we'll be having a good time with them this Friday (March 14th, 8:15 PM) -- hope you can join us.

This weekend: Brentano Quartet & pianist Imogen Cooper

2008-03-07T10:12:00.000-08:00

It's another weekend of extraordinary artists performing great music at Spivey Hall. Since announcing the 2007/08 season more than a year ago, I've long been awaiting this pair of performances.

We're honored to have the Brentano String Quartet back to Spivey Hall tomorrow (Saturday, March 8, 2008 at 8:15 PM). Their program opens with Mendelssohn's F-minor Quartet Op. 80 (among his final works before his premature death, following the loss of his beloved sister, Fanny) and closes with Beethoven's incomparable Quartet in E-flat major, Op. 127 -- a work that astonishes me every time I encounter its power and eloquence --
Beethoven at his best. Brentano first violinist Mark Steinberg has written extensive and very revealing program notes for both quartets, which will certainly inform listeners' understanding of the Brentano Quartet's interpretation of these masterworks.

So, serious works to start and finish. We may expect full-blooded, passionate performances from the Brentanos, who win accolades everywhere they go. In between the Mendelssohn and Beethoven, we'll hear the Southeast premiere of a recent work, commissioned by Music Accord (a consortium of music organizations dedicated to enriching the repertoire with new music) expressly for the Brentano String Quartet, written by Bay-Area composer Gabriela Lena Frank. It's entitled Quijotadas, and is inspired by Cervantes' tales of Don Quixote (or in alternative orthography, Don Quijote). Ms. Frank writes of her quartet:

Quijotadas (2007) for string quartet is inspired by El Ingenioso Hidalgo don Quijote de la Mancha by Miguel de Cervantes Saavedra (1547-1616). Widely considered the birth of the modern novel, this tale satirizes post-Conquest Spain by relating the story of a middle-aged lesser nobleman who undertakes absurd adventures in pursuit of romantic — and seriously outdated — knightly ideals. Cervantes’ brilliant and colorful social commentary still reverberates for us today.

Quijotadas, which is Spanish for extravagant delusions wrought in the Quixotic spirit, is in five movements. They are:

I. Alborada: Traditionally a Spanish song of welcome or beginnings, this is in the style of music for the chifro, a small high-pitched wooden panpipe played with one hand. It is often employed by a traveling guild worker to announce his services as he walks through the streets of town.

II. Seguidilla: This free interpretation of the spirited dance rhythms of Don Quijote’s homeland of La Mancha also evokes two typical instruments – the six-stringed guitar, and its older cousin, the bandurria, which finds its origins in Renaissance Spain.

III. Moto Perpetuo: La Locura de Quijote: This movement is inspired by an early chapter in the novel that describes Don Quixote sequestering himself in his hacienda, reading nothing but novels of chivalry, the pulp fiction of his time. The teasing promises of grandeur make him dizzy and he eventually goes mad.

IV. Asturianada: La Cueva: The style of this traditional mountain song (whereby a young male singer issues forth calls that rise and fall with great emotion and strength) is used to paint a portrait of the Cave of Montesinos. In an important episode of the novel, Don Quijote fantasizes about the legendary hero Montesinos trapped under enchantment in a highland cave.

V. La Danza de los Arrieros: Throughout the tale, Don Quijote constantly rubs up against arrieros (muleteers) who, for Cervantes, are the embodiment of reality in contrast to Don Quijote’s fantasy world. The encounters with these roughnecks are always abrupt and physical, usually resulting in a sound thrashing for Quijote. Each beating brings him closer to reality, and in the end, he must poignantly reconcile himself to the fact that his noble ideals do not find a hospitable home in the contemporary world.

I look forward to hearing this work with great interest, and expect that Quijotadas, heard after the Mendelssohn and before the Beethoven, will make this program both expansive and rewarding listening.

Coincidentally, Spivey Hall audiences will hear another new work by Gabriela Lena Frank later this season: renowned guitarist Manuel Barrueco and the celebrated Cuarteto Latinoamericano will give the Georgia premiere of her Inca Dances on Saturday, May 3, 2008 at 8:15 PM. This work was commissioned by the Baltimore Classical Guitar Society in honor of its 20th Anniversary. Mr. Barrueco lives and teaches in Baltimore, and the piece will be heard there on April 19th, so I'll be keen to learn more about it (we are again promised a program note by Ms. Frank).

Gabriela Lena Frank is a remarkable person as well as a highly accomplished and successful composer -- learn more about her life and her music at http://www.schirmer.com/Default.aspx?TabId=2419&State_2872=2&composerId_2872=2388

Also tomorrow (Saturday, March 8, 2008), at 11:00 AM, the wonderful British pianist Imogen Cooper gives a master class here, working with three pianists on matters of technique and interpretation in music of Schubert, Mozart and Beethoven, prior to her Spivey Hall recital debut on Sunday, March 9, 2008 at 3 PM. (I believe this is also her Atlanta debut.) She offers us a beautiful program devoted principally to Viennese Classical composer Franz Schubert: his four Impromptus, D.935, and his magnificent Sonata in A major, D.959 (another final work from a composer who died tragically young), both favorites for those who love the piano repertoire.

Imogen Cooper has earned consistent praise for her deeply considered and insightful interpretations of Schubert. Recording enthusiasts prize her critically-acclaimed six CDs on the Ottavo label dedicated to all the piano sonatas of Schubert's last six years, for which the pianist has also written superb CD-booklet essays.

I first knew of Imogen Cooper from Sir Neville Marriner (music director of the Minnesota Orchestra in the early days of my career in orchestra management) and finally heard her perform a decade ago in Australia, where she is a regular and welcome guest. Like Richard Goode and Christian Zacharias (both of whom we've heard here in recent seasons), she is an immensely thoughtful pianist who loves the central European repertoire (Bach, Haydn, Mozart, Beethoven, Schubert, Schubert, Brahms). She appears as soloist with the best international orchestras, and is an avid recitalist in leading music venues around the world, including, of course, Wigmore Hall; she is also well known to people who love good singing for her marvelous Lieder collaborations (in concert and recording) with baritone Wolfgang Holzmair (who has previously performed at Spivey Hall with a different pianist).

Imogen Cooper is without question a virtuoso -- not in flashy, extravagant or grandiose ways, but in masterful, musical, strong, subtly expressive, deeply satisfying ways that faithfully evoke the spirit of the composer, as I'm sure we will hear in her master class and her recital. We're delighted to welcome her to Spivey Hall, and grateful for the kind cooperation of one of our international consular partners, the British Consulate-General in Atlanta, to celebrate her debut. With The Friends of Spivey Hall, the Consulate-General is graciously co-hosting a post-concert reception in her honor. The reception will be held in the Spivey Hall lobby, and the entire audience is cordially invited to attend.

A forthcoming Spivey Hall debut: pianist Joyce Yang

2008-03-07T09:43:00.000-08:00

The wonderful young Korean pianist Joyce Yang makes her Atlanta debut at Spivey Hall on Sunday, May 4, 2008 at 3 PM. She's just given a recital in Houston which includes several of the works she'll perform here, including Schumann's Carnaval, Brahms' Piano Pieces Op. 119, and Bach's Chromatic Fantasia & Fugue in D minor, BWV 903.

Here's what the critic of the Houston Chronicle had to say:

So, Yang's playing of the Fantasy and Fugue on the Steinway rather than a harpsichord had little effect on the brilliance of the work. Indeed, the joyous energy she brought to the fugue and the meticulous distinction between the fugue theme and its counter melody were exhilarating.

Both the Brahms and Schumann sets were character pieces — Brahms' abstract, Schumann's laden with extra-musical connections through the titles of the 21 movements. Yang stressed the dreamy side of Brahms and the sometimes quixotic, quick-cut changes of character in the Schumann pieces. She delivered both sets with authority, superb musicianship and, above all, a simplicity that was beguiling.

All this rings true to me. I first encountered Joyce Yang in concert when I attended the final rounds of the most recent Van Cliburn Competition in Fort Worth, where she was honored with the Silver Medal. Her connection with the audience was unmistakable, and I was very taken by the musicianship she revealed in all of her performances. She also was enthusiastically recommended by the Takacs Quartet (also performing at Spivey Hall this spring -- Sunday, April 13, 2008 at 3 PM), with which all the Cliburn Competition finalists performed chamber music, and this endorsement strenghened my resolve to invite her to Spivey Hall. She was already enjoying a very promising career before becoming a Cliburn Competition winner, and since then has moved from strength to strength.

In Fort Worth and in Houston, Joyce played the Piano Sonata No. 1 by Australian composer Carl Vine with special success. I know Carl Vine and his work from my days of managing artists and repertoire for the national network of the six Symphony Australia orchestras, for which he has written several symphonies, well-received by musicians and audiences alike. Alas, Joyce won't be playing Carl's Sonata for us in May (I believe this has to do with repertoire she must prepare and perform later this spring; her Spivey Hall program will close with Brahms' bracingly virtuosic Variations on a Theme by Paganini). It's an extremely effective piece, one that I've enjoyed hearing time and again over the years (I last heard it in concert at the Aspen Music Festival in 2001). Pianists continue to program and perform it, and I'm delighted it seems to be finding a permanent place in the repertoire. I encourage anyone who loves solo piano music to hunt down a CD and give it a listen -- or better yet, hear Joyce or another solo pianist perform it if you have the opportunity. It's a fantastic piece.

Spivey Hall 2008-2009 Season Announcement

2008-02-20T14:31:00.000-08:00

Spivey Hall Announces Eighteenth Season of Concerts

Acclaimed international artists include pianist Murray Perahia, violinist Hilary Hahn, guitarist John Williams, mezzo-soprano Magdalena Kozena, organist Dame Gillian Weir, and the Kenny Barron Trio; Spivey Hall favorite Chanticleer returns with two programs

Auspicious Spivey Hall debut artists include pianist Jean-Yves Thibaudet, violinist Julia Fischer, the Belcea and Tetzlaff string quartets, and tenor Lawrence Brownlee

The Spivey Hall 2009 Spring Bach Festival opens in March with the complete Brandenburg Concertos performed by London’s renowned Academy of Ancient Music

Season opening celebration Saturday, September 20, 2008 showcases the Daedalus Quartet and friends in Schubert’s “Trout” Quintet

Morrow, Ga. (February 16, 2008): Clayton State University’s Spivey Hall made the first announcement of its 2008-2009 concert season this evening, prior to the annual Spivey Memorial Concert featuring distinguished brother-and-sister duo, violinist Gil Shaham and pianist Orli Shaham.

At the 7:15 PM pre-concert announcement event for donors and subscribers, Executive & Artistic Director Samuel C. Dixon revealed the line-up of international artists for Spivey Hall’s Eighteenth Season, which includes celebrated soloists as well as important emerging artists and ensembles in the genres of classical, jazz and world music. The February 16th event marked one of Spivey Hall’s earliest announcements of the new season, and the culmination of more than two years’ planning.

“Spivey Hall is an extraordinary place where excellent international artists connect with audiences through the shared experience of great music,” stated Dixon. “Great music thrives at Spivey Hall. The Hall’s superb acoustics inspire artists and audiences alike, and the deeply-appreciated support we receive from our subscribers and single-ticket buyers, The Walter & Emilie Spivey Foundation, and our individual donors, The Friends of Spivey Hall, makes it possible for us to present an abundant diversity of world-renowned musicians each season.”

With the announcement, the Spivey Hall Box Office begins taking subscription orders for the 2008-2009 season. Subscribers – patrons who buy four or more Spivey Series concerts at a single time – receive discounts of up to 20%. Subscribers who submit their orders before May 31, 2008 receive priority seating before single ticket sales begin. Tickets to Spivey Series guest artist performances are priced from $20 to $75; tickets to performances by regional ensembles range from $12 to $30. Clayton State University Opera tickets are $10, and all other CSU Department of Music concerts at Spivey Hall are free.

Details of the season are presented in the newly published 2008-2009 Season Book, made available at the announcement event. The Season Book will soon be arriving in the mailboxes of Spivey Hall patrons throughout Georgia and in six other states. Subscriptions may be ordered by mail by completing the order form in the 2008-2009 Season Book, by phoning the Box Office at (678) 466-4200 during regular weekday business hours, or by fax (credit card orders only) to (678) 466-4494. More information about the 2008-2009 season will available at http://www.spiveyhall.org/ beginning the week of February 18.

Single ticket sales (including online sales via Spivey Hall’s website) will start in mid-August. As programming details and other events are added to Spivey Hall’s 2008-2009 season, they will be published on Spivey Hall’s website, http://www.spiveyhall.org/, where patrons may elect to join Spivey Hall’s mailing list and receive monthly programming updates via email. Programming information will also be made available in subsequent fall, winter and spring brochures. To obtain these documents in an alternate format or to request accommodations for a disability other than wheelchair seating, patrons may call Clayton State University Disability Services at (678) 466-4554. Programs and artists are subject to change.

Spivey Hall gratefully acknowledges The Walter & Emilie Spivey Foundation for its generous ongoing support of Spivey Hall in each season since its inaugural concerts in 1991. Spivey Hall is proud to thank its 2008-2009 season sponsors: the Georgia Council for the Arts, the National Endowment for the Arts, The Atlanta-Journal Constitution, and Jazz 91.9 FM WCLK. Spivey Hall also deeply appreciates the loyalty and generosity of The Friends of Spivey Hall, whose annual donations sustain the artistic excellence of Spivey Hall’s renowned concert series and award-winning educational programs.

CHAMBER MUSIC ENSEMBLES

Spivey Hall’s 2008-2009 Season Opening Celebration on Saturday, September 20, 2008 showcases the Daedalus Quartet, winner of the 2001 Banff International String Quartet Competition, and former resident quartet of Columbia University and Lincoln Center’s Chamber Music Society Two. The Daedalus Quartet (Min-Young Kim and Kyu-Young Kim, violins; Jessica Thompson, viola; and Raman Ramakrishnan, cello) takes its name from the mythical Greek inventor, artist, and architect who created the art of sculpture, designed the Labyrinth, and (above all) regained his freedom by devising wings that enabled him to fly. A Washington Post concert review declared: “The Daedalus Quartet seemed it was flying...not on wings of waxy feathers, but rather on jet-propelled rockets of blistering virtuosity....The music rang gloriously, and the audience emerged wowed and grateful.” In their Spivey Hall debut, the musicians perform string quartets by Mozart and Janacek, and the program concludes with Schubert’s ebullient “Trout” Quintet featuring the outstanding young Jerusalem-born pianist Benjamin Hochman and Hawaii-native double-bassist Kurt Muroki. A post-concert reception for the entire audience, hosted by the Spivey Foundation, adds to the pleasure of the evening’s festivities.

The extraordinary Trio Jean Paul (Sunday, October 19, 2008) is named after the influential French writer who greatly inspired Robert Schumann as a young composer. Pianist Eckart Heiligers leads special classes in chamber music and piano at Zurich’s Musikhochschüle; violinist Ulf Schneider is professor at Hanover’s Hochschule für Musik und Theater; cellist Martin Löhr is both principal cellist of the Berlin Philharmonic and professor at the Universität für Kunste Berlin. All enjoy extensive performance careers in chamber music, and the Trio Jean Paul has won critical accolades for its recordings and performances, including at the Frick Collection in New York. “The Jean Paul players unashamedly held nothing back,” reported The New York Times. “These are acutely musical and sophisticated players, and they deserve an audience.” The Trio’s Spivey Hall debut program offers masterworks of the Germanic repertoire, with a Haydn piano trio as well as the C-minor Mendelssohn Trio and the B-minor Brahms Trio.

Following his memorable Spivey Hall debut performing solo sonatas and partitas in the Spivey Hall 2007 Spring Bach Festival, violinist Christian Tetzlaff returns with his sister, cellist Tanja Tetzlaff, violinist Elisabeth Kufferath and violist Hanna Weinmeister for the Atlanta debut of the Tetzlaff Quartet (Sunday, November 9, 2008). Noted for its highly expressive, probing and passionate performances, the Tetzlaff Quartet’s program features a quartet by Mozart; the supremely eloquent Lyric Suite by Second Viennese School composer, Alban Berg; and the D-minor Quartet by Finnish composer, Jean Sibelius, subtitled “Voces intimae” (“Intimate Voices”).

Spivey Hall welcomes back the outstanding American violinist Hilary Hahn on Sunday, February 15, 2009, with pianist Valentina Lisitsa. Hahn’s remarkable international career continues to flourish, with the release of critically-acclaimed recordings, soloist engagements with the world’s leading orchestras and conductors, and appearances at the most prestigious concert venues and festivals. In the words of the Los Angeles Times, “Hahn is one of those performers who can dazzle you with the warmth of her personality and knock you dead with the dexterity of technique and the emotional depth of her interpretations.” With impeccable technical execution, unwavering confidence and a powerful stage presence, she embraces a far-ranging repertoire revealed in consistently compelling performances. Lisitsa, well known to Spivey Hall audiences as a member of the Georgian Chamber Players, enjoys a multifaceted career as concerto soloist, duo pianist, chamber musician and recital partner, having performed with Hilary Hahn at London’s Wigmore Hall and other distinguished venues to great acclaim.

Resident quartet of London’s illustrious Wigmore Hall from 2001 to 2006, the Belcea Quartet (Saturday, March 7, 2009) wins fervent praise for its high-energy performances throughout Europe, Asia, Australia and the US, as well as for its acclaimed EMI recordings. Romanian native and violinist Corina Belcea-Fisher, English violinist Laura Samuel, Warsaw-born violist Krzysztof Chorzelski and French cellist Antoine Lederlin are the musicians of the Belcea Quartet, whose playing the Los Angeles Times described as “gutsy and mellifluous, delicate and bold, balancing deep concentration and easy intuition, ever bearing down while ever letting go. For their consistency, strength, virtuosity and single-mindedness, one cannot admire these young players overmuch.” Their Spivey Hall debut program features the First String Quartet by English composer, Benjamin Britten, as well as a Haydn quartet and Schubert’s emotionally-charged D-minor Quartet, “Death and the Maiden.”

Clayton State University faculty pianist Michiko Otaki combines forces with the Swiss Wind Quintet (Sunday, March 15, 2009) for Mozart’s popular Quintet for Piano and Winds in E-flat major, as well as the Sextet for Piano and Winds by German Romantic composer, Ludwig Thuille. The talents of the Swiss musicians (Stéphane Réty, flute; Urs Brügger, clarinet; Christian Schmitt, oboe; David Schneebeli, bassoon; and Henryk Kalinski, French horn – all current or former members of Switzerland’s largest orchestra, the Sinfonieorchester Basel) will be showcased in a 1967 wind quintet by their countryman, composer Jost Meier.

Saturday, May 9, 2009 brings the Atlanta recital debut of the phenomenal young German violinist, Julia Fischer. Atlanta Symphony audiences will recall the excitement of her February 2006 performances of the Tchaikovsky Violin Concerto. Since then, as the result of her worldwide concert tours and critically acclaimed recordings, 14 million music fans voted the 24-year-old Julia Fischer – in the company of such distinguished nominees as Bryn Terfel, Rolando Villazón and Claudio Abbado – the Classic FM Gramophone 2007 Artist of the Year. (Astonishingly, this remarkably gifted musician recently made her concerto debut – as a pianist! – performing the Grieg Concerto in Germany.) Her Spivey Hall recital program will feature sonatas by Mozart, Prokofiev, Beethoven and Martinu.

PIANISTS

The brilliant British pianist Stephen Hough, recipient of a MacArthur Foundation “Genius” Award and a prolific recording artist with more than two dozen releases on the Hyperion label, gives the first solo piano recital of Spivey Hall’s 2008-2009 season on Saturday November 15, with a program of works by Bach/Cortot and Fauré, plus Franck’s Prélude, Choral et Fugue, Copland’s Piano Variations, and Chopin’s Piano Sonata No. 3 in B minor. “Stephen Hough has the most remarkable range of color and sound at the piano,” writes the Sydney Morning Herald, “but the dominant impression from his playing is the simple clarity of the musical idea he is trying to present and the directness with which he communicates it.” Concurs ClassicalSource.com: “Hough's quiet playing is remarkable in its personal declaration – every note hangs in the air with meaning.”

Saturday, February 21, 2009 marks the first appearance at Spivey Hall by French pianist Jean-Yves Thibaudet, a welcome guest artist of the world’s finest orchestras, festivals and recital halls, whose career embraces a wide range of collaborations with distinguished artists. In addition to his many critically-acclaimed recordings for the Decca label, he has a continuing interest in film music, and his playing is featured in the soundtrack to the Academy Award-nominated film, Atonement. “Even without his formidable technical flair and interpretative depth, Jean-Yves Thibaudet would still be an extraordinary pianist, if only for his touch. Cushiony but clear, expressive but understated, the sound of Thibaudet’s playing is like no one else’s” (San Francisco Chronicle).

The phenomenal young Russian pianist Yevgeny Sudbin makes his Atlanta debut at Spivey Hall on Sunday, March 8, 2009. His concerts and recordings reveal a formidable technique, fresh interpretations and remarkable virtuosity. Yevgeny Sudbin has been hailed by the UK’s Daily Telegraph as “potentially one of the greatest pianists of the 21st century.” His 2005 debut recording of Scarlatti sonatas for BIS Records met with overwhelming critical acclaim. Upon hearing his next BIS release, a Rachmaninov recital, the International Record Review stated that the recording “confirms him as one of the most important pianistic talents of our time.” The 2007 release of Tchaikovsky's Piano Concerto No. 1 coupled with Medtner's First Piano Concerto received a similar reaction and was Gramophone’s “Disc of the Month.” His most recent recording, of works by Scriabin, has been chosen “CD of the Year” by The Daily Telegraph, “CD of the Month” by BBC Music Magazine, and was awarded the MIDEM Classical Award for best solo instrument CD at Cannes. Noted by The New York Times for his “volcanic pianism,” Sudbin will perform works by Scarlatti, Haydn, Medtner and Chopin.

Pianophiles will rejoice on Sunday, March 22, 2009, when pre-eminent American pianist Murray Perahia returns to Spivey Hall for the annual Spivey Memorial Concert, honoring Spivey Hall’s visionary philanthropists, Dr. Walter & Emilie Spivey. Patrons warmly recall his earlier visits to Spivey Hall – most recently in April 2003, when he gave sublime interpretations of works by Bach, Schubert and Beethoven. Indisputably one of the world’s greatest living pianists, Perahia was awarded an honorary knighthood by Queen Elizabeth II for his service to music, and unfailingly enthralls audiences with his inspiring and richly expressive performances. Glowed The Seattle Times, “The soul of a poet, the mind of a thinker, the hands of a virtuoso: No wonder audiences love this guy.” Perahia will also give a Spivey Hall piano master class on Saturday, March 21 at 11 AM.

VOCALISTS

German baritone Christian Gerhaher, whose performances and recordings of Lieder by Schubert have won critical acclaim, including Gramophone magazine’s 2006 “Best Solo Vocal Recording” award, makes his Spivey Hall debut on Sunday, November 16, 2008. “One of today’s most accomplished, inspiring and moving Lieder singers” (Gramophone), Gerhaher commands a voice that is “lustrous and deeply penetrating” (The Washington Post). His program of Lieder by a seminal figure of German Romanticism, Robert Schumann, includes the song cycle Liederkreis, Op. 39, a passionate outpouring of the composer’s love for his young wife, Clara.

American tenor, Atlanta resident and international star Lawrence Brownlee makes his Spivey Hall debut on Saturday, January 24, 2009. His triumphant 2007 Metropolitan Opera debut in Rossini’s Barber of Seville came as no surprise to those who heard his winning performances earning him the coveted Marian Anderson Award as well as the Richard Tucker Award. The Washington Post calls him a “dazzling young tenor,” adding, “If you haven’t heard Lawrence Brownlee yet, you have a delight in store.”

The third debut vocalist of Spivey Hall’s 2008-2009 season is the young Dutch mezzo-soprano Christianne Stotijn, an avid recitalist and protégée of the legendary mezzo-soprano Dame Janet Baker. Praised by the London Times for her “lyrical radiance,” this rising star commands a richly-colored voice and a lively intelligence, as vocal fans from throughout the Southeast will hear in her Saturday, February 7, 2009 program of songs by Brahms, Grieg (the wonderful Six Songs, Op. 48, set to texts by German poets Heine and Goethe, among others), and Sibelius.

Friday, May 8, 2009 marks the return of Czech mezzo-soprano Magdalena Kožená to Spivey Hall, where in 2006 she sang arias by Gluck and Rameau with Les Violons du Roy in performances The Atlanta Journal-Constitution described as “ravishing.” A highly sought-after recitalist with many superb recordings to her credit, Kožená was named 2004 “Artist of the Year” by Gramophone, with two different CDs winning “Best Recital” and “Best Vocalist” awards. In addition to appearing regularly at distinguished opera houses such as Milan’s La Scala, London’s Covent Garden and Berlin’s Deutsche Staatsoper, she is a frequent guest artist of the world’s greatest orchestras, and this summer opens one of Europe’s most prestigious music festivals, in Lucerne, as featured soloist in Ravel’s Shéhérazade under the baton of Claudio Abbado.

VOCAL ENSEMBLES

Extending a time-honored choral tradition of more than 500 years, the Vienna Boys Choir performs music both serious and light-hearted to the delight of audiences everywhere. Highly popular at Spivey Hall, whose superb acoustics enhance the boys’ unique sound, the Choir’s performances regularly sell out. Special half-price children’s tickets for the Vienna Boys Choir’s Sunday, November 2, 2008 concert enable the entire family to enjoy a wonderful afternoon of musical entertainment.

On Saturday, February 14, 2009, the four outstanding male vocalists of The Hilliard Ensemble blend seamlessly as one to perform Arkhangelos, a fascinating and far-ranging program of early and modern Christian music from the Roman, English, Greek, Russian and Armenian traditions. Toronto’s Globe and Mail writes of their artistry: “The astounding melding of the voices of David James, Rogers Covey-Crump, Steven Harrold and Gordon Jones is simply that – astounding, other-worldly. The Hilliard Ensemble [is] without a doubt one of the finest vocal ensembles in the world.”

Chanticleer loves Spivey Hall, and Spivey Hall audiences adore Chanticleer. The superlative San Francisco-based, 12-member male vocal ensemble was honored as Musical America’s 2008 “Ensemble of the Year.” This incomparable “Orchestra of Voices” guided by artistic director Joseph Jennings performs a rich diversity of music in two different programs: on Friday, April 17, 2009, Wondrous Free, a celebration of 300 years of American song, from early hymns and shape-note singing to madrigals, part songs, folk songs, and a newly commissioned work by an American composer to be confirmed; and on Saturday, April 18, 2009, Divine Tapestry: A Mass For All Time – a kaleidoscopic Latin mass interweaving compositional voices old and new, from Tallis, Gabrieli, Dufay and Desprez to John Tavener, Augusta Read Thomas, William Albright and Olivier Messiaen.

SPIVEY HALL 2009 SPRING BACH FESTIVAL

Following the popular and artistic success of its inaugural festival in 2007, Spivey Hall proudly presents the 2009 Spring Bach Festival. As an ideal venue for chamber music performances and organ recitals, Spivey Hall is a natural showcase for the works of the great German baroque master, Johann Sebastian Bach (1685-1750), whose magnificent body of works remains central to the Western art music tradition and continues to inspire musicians and audiences throughout the world. Bach Festival performances will again be enhanced by free pre-concert talks for all four performances, and a special program book with extensive program notes, artist biographies and essays.

The Spivey Hall 2009 Spring Bach Festival kicks off on Sunday, March 29, 2009 with the complete Brandenburg Concertos, BWV 1046 – 1051, performed by London’s top-notch 22-member period-instrument ensemble, the Academy of Ancient Music, under the direction of harpsichordist Richard Egarr. One of the world’s first early-music ensembles, the Academy of Ancient Music is now in its fourth decade as one of the world’s finest, and “with Richard Egarr’s brilliance as its music director,” reports The Pittsburgh Post-Gazette, “this orchestra is playing better than ever.” Complimentary intermission refreshments will complete the afternoon’s musical feast.

The Festival spirit continues with the arrival of the superb flutist Emmanuel Pahud, renowned harpsichordist Trevor Pinnock and eminent cellist Jonathan Manson on Sunday, April 26, 2009 to perform four of Bach’s Sonatas for Flute and Continuo. Rounding out the program, each musician will also perform a solo work: Telemann’s Fantaisie in D major for flute, Purcell’s Suite in A minor for harpsichord, and a cello suite by Bach.

No Spivey Hall Bach Festival could be complete without an organ recital. The three-manual, 77-rank, 4,413-pipe Albert Schweitzer Memorial Organ built by Fratelli Ruffatti of Padua, Italy, will resound gloriously when French organist Vincent Dubois returns to Spivey Hall on Saturday, May 2, 2009 for a program of works by Bach and other composers. Winner of the Recital Gold Medal at the 2002 Calgary International Organ Competition, “Dubois set a new standard for Bach performance,” reported The Calgary Herald, “the freedom and accuracy of his playing captivating from start to finish.”

Later that day, celebrated Canadian pianist Angela Hewitt gives a public master class on interpreting Bach keyboard works on the piano. She is joined the following afternoon (Sunday, May 3, 2009) for the final performance of the 2009 Spring Bach Festival by the charismatic German cellist, Daniel Müller-Schott, featuring Bach’s three gamba suites. Their 2007 recording of these works on the Orfeo label has won considerable critical acclaim, including Gramophone’s “Editor’s Choice” award. The Guardian hails Hewitt (who will also perform a Bach solo partita) as “the pre-eminent Bach pianist of our time.” The New York Times calls Müller-Schott “magnetic...a fearless player,” praising his “meticulous attention to expression,” which will also be on display in his performance of a Bach suite for solo cello.

ORGANISTS

In addition to Vincent Dubois’ 2009 Spring Bach Festival recital (Saturday, May 2, 2009), the 2008-2009 organ series features Alan Morrison, head of organ studies at The Curtis Institute of Music in Philadelphia, who joins forces with pianist and Clayton State University professor emerita of music, Jeannine Morrison, for a mother-and-son duo recital on Sunday, September 28, 2008. Both are Atlanta-area favorites, having frequently performed and recorded in Spivey Hall. Alan Morrison will shine both as organist and pianist.

Master organist Dame Gillian Weir, who dedicated Spivey Hall’s Albert Schweitzer Memorial Organ with memorable flair and virtuosity in 1992, makes a welcome return for her Saturday, January 10, 2009 recital. Her extensive schedule of concerts is augmented by critically-acclaimed recordings and master classes at leading conservatories and schools of music. “There is only one Dame Gillian Weir,” admires The American Organist. “She is without peer in her ability to do everything right, and make it all sound so effortless, spontaneous, and joyful.”

Philadelphia native and London resident Ann Elise Smoot makes her Spivey Hall debut on Saturday, February 28, 2009. Smoot, who graduated with two honors degrees from Yale and is now one of Britain’s most sought-after teachers, won The American Guild of Organists’ 1998 National Young Artists Competition in Organ Playing, and has since released a JAV recording of French works – including her own arrangement of Ravel’s Le Tombeau de Couperin – performed at the National Cathedral in Washington, D.C. The American Organist commended her “deep musical maturity.... she communicated her musical intentions with a rare clarity. She led the listener to know in advance her every rhythmic nuance, each of which was supremely tasteful and satisfying.”

Spivey Hall organist-in-residence Richard Morris commands a vast knowledge of the organ repertoire as well as a quick wit; his commentary from the stage is both informative and entertaining. A brilliant performer, Morris gives his annual Spivey Hall recital on Saturday, April 4, 2009. He is a renowned concert organist who has performed extensively throughout the United States, and is one of the few organists ever to give a solo recital at Carnegie Hall. Morris presently serves as organist at St. Francis de Sales Catholic Church in Mableton, Georgia. World Magazine described his recent MSR Classics CD, The Grand Tradition, featuring the A.E. Schlueter Pipe Organ at Savannah’s First Presbyterian Church, as “an awe-inspiring program resulting from a skillful blend of virtuosity and reverence.”

GUITARISTS

Sole winner of the 2001 Young Concert Artists European Auditions in Leipzig, and the first guitarist ever to win the Young Concert Artists International Auditions in New York, Croatian guitarist Robert Belinic is “a genius, a poet, a super-sensitive musician” (SanDiego.com). Belinic has given recitals in New York at Carnegie’s Weill Recital Hall and Merkin Concert Hall and in Boston at the Isabella Stewart Gardner Museum. As concerto soloist, he has appeared with the Phoenix Symphony, and makes his New York concerto debut with the Orchestra of St. Luke’s in April 2008. He makes his Spivey Hall debut on Saturday, October 18, 2008.

From his live performances and noteworthy recordings for Deutsche Grammophon, Swedish guitarist Göran Söllscher has earned resounding praise for his exceptional musicality as well as his dedication to expanding the solo guitar repertoire. Since winning the 1978 Paris International Guitar Competition, he has performed worldwide in recital, and as soloist with such eminent conductors as Claudio Abbado and Esa-Pekka Salonen. London’s International Record Review wrote glowingly of his playing in February 2006: “A smooth, relaxed playing style, crisp articulation and a tone balancing sweet and dry (perfect for this repertoire) ensures a clarity of projection that allows the listener to grasp the essentials of each piece while ensuring ample space for fantasy to work its magic.” For his Spivey Hall debut on Saturday, November 22, 2008, Söllscher performs a fascinating mix of music, including his own arrangements of Suites Nos. 1 and 2 by J.S. Bach (originally for solo cello), which book-end early music by English composer John Dowland as well as three pieces by John Lennon and Paul McCartney: “Here, There and Everywhere,” “Eleanor Rigby,” and “The Long and Winding Road.”

“After 30 years,” declares The Times of London, “John Williams is still the undisputed king of the classical guitar.” His millions of fans around the world agree. An inspiring interpreter, prolific recording artist, and celebrated master of his instrument, John Williams enthralls audiences with the uncommon beauty of his playing. Last heard at Spivey Hall in duo recital with John Etheridge in April 2006, Australian native John Williams returns for an eagerly anticipated solo recital on Saturday, March 21, 2009.

“An artist of formidable technical accomplishment and wonderfully sophisticated musicianship” (The Atlanta Journal-Constitution), Englishman David Russell is a supremely accomplished guitarist who “possesses a talent of extraordinary dimension” (The New York Times). A Grammy Award winner, Russell has enjoyed a long and prolific relationship with the Telarc label; his latest CD, released in March 2007, is Art of the Guitar. “A phrase played by [David Russell] is a thing of such clarity and direction that it seems almost physically palpable,” observes the American Record Guide. “It is an object of such polish, perfect curvature, and ineluctable sweep that one feels as though one could pick it up and examine it as if it were a sculpture." Russell returns to Spivey Hall for a guitar master class on Friday, April 3, and his solo recital on Saturday, April 4, 2009.

JAZZ & SWING

Spivey Hall proudly opens its 2008-2009 Jazz Series on Friday, October 17, 2008 with the Kenny Barron Trio. Lauded as “one of the top jazz pianists in the world” (Los Angeles Times) and “the most lyrical pianist of our time” (Jazz Weekly), Kenny Barron is a master poet of jazz piano with an unmatched ability to mesmerize audiences. A major headliner appearing at leading jazz venues and festivals internationally, he has been named “Best Jazz Pianist” by the Jazz Journalists Association four years in a row. His outstanding recordings have been showered with honors, including eight Grammy nominations for his featured recordings on the Verve label.

The Brad Mehldau Trio makes its long-awaited return to Spivey Hall on Friday, November 14, 2008. “Universally admired as one of the most adventurous pianists to arrive on the jazz scene in years” (Los Angeles Times), American jazz pianist Brad Mehldau has performed and recorded extensively since the early 1990s. In addition to his trio and solo projects, Mehldau has collaborated with numerous great jazz musicians: playing with saxophonist Joshua Redman’s band for two years, making recordings and performing with Pat Metheny, Charlie Haden and Lee Konitz, and recording as a sideman with the likes of Michael Brecker, Wayne Shorter, John Scofield, and Charles Lloyd. In 2005, soprano superstar Renée Fleming performed and recorded two works by Mehldau commissioned by Carnegie Hall, and in 2006, Nonesuch released his jazz trio CD, House on the Hill, to critical acclaim. “The elliptical lines, volatile rhythmic figures and unexpected bursts of color and dissonance... prove that Mehldau writes as cleverly as he plays” (Chicago Tribune).

Jazziz magazine proclaims Paula West to be “the model of a modern jazz vocalist.... She’s class.” “Some voices are astringent like gin, some sweet like sherry,” muses the San Francisco Chronicle. “West has a red wine voice – a deep, mellow, Cabernet voice.” The New York Times praises her “mischievous sexiness” and “acute musical intelligence,” and assessing her most recent annual engagement at the Algonquin Hotel’s famous Oak Room in October 2007, the Times concluded, “For all her stylistic wanderings, Ms. West always returns to home base, a place where blues and jazz songs are inflected with a sly, humorous appreciation of the absurd and the naughty.” San Francisco-based Paula West and her Quartet make their Spivey Hall debut on Saturday, December 6, 2008.

A perennial favorite of Spivey Hall audiences, the world-famous Glenn Miller Orchestra returns for its third consecutive season with two performances (3 PM and 7 PM) on Sunday, January 11, 2009. With such timeless tunes as “In the Mood,” “Tuxedo Junction,” “Chattanooga Choo-Choo” and “Moonlight Serenade,” the Glenn Miller Orchestra recalls the glories of one of America’s most popular swing bands. Under the direction of Larry O’Brien, the Orchestra plays hits from the original Glenn Miller charts, reveling in the classic arrangements popularized by Miller while also exploring new works in the style of the great American swing band tradition. The Miller sound lives forever!

At the pinnacle of his career, English bassist Dave Holland has settled into the unassuming role of jazz master. “The commander-in-chief of a first-rate, cutting-edge group has to be everything: creative genius and effective entrepreneur, power player and diplomat, steeped in experience but fresh and unjaded. Few leaders exemplify the role as well as bassist Dave Holland” (Downbeat). A onetime sideman with two titans of jazz (Thelonius Monk and Miles Davis), Holland made his debut as a leader in the early 1970s. With outstanding recordings to its credit, including the 2006 release Critical Mass, the Dave Holland Quintet continues to tour the world, enjoying a fervent following, for “When the Dave Holland Quintet puts it all together, there isn’t a band alive that can touch them” (Downbeat). Spivey Hall welcomes the Dave Holland Quintet back for a one-night-only appearance on Friday, January 23, 2009.

Jazz legend McCoy Tyner calls him “one of the great players of our time – a fabulous trumpet player.” A gifted and versatile player with a voice all his own, jazz trumpeter Terell Stafford combines lyricism and a deep love of melody with a spirited, adventurous edge. This uniquely expressive, well-defined musical talent allows Stafford to dance in and around the rich trumpet tradition of his predecessors while making his own inroads. Since the mid-1990s, Stafford has performed with such groups as Benny Golson’s Sextet, McCoy Tyner’s Sextet, the Kenny Barron Sextet, and the Jon Faddis Orchestra; currently he is a member of the Grammy-nominated Vanguard Jazz Orchestra. An educator as well as a performer, Stafford is professor of music and director of jazz studies at Temple University in Philadelphia and highly in demand as a clinician. He is heard on more than 40 albums as a sideman, and has recorded five albums as a leader, including his superb 2007 MaxJazz release, Taking Chances: Live from the Dakota, featuring the Terell Stafford Quintet, which makes its Spivey Hall debut on Friday, March 6, 2009.

HOLIDAY CONCERTS

One of America’s leading brass quintets, the Empire Brass enjoys an international reputation for its stylistic excellence and the unparalleled diversity of its repertoire. Giving more than 100 concerts each year and adding to their discography on the Telarc label, the five musicians of the Empire Brass – Rolf Smedvig (trumpet), Marc Reese (trumpet), Michelle Perry (French horn), Mark Hetzler (trombone) and Kenneth Amis (tuba) – “simply have no competition when it comes to the beauty and clarity and accuracy and balance and interaction of their playing – the first phrase of any Empire Brass performance live or on recording sends a thrill of pleasure through your nervous system” (The Boston Globe). In its Spivey Hall debut on Sunday, December 7, 2008, the Empire Brass celebrates Christmas through the ages with glorious music from the Renaissance to the present day.

Spivey Hall’s most cherished holiday tradition is the beautiful sound of superb young singers joyously evoking the spirit of Christmas. The three choirs of the Spivey Hall Children’s Choir Program welcome Christmas with concerts on Friday, December 12, 2008 featuring the Spivey Hall Young Artists and the Spivey Hall Children’s Choir, and on Sunday and Sunday, December 13 and 14, 2008, showcasing the Children’s Choir and its most advanced singers, the Spivey Hall Tour Choir (see “Spivey Hall Educational Programs” below for more details).

“The first real Celtic folk group,” boasts The Irish Times. “One of the finest bands in Celtic traditional music,” proclaims The New York Times. When The Boys of the Lough return to Spivey Hall on Saturday, March 14, 2009, leading up to St. Patrick’s Day, they bring their unique warmth and wit, expert musicianship, technical brilliance, lively tunes and clever yarns. The Boys have earned a loyal following through their spirited performances, acclaimed recordings and regular public radio appearances on A Prairie Home Companion. With their roots planted firmly in the heritage of the British Isles’ Celtic regions, the Boys have remained true to their musical vision of traditional instrumentals complimented by occasional songs, winning them friends from the village halls of Scotland and Ireland to international concert and festival stages.

REGIONAL ENSEMBLES AT SPIVEY HALL

Since opening its doors in 1991, Spivey Hall has served as an important concert venue to support and showcase the musical achievements of the best regional ensembles throughout metro Atlanta and the Southeast. The 2008-2009 season features the Spivey Hall debut of the Piedmont College Chamber Singers with conductor C. Wallace Hinson (Friday, November 7, 2008) as well as return engagements for other popular ensembles and events: the Georgia State University Singers with conductor Randall Hooper (Sunday, October 26, 2008); The Atlanta Singers with conductor David Morrow, performing their annual Christmas program (Sunday, December 14, 2008); the Metropolitan Opera National Council Auditions Southeast Regional Finals (Sunday, January 25, 2009); the Southern Crescent Chorale with conductor Janice Folsom (Saturday, February 28, 2009); the Atlanta Chamber Players with their pianist and artistic director, Paula Peace (Sunday, March 1, 2009); and the Southern Crescent Symphony with conductor Richard Bell (Friday, March 13, 2009). Program details, as well as information on other regional ensemble performances still to be confirmed, will be posted on Spivey Hall’s website, http://www.spiveyhall.org/, and in Spivey Hall’s fall, winter and spring brochures.

CSU DEPARTMENT OF MUSIC CONCERTS

Spivey Hall serves as the primary performance venue for Clayton State University’s Department of Music, which presents faculty, students, ensembles and guest artists in concert throughout the academic year. Except for the Clayton State Opera, these performances are free, and tickets are not required.

Faculty recitals in the 2008-2009 season will include organist Daniel Pyle on Saturday, September 13, 2008, plus tenor Kurt-Alexander Zeller and pianist Michiko Otaki on Sunday, February 22, 2009. The Maharlika Trio (trombonist David Springfield, pianist Maila Gutierrez Springfield and saxophonist Joren Cain) make their Spivey Hall debut on Tuesday, September 16, 2008. Clayton State Opera performances, under the direction of Kurt-Alexander Zeller, will be given on Friday and Saturday, March 27 and 28, 2009. Major ensembles will also give fall and spring performances: the CSU Wind Ensemble conducted by Patrick Carney (Wednesday, November 5, 2008 and Wednesday, April 15, 2009), the CSU Jazz Combo under the direction of Stacey Houghton (Wednesday, November 19, 2008 and Wednesday, April 22, 2009), the CSU Chorale conducted by Shaun Amos (Sunday, November 23, 2008 and Sunday, April 19, 2009), and the Clayton Community Big Band under the direction of Stacey Houghton (Monday, December 1, 2008 and Monday, April 27, 2009).

During the year, additional CSU Department of Music concerts are given and some may occasionally change. For the most up-to-date listing of CSU Department of Music concerts, visit www.a-s.clayton.edu/music.

SPIVEY HALL EDUCATION PROGRAMS

Each year, Spivey Hall welcomes approximately 15,000 K-12 students and adults from 18 counties to participate in educational activities.

Treble and High School Choral Workshops are intensive programs for advanced middle and high school singers. Founded at Spivey Hall by the legendary choral conductor Robert Shaw, the workshops enable participants to work with a nationally-respected clinician and to give a culminating public performance that showcases the students’ musical growth. The Spivey Hall Treble Honor Choir concert will be given on Saturday, October 4, 2008, and the Spivey Hall High School Honor Choir concert will take place on Saturday, October 25, 2008. Spivey Hall’s annual Chamber Orchestra Workshop, featuring high school string players from various school systems under the direction of a an expert conductor in orchestral music, will conclude with the Spivey Hall Honor Chamber Orchestra concert on Friday, November 21, 2008. Spivey Jam is a celebration of middle and high school jazz programs. Clinicians visit schools to work with metro-Atlanta ensembles, and in the spring (2009 date to be announced), all participants unite to perform in Spivey Hall.

The award-winning Spivey Hall Children’s Choir Program, under the direction of Dr. Martha Shaw, consists of 170 students in three treble choirs: the Spivey Hall Young Artists led by conductor Craig Hurley and accompanist Steven Wooddell; and the Spivey Hall Children’s Choir, which includes the most advanced of the three choirs, the Spivey Hall Tour Choir, both led by Dr. Shaw and accompanist/assistant director Judy Mason. Students are chosen by audition and rehearse each Monday during the academic year. As the musical ambassadors of Clayton State University’s Spivey Hall, the Spivey Hall Tour Choir performs regionally, nationally and internationally, undertaking a major tour each summer. The Tour Choir has recently released its third commercial recording on the ACA Digital label, I’ll Be Seeing You, a CD of sacred music, traditional tunes, popular songs, and works by outstanding choral composers including Morten Lauridsen (“Dirait-on” from Les Chansons des Roses) and David L. Brunner (“A Song for Every Child,” commissioned by the Spivey Hall Children’s Choir).

All three choirs perform fall and spring concerts at Spivey Hall. Their annual December concerts are among Spivey Hall’s most joyous performances of the year, featuring a wonderful variety of music for the holidays that is immensely popular with audiences. The Friday, December 12, 2008 concert features the Young Artists and the Children’s Choir, performing separately and together, with Craig Hurley and Martha Shaw conducting; the Saturday/Sunday performances, December 13/14, 2008, showcase the Children’s Choir and the Tour Choir under the baton of Martha Shaw. The spring concerts, given in two programs (Friday, May 15, and Saturday/Sunday May 16/17, 2009), celebrate the high point of the choirs’ work at the end of the academic year.

Auditions for the Spivey Hall Children’s Choir Program are held each spring, with need-based scholarship assistance available. Audition, rehearsal and concert information may be obtained by calling (770) 946-9072 or by emailing info@shcc-tc.com.

Each season, several of Spivey Hall’s visiting guest artists also give Master Classes, open to music lovers of all abilities who wish to learn more about technique and interpretation. Auditors may attend for a fee of $10; students who perform in master classes are chosen by application. Master classes in the 2008-2009 season will be given by three distinguished artists and teachers: guitarist David Russell (Friday, April 3, 2009), pianist Murray Perahia (Saturday, March 21, 2009) and pianist Angela Hewitt (Saturday, May 2, 2009). Master classes are sponsored by Spivey Hall’s generous donors, The Friends of Spivey Hall.

Other Spivey Hall Education Programs in 2008-2009 include Professional Development for Teachers and Spivey Hall’s major series of weekday educational Young People’s Concerts. Details will be announced with the publication of the Education Program brochure in mid-summer 2008. For more information about Spivey Hall’s education programs or to request a brochure, call (678) 466-4481, visit www.spiveyhall.org/education, or email educationmanager@spiveyhall.org.

PRE-CONCERT TALKS

To enhance patrons’ listening experiences, Spivey Hall offers free pre-concert talks before vocal recitals, organ recitals, most performances by chamber music ensembles, and all four of the Spivey Hall 2009 Spring Bach Festival concerts. These popular pre-concert talks are given principally by Dr. Kurt-Alexander Zeller, Clayton State University’s Director of Vocal Activities and Opera, with pre-concert talks for organ recitals given by Richard Morris, Spivey Hall’s organist-in-residence. All pre-concert talks begin one hour prior to the scheduled concert time. Pre-concert talks are scheduled for the following 2008-2009 season performances:

Daedalus Quartet (Saturday, September 20, 2008)
Alan Morrison, organ & piano; Jeannine Morrison, piano (Sunday, September 28, 2008)
Trio Jean Paul (Sunday, October 19, 2008)
Tetzlaff Quartet (Sunday, November 9, 2008)
Christian Gerhaher, baritone (Sunday, November 16, 2008)
Dame Gillian Weir, organ (Saturday, January 10, 2009)
Lawrence Brownlee, tenor (Saturday, January 24, 2009)
Christianne Stotijn, mezzo-soprano (Saturday, February 7, 2009)
Ann Elise Smoot, organ (Saturday, February 28, 2009)
Belcea Quartet (Saturday, March 7, 2009)
Swiss Wind Quintet and Michiko Otaki, piano (Sunday, March 15, 2009)
Academy of Ancient Music (Sunday, March 29, 2009)
Emmanuel Pahud, flute; Trevor Pinnock, harpsichord; Jonathan Manson, cello (Sunday, April 26, 2009)
Vincent Dubois, organ (Saturday, May 2, 2009)
Daniel Müller-Schott, cello and Angela Hewitt, piano (Sunday, May 3, 2009)
Magdalena Kožená, mezzo-soprano (Friday, May 8, 2009)

PUBLIC RADIO BROADCASTS

Many Spivey Hall performances are recorded for tape-delayed radio broadcast. Each fall, WABE 90.1 FM airs complete concerts from recent Spivey Hall seasons in its multi-week Spivey Soirée series. Spivey Hall concerts are also heard in WABE’s Atlanta Music Scene broadcasts. Selections from performances by most of the distinguished international recitalists and chamber music ensembles appearing in the Spivey Series are also heard by about 1.4 million people each week on 250 public radio stations carrying American Public Media’s Performance Today, a program accessible to music-lovers worldwide via the Internet at http://www.performancetoday.publicradio.org/. The recording of Spivey Hall concerts is generously funded by The Walter & Emilie Spivey Foundation.

THE FRIENDS OF SPIVEY HALL

With their annual donations, The Friends of Spivey Hall play a critical role in achieving the artistic mission of Spivey Hall. Friends receive priority seating when purchasing a Spivey Hall subscription of four or more concerts before single tickets go on sale to the public. Friends also receive invitations to special events, including receptions hosted by international consulates; recognition in all Spivey Hall program books for a period of 12 months from receipt of donation; and complimentary companion tickets through the Ambassadors Program, which enables donors of $250 and above to introduce first-time patrons to the joys of hearing fine music at Spivey Hall.

New for the 2008-2009 season are opportunities to sponsor individual Spivey Hall concerts, starting with donations of $2500. Concert sponsorship benefits include complimentary tickets, greeting the artists backstage, plus special recognition in Spivey Hall program books and publications, in the lobby, and on Spivey Hall’s website.

Donations to The Friends of Spivey Hall are managed by the Clayton State University Foundation on behalf of Spivey Hall and are tax-deductible to the extent allowed by law. To join The Friends of Spivey Hall or to inquire about a concert sponsorship, call the Spivey Hall Box Office at (678) 466-4200.

SPIVEY HALL

Clayton State University
2000 Clayton State Boulevard
Morrow, GA 30260
http://www.spiveyhall.org/
Tel (678) 466-4200
Fax (678) 466-4494

Spivey Hall is located on the campus of CLAYTON STATE UNIVERSITY, a unit of the University System of Georgia and an outstanding metropolitan university located 15 miles southeast of downtown Atlanta. Clayton State provides an intellectually challenging, culturally rich learning environment, encouraging residential and commuter students from a diverse range of ethnic, socioeconomic, experiential and geographical backgrounds to achieve their educational and career goals. The university offers undergraduate and graduate programs of superior quality taught by a professionally active teaching faculty committed to promoting academic excellence. http://www.clayton.edu/

Mega-Friday...three sold out houses in a single day

2008-02-01T07:55:00.000-08:00

Not everyone knows that Spivey Hall draws as many people (sometimes more!) to Young People's Concerts for children in grades K through 12 from public, private and homeschools in more than 12 counties as it does to its Spivey Series concert presentations. Today the Jose White String Quartet (hailing from Mexico) plays to two entirely sold-out houses (ca. 800 listeners) between the hours of 9:45 AM and 12:00 PM.

I was grateful to the sea of kids waiting in the lobby before the second concert who kindly let me through to get into my office...! We've just had the "changing of the guard" -- with dozens of school busses dropping off the 11:15 AM audience and picking up the 9:45 AM audience -- which can be quite a commotion!

But a truly happy one, since the students (which today are from grades 6 through 12) seem really excited to be here. For many of them, hearing a Spivey Hall Young People's Concert is their first introduction to fine music in a concert-hall setting. Because of Spivey Hall's renowned acoustics and intimate size, it's a fantastic place for such an introduction, because the students (like the adults) can feel truly connected to what's happening on stage. What better way to discover chamber music? Tickets for these concerts are only $1 each; we also have senior citizens who like to attend, and admission is free to Clayton State University students.

Working in close consultation with the Spivey Hall Education Committee chaired by Jay Wucher, Spivey Hall Education Manager Amber Dimkoff leads the booking, promotion, ticketing and front-of-house operations for Young People's Concerts, with the help of Education Assistant Bonita Clark, our wonderful volunteer ushers, and our backstage crew headed by Production Manager Lorenzo Callahan. Hats off and our sincere thanks to them all; with the YPC artists, they make great music happen -- music that enhances the learning and lives of young people from throughout metro Atlanta.

Tomorrow night (Saturday, February 2nd), the Jose White String Quartet teams up with CSU faculty pianist Michiko Otaki for the Brahms F-minor Piano Quintet, plus two great works for string quartet by Mozart and Schulhoff. We're grateful to the Jose White Quartet for their commitment to music education and for collaborating with us in this way. The Quartet has won numerous international awards and garnered warm praise from the Cleveland Plain Dealer. For more information and online tickets, visit http://www.spiveyhall.org/ or call the box office, (678) 466-4200.

Spivey Hall's partners in welcoming the Quartet to Atlanta are the Mexican Consulate General and the Instituto de Mexico, and they join The Friends of Spivey Hall in hosting a post-concert reception in honor of the artists, with the entire audience cordially invited to attend. Dr. Otaki joins her CSU Dept. of Music colleague Dr. Kurt-Alexander Zeller for a pre-concert talk at 7:15 PM, in which Dr. Otaki will give musical illustrations into the glories of the Brahms Quintet from the pianist's point of view.

This evening, Ladysmith Black Mambazo makes its Spivey Hall debut. These phenomenal cultural emissaries from South Africa have a strong following in Atlanta, and have also sold out Spivey Hall (even after adding pit seats, we have a wait list of more than 30 names). CNN is scheduled to do a feature on them today at Spivey Hall. We're delighted to welcome them for one the most highly-anticipated world-music events ever here. Their bus has already pulled up to the loading dock...and we look forward to a tremendously high-energy communion of artists and audience tonight.

And Sunday afternoon (February 3 at 3 PM) brings the Atlanta debut of the superb German soprano, Christine Schaefer, lately of the Metropolitan Opera and the Lincoln Center's Rose Theatre, who's singing a beautiful program of songs by Henry Purcell, Charles Ives, and a second half of Lieder by Richard Strauss. Her pianist is the renowned Martin Katz, no stranger to Spivey Hall, who played exquisitely in recital with David Daniels last weekend. We may expect our ears to be be amply rewarded! Good seats are still available for this performance, which includes an informative pre-concert talk by Dr. Zeller at 2 PM.

Okay...I'm going to go catch the end of the Jose White String Quartet's second YPC. No matter how many concerts I attend, it always inspires me see how great music continues to speak to people of all ages. In addition to the exuberant applause, you can see it on the kids' faces. It's amazing.

Metropolitan Opera Auditions results

2008-01-27T14:42:00.000-08:00

Once again Spivey Hall has had the pleasure of hosting the Southeast Region Metropolitan Opera National Council Auditions. Twelve young singers from Georgia, South Carolina, North Carolina and Florida took part, each singing two (and in some cases three) arias for a panel of expert judges: Paul Kilmer, Director of Artistic Administration, Opera Theatre of Saint Louis; Felicity Jackson, Associate Director, Chicago Opera Theater; and George Darden, the long-time pianist, coach and assistant conductor of The Metropolitan Opera who has also performed in recital with many celebrated vocalists.

This year's winners were announced by Dr. John C. LaForge, Southeast Regional Auditions Director (also Coordinator of Music for Fulton County Schools and a member of the Spivey Hall Education Committee):

+ The Atlanta Opera Guild Encouragement Award ($300): mezzo-soprano Sarah Limper, age 26, Florida

+ The Peg Gary Encouragement Award ($300): mezzo-soprano Kaitlyn Costello, age 22, Georgia

+ Third Place Winner ($400 Metropolian Opera National Council Award; $600 Southeast Regional Fund Award): baritone Nimrod Weisbrod, age 27, Florida

+ This year there are two First Place Winners, each of which will receive $4000 and will travel to New York to sing at The Met National Audition Semi-finals on Sunday, February 17. (The National Grand Finals Concert is Sunday, February 24.)

These prizes are generously funded by numerous donors:

> The MRS. EDWARD TOBIN AWARD ($800) - An annual national award given to the First Place Winner in each of the 15 Regions
> The W.K. LOMASON MEMORIAL AWARD ($1000)
> The CROSS FOUNDATION in honor of Mrs. John (Margaret) Talmadge, Chairman of the Southeast Region Auditions ($1000)
> An anonymous award given in honor of Mrs. Gilbert W. Humphrey ($720)
> The ATLANTA OPERA GUILD AWARD from the HELEN RILEY SMITH MEMORIAL FUND ($350)
> The SOUTHEAST REGIONAL FUND AWARD ($350)

FIRST PRIZE WINNERS:

soprano Carolina Castells, age 25, of Florida

and

tenor Rene Barbera, age 23, of North Carolina

Congratulations to all the contestants! Thanks are also due to David D'Ambrosio, staff accompanist for all of the contestants save tenor Martin Nusspaumer, whose accompanist was Benny John Plasencia; and to J. Barry Schrenk, Director of Membership and Finance for the Southeast Region.

An aside about pianos: We had a little on-stage drama with our pianos today. As many of our patrons know (and as was amply reported in Pierre Ruhe's feature that ran in The Atlanta Journal-Constitution the Sunday after Thanksgiving), Spivey Hall has two magnificent New York Steinway "D" concert grand pianos. One was the instrument that Emilie Spivey had in her home. Here at Spivey Hall, this instrument very naturally goes by the name of "Emilie." Our second Steinway grand, selected for us by outstanding American pianist Richard Goode, is named "Walter" -- since of course Dr. Walter & Emilie Spivey were the visionary philanthropists who led the creation of Spivey Hall, and whose Foundation generously funds our operations.

"Emilie" was the instrument of choice at today's auditions -- until she developed a problem with a buzzing string. About two weeks ago a string snapped on Emilie, and the new string (which stretches and takes some time to acclimate) apparently hasn't quite settled down. It was fine Friday night when Martin Katz performed with countertenor David Daniels (a very rewarding recital indeed), but today it created a very noticeable noise that distracted the artists and the audience.

So, after Rene Barbera's selections in the second half of the program, "Emilie" got to take a nap in her storage area (our piano technicians will pay a visit to her shortly), and out came "Walter" for his moment in the Met auditions spotlight.

"Walter" was Emanuel Ax's instrument of choice for his December 2nd recital, and I expect we'll be seeing (and hearing) more of him in the coming months, since over the summer and into the early fall he's had lots of TLC from our two first-rate piano technicians, Craig Miller and Chuck Cook.

Curious to know which is which? You can tell when "Walter" is on stage, because "Steinway & Sons" is visible on the side of the piano facing the audience; "Emile," appropriately discreet, has no such emblem.

A weekend of great singing

2008-01-22T06:44:00.000-08:00

We've got just a handful a tickets left for this Friday's January 25th recital by countertenor David Daniels and pianist Martin Katz. They performed on Saturday in Boston, and the Boston Globe critic heard much to his liking.

Take a look:
http://www.boston.com/ae/music/articles/2008/01/21/drawing_vocal_lines_across_centuries/

David Daniels makes his Santa Fe Opera debut this summer in Handel's Radamisto -- another performance I greatly look forward to hearing.

More great singing this weekend comes by way of the virtuostic Dutch vocal ensemble, Quink, on Saturday evening, January 26th. Their far-ranging program featuring works of several centuries includes a wildly imaginative contemporary piece by Simeon ten Holt, Bi-Ba-Bo -- the likes of which you probably haven't heard before.

I knew Quink had sung in an earlier Spivey Hall season, but I didn't know their work from first-hand experience, so about 18 months ago I put on a sampler CD in my office that their manager had supplied. I listened happily to the first several selections that music of the Renaissance. I had my office door open; the music wafted into the box office. When Bi-Ba-Bo came on, suddenly I had several people at my door, asking "WHAT is that?" It's an astonishing piece, and Quink performs it brilliantly. Tickets are still available -- come and let your ears be amazed.

Great singing continues on Sunday with the Metropolitan Opera National Council Southeast Regional Final Auditions -- always an exciting occasion when we get to hear the most promising vocal talents from throughout the Southeast. Each singer performs two selections with piano accompaniment, and the winner goes on to sing in the Grand Finals on stage at the Metropolitan Opera in New York (if I'm not mistaken, David Daniels was once such a winner -- he hails from South Carolina). This highly popular and eagerly anticipated event has just a few tickets left, in pit the seating area, close to the stage. Get 'em while you can, and catch a rising star.

Deep listening

2008-01-20T17:07:00.001-08:00

I spent six days in New York this month, visiting with artist managers, meeting musicians and attending performances. A highlight of my trip was hearing Wagner's Die Walkuere at the Metropolitan Opera, conducted by Lorin Maazel.

Since Maazel has been long absent from the Met podium, his return was newsworthy, and I was eager to attend. I greatly admire his technique -- there are few conductors I know who can communicate to an orchestra with such masterful economy of gesture -- and I had a third-row orchestra seat, with Maazel just to my left, from which to observe him readily.

I'm in awe of Wagner's Die Walkuere, and the cast was strong. Vocally resplendent mezzo-soprano Stephanie Blythe was most impressive -- a commanding Flicka whose admonitions any Wotan would be compelled to obey!

But what astounded me most was the playing of the Met Orchestra. With Maazel in control at their helm, quiet and attentive audience members around me, the singers so close in front of me, enough room so that I didn't feel cramped, and (critically) with enough energy and presence of mind to give myself fully to the performance, I had what I call a "deep listening" experience. I felt fully engrossed in the performance, and intimately connected to Wagner. Extraneous thoughts rarely entered my consciousness. I was totally "in the moment."

Performances that inspire experiences of this nature are incredibly moving, and the source of tremendous joy in my life.

They're not everyday occurrences. At any performance, there are threats to full attention that deep listening requires. Some are environmental and external -- what's happening around the listener; some are personal and internal -- distraction, fatigue, an unreadiness to engage with the performance.

In the course of the Met performance, a cell phone went off -- the unmistakably cheerful opening of "Spring" from Vivaldi's Four Seasons in chirpy electronic tones -- and it didn't come from the audience, it came from the pit! Maestro Maazel had a very special glance to offer one of the sections of the orchestra at that moment... Thankfully, it didn't ruin a rapturous moment.

Deep listening does ask us to give ourselves entirely to what's happening on stage. Unlike the superabundance of entertainment options available to us these days, live performance of great music wants our undivided attention in order for the music to work its magic. This isn't always easy, but when it happens, it's memorable and wonderfully rewarding.

When creating each new concert season, I aspire to these moments that deep listening brings: when everything comes together to enable the artists on stage to connect through great music to the people in the audience. This Met Walkuere was a powerful reminder to me of how exhilarating such listening can be.

At Spivey Hall, we're privileged to enjoy performances by excellent international musicians who are inspired by the hall's superb acoustics and the connection they feel with the audience. As a result, we probably get more than our average share of deep listening opportunities. I certainly feel that way, and suspect it's one of the reasons our most loyal patrons feel so passionately what happens here.

As the second half of the 2007/08 season begins in earnest, even though we'll never have the Met Orchestra in the pit and eight mighty Valkyries singing lustily from the Spivey Hall stage, I'm confident we can look forward to plenty of deep listening experiences and all the pleasures they afford.

Back to Bolivia...no, back to blogging

2007-12-20T08:52:00.000-08:00

Welcome back...yes, the blog hasn't died altogether. Of course I'm mortified that I've not made a new blog post since July, but I'm not alone among people who start a blog site only to learn they've created something of a monster that constantly lurks in your mental list of things needing attention. The blog wants time pretty much all of the time, and keeping a blog current is no small feat. But it's also somewhat addictive and I truly have been longing to get back to it.

Since my last blog entry, I've been spending time hiring Spivey Hall staff and am delighted that we've welcomed two senior managers here in production and marketing...with one more hire to go before we're back at full strength (a new staff portrait soon to come -- watch this space). I and my co-workers took on the extra work created by the vacancies, and my "To Do" list grew steadily while we interviewed candidates and identified our new colleagues. Then the concert season started up in October -- always a welcome moment in my life, but then we also returned to working most weekends, and time seems to become even more scarce.

Most importantly, however, I did some traveling and lots of listening over the summer and into the fall, and have now completed booking of Spivey Hall's 2008/09 main series -- quite a bit earlier than in prior years. We plan to announce the new season in February or March. In reality, the artistic planning cycle never completely ends; already I'm making commitments and invitations to artists for 2009/10.

Musically we've had a very rewarding autumn, and some good results at the box office, too, with sell-outs of The Romeros, The King's Singers, Emanuel Ax, and Irish tenor Ronan Tynan. And the Spivey Hall Children's Choir holiday concerts under the direction of Dr. Martha Shaw, and the Young Artists led by Craig Hurley, were again beautifully sung and joyously received (in addition to being sell-outs, too). Their artistic achievements are extraordinary and we are immensely proud of them of all.

For those of you who hear American Public Media's Performance Today, broadcast nationwide on public radio stations, the Christmas Day edition of the show will include the Children's Choir's a cappella performance of "Jesus Christ the Apple Tree" by Elizabeth Poston, and The King's Singers in "Resonet in laudibus" by Orlando di Lassus, plus a medley of Catalonian Christmas songs ("La Pastoreta" - "Maria Rosa" - "La Caterineta") arranged by Goff Richards. Tune in, and your ears and spirit will be rewarded.

Another reason (of "the-dog-ate-my-homework" variety) for not blogging recently: comments made to me about the focus and content of my blog. Although many people have urged me to make my blog entries shorter (helpful advice, since it might be easier to read, and also make frequent blogging easier), two people whose opinions I respect said that the blog shouldn't be solely about the artists and programs we're presenting at Spivey Hall -- instead, it should be more about what I'm thinking/hearing/feeling/reading on musical topics of various sorts. Which made me stop and think quite a bit. And then of course, the more I thought, the longer my prospective blog entries became in my head.

Should more people care to voice opinions about the focus of content, I'll be very curious and grateful to read them. One of my New Year's resolutions is to visit my blog daily, just as I do several other websites, and chime in with shorter entries more frequently -- regardless of what the content focus might be. I'll embrace this resolution starting January 7, when I'm back from a break.

Closing comment: I trust many of you reading this will understand the somewhat arcane "Back to Bolivia" reference in the post title. If not, visit a library and check out the spines of the Grove Dictionary of Music and Musicians. One of things I love to do over the holidays is randomly select a volume of this extraordinary reference work and read at leisure. It reminds me of how vast the world of music is, and how much there is to discover.

Joyous and peaceful holidays to all!

Summer Music 2007: AMERICANA

2007-07-16T14:19:00.001-07:00

Our theme for summer concerts this year is AMERICANA -- a theme that covers a great deal of musical territory.

In June, we had performances from American organist Joan Lippincott under the aegis of the Georgia American Guild of Organists' 2007 Southeastern Festival, plus woodwind and brass quintets from the Army Ground Forces Band. And this past Saturday, July 14, we had our annual Sacred Harp Shape-note Singing and potluck, plus LA-based composer and pianist Billy Childs and his jazz-chamber ensemble performing works from their Grammy-nominated CD release, Lyric.

Coming up this week: more examples of the richness and diversity of musical Americana. NASHVILLE BLUEGRASS BAND on Friday, July 20, 2007 at 8:15 pm is a first for Spivey Hall. Though we've presented bluegrass musicians in our Young People's Concerts, this is the first full-length bluegrass presentation Spivey Hall's 17-season history. I was immediately drawn to this group when I heard the members singing. The sound was great, and great singing thrives at Spivey Hall, so I was keen to invite them. We're happy to welcome these five gentlemen -- outstanding singers and instrumentalists all -- for what promises to be a great evening of fine music and entertainment. And I'm glad to report that sales are brisk!

Then on Saturday, July 21st, our quest for Americana takes us a recital by pianist CHRISTOPHER TAYLOR , whose career since his success in the Van Cliburn Competition continues to build from strength to strength. I heard him at the Aspen Festival several summers ago, and he made a memorable impression on me.

Those of you who see The New York Times probably noticed a big article in the Sunday 7/15/07 edition featuring Christopher and the special Steinway with two keyboards -- the only such instrument Steinway ever made -- which he is using to perform Bach's Goldberg Variations. Bach specifically indicated a two-manual instrument for performances of this work, and the implications of performing it on a two-manual are both sonic and visual. It's a highly interesting article written by James Barron, who chronicled in great detail the many steps in the creation of a Steinway grand, in his series of NYT articles that have since been published as a book, aptly titled Piano. So if you haven't seen the article on this fascinating instrument and how Christopher has brought it back to the concert stage, check it out: http://www.nytimes.com/2007/07/15/arts/music/15barr.html?_r=1&oref=login

This will be Christopher's second appearance at Spivey Hall, and on this occasion he'll be performing a solo recital on a traditional Steinway grand (with just one keyboard!) . He's starting his program with two works by living American composers: Derek Bermel's Turning, and then six of the 12 New Etudes for Piano by William Bolcom (who was awarded the Pulitzer Prize for this composition). The second half of the program features the last six of the virtuosic Transcendental Etudes by Franz Liszt. These are truly powerhouse pieces. Admitted, they aren't American, but any performance of these works is an upper-case Event. Plus, can you imagine playing the Goldberg Variations *and* this program in the course of a week?!? (Quite enough repertoire for any pianist to carry, no matter how much stamina he has!) Yes, the Transcendental Etudes require immense virtuosity and present major technical challenges for any pianist, but they also contain music of compelling originality and, in some moments, exquisite poetry. They're also pieces whose success in perforemance depend significantly on the pianist's interpretative skills and artistic taste, Christopher's wife, musicologist Denise Pilmer Taylor, wrote program notes for Christopher's Spivey Hall performance, which I reproduce below to give interested readers and listeners a better idea of what's in store. I eagerly look forward to it all.

Derek Bermel (b. 1967)
Turning (1995)

Derek Bermel, the award-winning composer and clarinetist from New York, wrote Turning during a summer at the Tanglewood Music Center early in his career. He dedicated the piece to the composer Henri Dutilleux, with whom he was working at the time, and pianist Christopher Taylor.

Though its form is structured into six somewhat free sections, one can actually detect a hint of theme and variations. The opening theme is a short tune in the key of B major, comforting in its simplicity; a pentatonic echo follows, inspired by a residency in West Africa that the composer had recently completed. The first variation, "Nightmares and Chickens," aptly describes frantic, schizophrenic clucking. Calm returns at the opening of the second variation, "Kowië at Dawn," describing a small Sissala village in northwest Ghana; soon boisterous African xylophone sounds overtake the tranquility. A brief passage, in which we hear a ghost of the opening theme, leads to the final variation, "Carnaval Noir," an exuberant Latin dance with hints of American ragtime. Finally, the work spirals back to the opening material, transformed.

Spurred by the success of Turning, in 2006 Bermel adapted it into a concerto called Turning Variations. It was premiered with the Indianapolis Symphony the same year, with Christopher Taylor at the piano.

William Bolcom (b. 1938)
12 New Etudes for Piano, Nos. 7-12 (1986)

One of America’s favorite living composers, William Bolcom appeals to audiences because of his innate love and understanding of the American musical landscape. A highly acclaimed piece written in a learned vein, the 12 New Etudes for Piano earned Bolcom the Pulitzer Prize for composition two years after its completion. In these pieces of fierce technical challenges, Bolcom explores novel pianistic sonorities, juxtaposing them with his hallmark jazzy rhythms and witty subtexts.

7. “Premonitions”
The opening work in this evening’s set imparts a rather sinister tone. Using the middle pedal to sustain the piano's three bottommost notes, the pianist creates ghostly harmonics in the notes above.

8. “Rag infernal”
Bolcom is well-known for embracing popular American idioms, his Garden of Eden or Three Ghost Rags being favorites in this category. In a slightly more acerbic vein, “Rag infernal” pays homage to stride technique (a pulsing left hand figuration that alternates between bass notes and middle register chords), at a fiendishly brisk tempo. The pianist’s sense of aim is sorely tested by this etude.

9. “Invention”
Recalling the inventions of J.S. Bach, this etude employs three independent voices. The parallel to Bach ends there, however, as the voices noodle about introspectively, each with its own interesting personality and convincing shape.

10. “Vers le silence” (Towards Silence)
Bolcom employs the piano's sonorities in a very imaginative fashion, using all three pedals to achieve novel effects, with extreme registers, sudden outbursts, and tempo shifts from rapid to very slow. On occasion the composer directs the pianist to hold notes silently with the sostenuto pedal, to enhance the overtones of the upper register notes. Later, an evocative “misty” scene is achieved with una corda and half pedal. At the end a single chant-like motto repeats seven times, each time more quietly than before. In accordance with the title, the final dynamic marking ppppppp (a record number of p's?) indicates the dwindling sonorities.

11. “Hi-jinks”
Confined almost entirely to the piano's top two octaves, the pianist has a challenge to make comprehensible the melodies and shapes in the extreme upper register. Bolcom’s witty side cannot be missed here, provided the pianist gets the timing right.

12. “Hymne à l'amour” (Hymn to Love)
In this grand finale, Bolcom again displays a great flair for creating unusual, striking colors. A mid-treble ostinato recurs throughout, alternating with a chorale-like section. Ultimately, the chorale prevails, bringing matters to a stirring conclusion.

Franz Liszt (1811-1886)
Transcendental Etudes, Nos. 7-12 (1851)

If ever there were a composer in a piano recital program who needs no introduction, it would have to be Franz Liszt, the musical world’s first “celebrity,” with all of that term’s sordid tabloid implications. With an intuitive understanding of virtuosity’s appeal, Liszt imposes great demands on the pianist. The twelve Etudes d’exécution transcendante (generally known to American audiences as the Transcendental Etudes) astound the listener with their originality and scope, not to mention the extraordinary feats of dexterity demanded of any performer daring to tackle them. The traditional notion of the “etude,” with its pedagogical focus on a single technique, is almost entirely absent here; each one contains a variety of pianistic challenges, and the performer must already possess a full arsenal of technical skills before approaching them.

7. “Eroica” (Heroic) – Allegro
A somewhat lengthy introduction leads to a military motive that is restated four times, varied each time, the most triumphant statement being the last. Though the hero remained a favorite subject for the Romantics, Liszt highlights a quirky, ambiguous heroism, with his protagonist struggling to climb to the heights of valor. His triumph is not altogether conclusive, as evidenced by the return in the coda of the hesitant, almost stuttering quality of the opening.

8. “Wilde Jagd” (Wild Hunt) – Presto furioso
Another favorite theme of the Romantics, the hunt most often appears with mysterious, frightening overtones. Schubert’s Lied “Erlkonig” is probably the most famous example, and Liszt’s “Mazeppa” (the fourth Transcendental Etude) also suggests the same idea. In “Wilde Jagd,” Liszt depicts galloping horses with a relentless dotted rhythmic pattern, and he provides a sense of thundering hooves in the bass. The technical challenges include speed, dynamic power, wide leaps, and repeated chords requiring a flexible wrist.

9. “Ricordanza” (Recollection) – Andantino
In Liszt’s era, Italian opera had a particularly strong influence; especially popular was the bel canto style of singing (a lyrical melody line with much embellishment). Liszt renders an elegant pianistic analog in “Ricordanza.” The modern listener may identify this type of writing with Chopin (the Nocturnes, for example). However, it would be misleading to suggest that Liszt wrote “Ricordanza” under Chopin’s influence, since his original version predated his acquaintance with Chopin. Bel canto aside, the work evokes nostalgic sentiment — “a packet of faded love letters” as Busoni famously said — and underscores Liszt’s often overlooked lyricism and tenderness.

10. Allegro agitato molto
Liszt provides neither a title for this etude nor any programmatic clues about its musical message; indeed, it defies easy description. The music is driving, fragmented, and passionate, reaching a desperate climax, so indicated by Liszt. In this devilishly difficult piece, Liszt experiments with ingeniously interlocking chords and a tremendous level of activity in the left hand (broken chords, arpeggiated figures, leaps).

11. “Harmonies du soir” (Evening Harmonies) – Andantino
Vesper bells create an evocative opening and lead to a richly harmonized melody; the music remains poetic and sensuous throughout. In addition to the coloristic and architectural challenges expected of the performer, Liszt explores various techniques for delineating melodic lines, sometimes over rolled chords and other times interrupted by sonorities in different registers.

12. “Chasse neige” (Snow Squall) – Andante con moto
Arguably the most profound etude in the set, “Chasse neige” achieves extraordinary effects through innovative pianistic wizardry. Here the almost constant accompanying tremolos depict swirling snow relentlessly battering the earth. After an initial buildup, swooping chromatic scales sneak into the texture and eventually swallow the music up altogether. These deftly handled figures, requiring absolute control from the performer, complete the portrayal of a physical landscape at the mercy of nature’s awesome power.

– Program notes © 2007 Denise Pilmer Taylor, Ph.D.

The last of our Americana concerts features the outstanding American soprano, TWYLA ROBINSON, who's no stranger to Atlanta and enjoys a thriving international career in opera, concert and recital. Last season, in her most recent performance with the Atlanta Symphony, she performed excerpts from Strauss' Der Rosenkavalier with conductor Donald Runnicles. She's singing and recording Brahms' Ein deutsches Requiem with the ASO later this year. And she'll also be appearing with The Atlanta Opera in 2007/08, performing the role of the Countess in Le nozze di Figaro next spring. I heard her give a recital in Denver a few years ago, and was taken not only by the beauty of her voice and her excellent intonation, but also how vividly she communicated when singing in English. It turns out she is indeed a fan of American song, and has created a special program of American works for us that she'll perform with pianist Ted Taylor on Saturday evening, July 28th. Here's the detailed program -- another illustration of the richness of American music, ranging from "Beautiful Dreamer" to "I'll Be Your Baby Vampire"!

CHARLES IVES (1874-1954)

Two Little Flowers (and dedicated to them)
Two Memories
1. Very Pleasant
2. Rather Sad
To Edith
Forward into Light

SAMUEL BARBER (1910-1981)

Hermit Songs
I. At St. Patrick’s Purgatory
II. Church Bell at Night
III. St. Ita’s Vision
IV. The Heavenly Banquet
V. The Crucifixion
VI. Sea Snatch
VII. Promiscuity
VIII. The Monk and his Cat
IX. The Praises of God
X. The Desire for Hermitage

STEPHEN FOSTER (1826-1854), arr. Edwin Penhorwood (b.1939)

Beautiful Dreamer
No One to Love
I Dream of Jeannie
Ring, Ring the Banjo

~INTERMISSION~

Kisses // Lynn Cowan
I Know Where a Garden Grows // George Elmoor
May I Print a Kiss // Carrie Jacobs-Bond
Save Your Kisses Till the Boys Come Home Mellor // Gifford/Godfrey
They Were All Out of Step But Jim // Irving Berlin
Do You Remember? // Carrie Jacobs-Bond

The Rag Time Pipe of Pan // Sigmund Romberg
Early in the Morning Blues Brown // Klages
Nobody Knows // Irving Berlin
He’s a Rag Picker // Irving Berlin
Solo Piano Rag // TBD
I’ll Be Your Baby Vampire // Grace Doro
You’ve Got to See Mamma Rose // Conrad
The Red Rose Rag // Percy Wenrich

HAROLD ARLEN (1905-1986)

It’s Only a Paper Moon
Little Drops of Rain
Right as the Rain
I Love to Sing-a

And if we're lucky, there there might be an encore or two as well...! This is great chance to discover more of Twyla Robinson's personality as an artist, in the intimate environment of Spivey Hall, whose acoustics favor vocalists so generously -- and a very fitting conclusion to our summer of Americana.

This will be our final concert until the 2007/08 Spivey Series opens with rising star Russian pianist Polina Leschenko on Saturday, October 6. I've been accumulating some items to blog about in the interim, on topics that aren't specific to a particular concert or artist. As always, I welcome your comment and discussion, and wish you happy listening.

A Big Weekend Ahead

2007-04-19T13:49:00.000-07:00

It's been several weeks since I've posted anything here, largely because we've been so busy wrapping up plans for next season and preparing the new season brochure. I'm happy to be making Spivey Hall's 2007/08 season announcement this Friday, April 20th, at 7:15 PM on stage at Spivey Hall, just prior to the Atlanta debut of the world-renowned Australian Chamber Orchestra under the direction of violinist Richard Tognetti, with guest artist and solo cellist Pieter Wispelwey.

The brochure with all the details of Spivey Hall's Seventeenth Season will be mailed to subscribers, single-ticket buyers and Friends of Spivey Hall, and should be arriving in mailboxes in the next few weeks. Patrons who attend Friday night's 7:15 PM announcement event (which is free) and stay to hear the Australian Chamber Orchestra's performance (good seats are still available) will receive the first copies of the brochure, hot off the presses.

Saturday night April 21st brings guitarists John Williams and John Etheridge together to perform a fascinating program of duets as well as solo numbers, representing a wealth of different musical traditions and styles. Both are phenomenal artists, among the most highly respected in their fields. John Williams is renowned worldwide as a classical guitarist; John Etheridge has led the jazz and contemporary guitar world for 30 years. Due to exceptionally high demand for tickets, we added seats in the orchestra pit (closest to the stage) -- these sold out quickly. There are still some seats available elsewhere in the hall, and with Spivey Hall's excellent acoustics, every seat allows listeners to hear extremely well, see without obstruction, and feel connected to what's happening on stage.

So if you want to experience the music of these two guitar megastars, call the Box Office at (678) 466-4200. There's never a service charge or fee to order tickets by phone or at the box office window. You can also purchase tickets at www.spiveyhall.org; a per-ticket service fee (which goes to the online ticket service provider, not to Spivey Hall) applies for online sales.

Spivey Hall patrons who were fortunate to attend last Saturday's sold-out recital by Canadian pianist Angela Hewitt witnessed an extraordinarily memorable performance, even by Spivey Hall standards. She performed Bach's "Goldberg" Variations. The audience was utterly enthralled, immensely attentive, and deeply involved in that wonderful journey of hearing the opening theme, the vastly imaginative and inventive variations so brilliantly realized, the final quodlibet, and the magical return of the theme -- about 75 minutes of interrupted music. In response to tumultuous applause, the audience was further rewarded with a luminous performance of "Jesu, Joy of Man's Desiring." It was a superbly rewarding recital, one of those rare occasions when artist and audience truly come together as one, inspired by this profoundly beautiful music.

After the recital, the entire audience was treated to a reception hosted by Canadian Consulate General and The Friends of Spivey Hall, complete with Canadian ice wine (heavenly liquid! if you haven't tried it, do yourself a favor and try some). Canadian Consul General Brian Oaks spoke proudly of Ms. Hewitt's performance -- she is one of Canada's most distinguished living musicians, and is doing a round-the-world tour this coming season, peforming Bach's complete Well-Tempered Clavier in some 25 countries The reception was a wonderful way to cap off this "peak experience" of hearing such a beautiful performance. I sincerely appreciate the continuing collaboration, generosity and friendship of Brian Oak and his consular colleagues Christine Pappas and Judith Costello in welcoming Canadian artists to Spivey Hall.

Spivey Hall's 2007 Spring Bach Festival concludes this Sunday with another outstanding virtuoso -- German violinist Christian Tetzlaff, who makes his Atlanta debut performing solo sonatas and partitas of Bach. Mr. Tetzlaff has had special passion for these pieces throughout his career, and has made multiple recordings of them all. On April 22nd he'll perform Sonatas Nos. 2 and 3, as well as Partitas Nos. 2 and 3. Here's what he has written about these works:

It can be a rewarding and very touching experience to hear the complete cycle of Bach’s Sonatas and Partitas in concert – the formal and emotional development of this journey give fuller meaning to the individual pieces.

Beginning with the lowest string of the violin (G) and the Sonata No. 1 in G minor, continuing through works in B minor, A minor, D minor, and C major, and ending with the abundant use of the highest string on the violin (E) and the sparkling, bright Partita No. 3 in E major, Bach describes a transformation from darkness to light.

The culmination of this drama is the juxtaposition of the Second Partita’s desperate D-minor Ciaccona and the Third Sonata’s glorious Fuga in C major. Between these two gigantic movements, the Adagio, which opens the Sonata No. 3, is a kind of musical no-man’s land – written in the same meter and slow tempo as the Ciaccona and starting in the same register as its last measures. Indeed, Bach has already modulated back to D minor by the fifth bar! The first full cadence is in G minor; C major almost never appears in this movement, even though it should be the predominant tonality. It seems that the influence of the Ciaccona is still too strong, and almost up until the end of the Adagio, keeps drawing the music back to the world of the minor keys of the preceding four pieces. Only at the very end does a musical figure, like an incantation, allow the Fuga to begin; and never before has the violin been given such jubilant expression.

I cannot expect anyone to listen to the whole cycle in one sitting – nor do I think that is advisable. But if I may, I would like to make this suggestion: to capture the essence of the journey, listen to the D-minor Partita [No. 2] and the C-major Sonata [No. 3] without interruption. Or, if time doesn’t allow, the D-minor Ciaccona and the C-major Sonata.

Florida State University Professor of Violin and Atlanta Baroque Orchestra concertmaster Karen Clarke gives the pre-concert talk at 2:00 pm (free to ticketholders) that day, and her insights as a violinist are sure to enhance the listening experience of those who hear Mr. Tetzlaff on Sunday afternoon. Saturday morning at 11:00 am, Ms. Clarke also gives a violin master class, featuring accomplished young violinists honing their interpretations of works of several composers including Bach.

I find that many people are familiar the term "master class" but don't alway know what it means. So much of what we appreciate most in the Western art music tradition isn't written down. Of course the music is printed, but what gives the notes real significance as MUSIC is the interpretation of the notes and the understanding of style that is passed down through each generation from teacher to student.

Thus a master class is not a concert, but essentially a session between teacher and student that involves both instruction and performance, and is witnessed by other people. The people attending lend an important third dimension of energy to the exchange between teacher and student. (Auditors do not speak in the master class, however, unless invited to do so by the master teacher.) The best master class teachers elucidate musical meaning not only to the student, but also to the audience. One of the great joys of attending a successful master class is hearing ideas articulated by the teacher that are then synthesized in the playing of the student. It can be like watching a flower blossom in accelerated time-lapse photography -- the results can be truly marvelous.

You don't need to be a violinist to attend a violin master class (though of course you could be), or a pianist to attend a piano master class (though many people who attend piano master classes are pianists). Instead, all you need is to be interested in the interpretation and performance of music. By attending, you can learn a great deal about the particular instrument and its repertoire in fascinating ways.

The fee to attend as an auditor is just $5. Interested music-lovers can show up for the April 21st 11 AM master class (it will last about 2 hours), pay at the door, and sit on the Spivey Hall stage with Karen Clarke and her students to observe the amazing process of how they bring the spirit of music alive.

Anyone who wishes to commune with the spirit of Bach has a great opportunity in store this Sunday, April 22. Christian Tetzlaff's recital promises to be a magnificent culmination of the 2007 Spivey Hall Bach Festival.

Pianists making headlines: Richard Goode and Angela Hewitt

2007-02-19T12:58:00.000-08:00

Richard Goode, one of America's most distinguished pianists, renowned world-wide for the beauty of his playing and the expressive depths of his interpretations, makes a welcome return to Spivey Hall this Sunday, February 25th, at 3:00 pm, for the Spivey Memorial Concert (a concert given annually in memory of the founders of Spivey Hall, Walter & Emilie Spivey). Richard's recent performances have really hit the mark with music critics. Here's a preview of what we can expect to hear:

Even when he plays Brahms, the passion is always controlled. Somehow, though, it gets you. What Goode does at the piano is warm, engaging and marvelously subtle -- mesmerizing. Talking about him at intermission, a bunch of us found ourselves using words you'd normally never use to describe piano playing. Words like "fluid" and "liquid." One listening, struggling, came out with: "He plays as if the piano isn't there." Which made weird sense. Goode knows so thoroughly how to get what he wants from the piano that you almost feel the music goes directly from his head to the audience. . . .

This was Bach [the G-major Partita] to make you smile. Goode brought out not only the intricacy of the music but also the charm. And the seven pieces by Brahms, Op. 116, were a highlight because they showed a more robust side of Goode's artistry than the other music did. Lost in concentration, the pianist seemed to enjoy every rich chord, every transition. In the G-minor Capriccio, the passionate middle section never sounded lovelier or dreamier. Goode lingered on the ravishing harmonies and gave the music a wonderful romantic sweep.

-- Mary Kunz Goldman, The Buffalo News (2/14/07)

Richard will perform this same program -- Bach Partita No. 2, Mozart A-minor Rondo K.511, Debussy Preludes Book II, Brahms Fantasies Op. 116 -- this Sunday. Already well-sold, this concert has a few tickets still available. Courtesy of the Spivey Foundation, we'll all enjoy a reception in the lobby following the concert...and most likely we, too, will be groping for words to communicate the wonders of what we've just heard.

* * *

In anticipation of Saturday, April 14 at 8:15 pm, when the extraordinary Canadian pianist Angela Hewitt performs the complete "Goldberg" Variations at Spivey Hall, I was glad to see the feature interview by Vivien Schweitzer that ran in The New York Times last week. A few highlights:

Her approach to Bach, which focuses on crystalline articulation, minimal pedal, singing lines and rhythmic vitality, is the same as her interpretations of other repertory. She explained that if played with extra clarity, Beethoven’s “Appassionata” Sonata (which she has recorded) becomes more exciting and intelligible.

“Pianists are trained in romantic repertory and unfortunately apply that to Beethoven,” she said. “So many of his markings are disregarded that the performance tradition becomes deformed.”

Her recent recording of Chopin Nocturnes is also notable for its crystalline articulation, as well as its passion and dignity. Chopin, who also loved Bach, hated affectation, artifice and sentimentality, she said in her liner notes.

Ms. Hewitt, whose father was the organist at Christ Church Cathedral in Ottawa, began playing the piano at 3 and learned early on how to produce legato with the fingers and to use the pedal sparingly. She also studied ballet, which contributed to her understanding of the dance element in Bach’s music.

But while giving master classes, she has been distressed that students (and their teachers) often seem to have so little idea how to study Bach, so she made an instructional Bach DVD (to be released this year by Hyperion). In it she explains her methodology, stressing that you must adhere to period conventions.

Angela will be giving a master class on performing Bach on the piano as part of her visit to Atlanta for Spivey Hall's 2007 Spring Bach Festival. The master class will take place at Spivey Hall on Friday night, April 13, at 7:00 pm. Pianists who wish to apply to participate in the class, as well as music-lovers who just wish to attend and soak up Angela's insights on how she brings Bach to life at the piano, should call Spivey Hall Education Manager Amber Dimkoff at (678) 466-4481 or email her at amberdimkoff@clayton.edu. Tickets to Angela's Saturday recital are available from the Spivey Hall Box Office (678) 466-4200 or online at www.spiveyhall.org.

And this past Saturday (February 17), Bernard Holland in The New York Times glows with enthusiasm over Angela's Metropolitan Museum of Art recital last Thursday:

Ms. Hewitt is one of those rare musicians who seem to get something into their heads and hearts and find it at their fingertips instantaneously. To fuel this leap must require a fund of psychic energy beyond the average capacity. Good musicians are good athletes, not in the muscular sense but in the staying power of their imaginations. This pianist’s resolve to imbue every musical moment with an unrelenting sense of theater would exhaust most of us in 10 minutes.

Amazing musical minds, hearts and souls at work. Angela Hewitt and Richard Goode are both fantastic artists and astounding pianists. Don't miss them!

The Eight-million-dollar Violin

2007-01-31T14:46:00.000-08:00

When Richard Tognetti appears at the helm of the Australian Chamber Orchestra in their Spivey Hall debut on Friday, April 20th, he well might be playing a exceptionally rare and extraordinary instrument: a Del Gesu violin valued at 10 million Australian dollars -- just shy of 8 million US dollars at current exchange rates. It's been given to the ACO on permanent loan as a magnificent gift from an anonymous donor.

Check out the news from the Australian Broacasting Corporation's website, and read Richard's description of the violin's sound and character:

I certainly hope he'll bring this violin on tour! The prospect of hearing such an amazing instrument in the excellent acoustics of Spivey Hall is enticing indeed.

Tognetti, as leader of the orchestra, will in all likelihood be one of the featured soloists in Vivaldi's Concerto in B minor for Four Violins & Orchestra, Op. 3 No. 10, as well as the concertino soloist in Corelli's Concerto Grosso in F major, Op. 6 No. 2. This violin is believed to have been made in 1743; Vivaldi died in 1741. Baroque music played masterfully on a very, very, very fine baroque violin.

I'm sure it will also sound fantastic in Tognetti's hands in Haydn's C-major Cello Concerto with Dutch soloist Pieter Wispelwey, and Tchaikovsky's Souvenir de Florence. With any luck, the Italian connection to this program just got a lot stronger.

"Truth-in-blogging" disclosure: I'm still in love with Australia. I used to work for the Australian Broadcasting Corporation. Based in Sydney and traveling regularly to Melbourne, Adelaide, Brisbane, Hobart and Perth, I managed artistic planning and supervised artistic development programs for the six professional orchestras of the ABC. (They are now independent of the ABC, supported by a service organization called Symphony Australia.)

For four and a half years, I often heard two or three performances a week, either at the Sydney Opera House or the Sydney Town Hall, or several concerts in consecutive days in different cities, traveling to consult with the other network orchestras performing in their halls. The Australian Chamber Orchestra played in these cities, too -- the "competition" (as it were, if that's apt) to the ABC/Symphony Australia six.

So, when I finally had a free night, did I really need to hear another orchestra concert? Probably not...still, I couldn't resist hearing the Australian Chamber Orchestra. Why? Because of the energy, zest and appeal of their performances, and Richard Tognetti's imaginative programming that would explore interesting repertoire I'd otherwise not experience.

The ACO is a very hard-working and inspiring group: they have subscription series in several Australian cities and tour internationally every year, so they're constantly on the go. They've won a huge following in Australia and abroad, and I'm certain they'll make an amazing impression when they perform at Spivey Hall. To quote The Times of London: "This group must be the best chamber orchestra on earth. . .the Australian Chamber Orchestra is a ticket to musical bliss."

Looked at a globe recently? It's a l-o-o-ng way from Atlanta to Sydney -- though, I must say, not a difficult journey. Just 5 hours to LAX or SFO, change planes, stretch your legs, then hunker down for the 14 hours to Sydney (three or four films, several nice naps, a couple of meals), and there you are -- as simple as that. (Business class makes a big difference, though!)

No matter how long, it's a totally worthwhile trip. I was always very, very excited to return to Australia after being away for weeks at a time, talent-scouting conductors and soloists in Europe and the US to perform with the orchestras.

Australia is a fantastic destination, a country that cultivates and sustains a wonderfully vibrant and diverse cultural life. I've never known anyone who's visited Australia who didn't love something he or she discovered there. Making the long trek to the US for their tour, the ACO musicians bring with them a very special spirit of music-making. I'm proud they're making their Atlanta debut with us. We're in for another memorable night.

Enter the young: Laszlo Fassang and Xuefei Yang

2007-01-26T18:25:00.000-08:00

Next weekend, on Saturday, February 3, we have two performances, both by extraordinarily talented young musicians...names you may not know, but whose immense musical gifts you will undoubtedly recognize when you hear them perform. Both are making their Spivey Hall debuts.

The ability to improvise is a talent more appreciated these days in jazz, perhaps, than in classical music, but remember that the young Beethoven first made a name for himself in Vienna as a pianist who could astound the noble gentility by the boldness and virtuosity of his improvisations. There are living, prominent pianists who improvise: Robert Levin often asks audiences to give him a theme, and he will create several short improvisations as part of a recital or concerto performance. Gabriela Montero (who made her NY Philharmonic debut with Lorin Maazel fairly recently) enjoys extended improvisation -- you may have heard her improvise if you listen to Performance Today, and I believe she's released a commericial recording of some of her classically-inspired improvisations -- Bach continues to inspire musicians. (Hey...why don't we have a Spivey Hall Spring Bach Festival? Whatta concept!) In a similar spirit, Mitsuko Uchida never plays the same Mozart piano concerto cadenza twice, preferring instead to capture the spirit of the moment and create something new for each concert, heightening the sense of occasion.

What was really sensational at the 2002 Calgary International Organ Festival and Competition (as I am told by those who attended, as well as by the newspaper reports) was the genius shown by the young Hungarian Laszlo Fassang in creating brilliant improvisations. He won the gold medal for improvisation and a highly enthusiastic response from the audience as well as the judges. Thus it's fitting he will conclude his Spivey Hall debut recital (Feb 3 at 3:00 PM, with a 2:00 pm pre-concert talk by Spivey Hall Organist-in-Residence Richard Morris) with an improvisation on a given theme. Mr. Fassang has also arranged and will perform Bach's Chaconne, BWV 1004 (originally for violin) and four Hungarian Dances by Brahms for the organ. Without doubt, there's a vivid imagination in Lazslo's approach to the organ, and we're in for a treat. The program also includes Bach's Toccata, Adagio and Fugue in C major, BWV 564, and Franck's Choral in A minor, Op. 40, plus five Choral Preludes by Brahms.

Later that evening, at 8:15 pm, 28-year-old Chinese guitarist Xuefei Yang (approximately "shwoe-fay yahng" -- more readily "Fei" to her friends) will be heard in Atlanta for the first time. She was the first guitar student to enter any music school in China, and the first Chinese guitarist to really attain prominence in the international guitar world. Fei now lives in London, and she's recording for the EMI label -- the first CD is being released now to coincide with her US tour. She recently peformed at London's Wigmore Hall, nearly selling it out (550 seats), and wins accolades everywhere. She, too, is giving us a highly imaginative program (a bit different than first announced almost a year ago):

ALBENIZ Asturias
BARRIOS Un Sueño en la Floresta
RODRIGO Tres piezas españolas: Fandango, Passacaglia & Zapateado
GOSS Blue Kite, Yellow Earth and Farewell My Concubine (written for her in 2004)
-intermission-
PAGANINI Sonata
MOREL El Condor Pasa
LAURO Seis por derecho
VILLA LOBOS Prelude No.1 and Four Studies (Nos. 8, 7, 11 and 12)

Xuefei Yang is on the February 2007 cover of ClassicFM magazine (published in London) with the somewhat breathless subhead, "John Williams liked her so much, he gave her his guitar!" (an instrument by famous Australian guitarmaker, Greg Smallman). But it's true, and this is deeply significant, when you consider Fei's statement, "My parents had to save very hard to buy my first really good guitar, which cost them the same as an apartment." The review of her new CD, Romance de Amor, concludes with an emphatic statement: "Simply sensational." Fei's program includes some of the works on her CD, which will be available at her Spivey Hall recital, and she looks forward to greeting people after her performance.

Enter the young. Be prepared to be amazed.

Richard Goode program now features Debussy Preludes, Book II

2007-01-26T18:06:00.000-08:00

We've learned that pianist Richard Goode will conclude his February 28th recital not with works of Chopin, as last was communicated, but with Book II of Debussy's Preludes, which (as those of you who know these works may agree) are some of his most inventive, imaginative, free-ranging, personal and profoundly original piano works.

Why, you may ask, has Mr. Goode changed his program again? For an excellent reason: he wishes to perform only the works he feels are truly the best he can offer. He believes that his current connection to Book II of the Debussy Preludes will result in a performance at that level. Richard Goode has extraordinarily high standards, for which we may all be grateful, thus we can look forward to another revelatory musical experience from him. The complete program will be:

BACH Partita No. 5 in G major, BWV 829
MOZART Rondo in A minor, K. 511
BRAHMS Fantasies, Op. 116
-intermission-
DEBUSSY Preludes, Book II

Gorgeous.

This will be the annual Spivey Memorial Concert, so there's a reception with refreshments for the entire audience after the recital, generously sponsored by The Walter & Emilie Spivey Foundation. (As if you needed another reason to attend!)

Roberto Sierra to attend Spivey Hall premiere of his SONGS FROM THE DIASPORA

2007-01-26T17:21:00.000-08:00

Spivey Hall is proud to present the Southeast premiere of Roberto Sierra's Songs from the Diaspora on Sunday, February 4 at 3:00 pm, performed by the excellent St. Lawrence String Quartet, celebrated Metropolitan Opera soprano Heidi Grant Murphy and distinguished pianist Kevin Murphy. I've just had the good news that composer Roberto Sierra will attend this concert (thanks to the generosity of The Friends of Spivey Hall) and will speak briefly about his work at the free 2:00 pm pre-concert talk led by Dr. Kurt-Alexander Zeller. Roberto is a highly successful composer whose works have garnered international acclaim. More about Roberto at http://www.robertosierra.com/Biography.htm

This will be the fourth-ever public performance of Songs from the Diaspora, which receive their world premiere January 30th at Penn State, then are performed at Cornell University (where Roberto is professor of composition) and the University of Maryland in College Park before Spivey Hall welcomes them next Sunday. The musicians were in intensive rehearsals last week in New York preparing to give life to these songs, and I'm greatly looking forward to hearing them. Roberto may also speak to the audience from stage before the performance, which I hope will enhance the listening experience of everyone who attends.

Here's Roberto's program note about the Songs:

Roberto Sierra (born 1953, Vega Baja, Puerto Rico)
Songs from the Diaspora

In 1492 a royal decree from Their Catholic Majesties (that was their official title), Fernando de Aragón and Isabella de Castilla put an end to the largest and one of the most important Jewish settlements in Europe. The expulsion of these Spaniards who for centuries made important contributions to the arts and the sciences, who were an integral part of the fabric of the Spanish culture, was not only a tragic event for countless people who had to leave the land they called home, but also a great loss for Spain. This politically and religiously motivated expulsion forced the Jews to leave their Sepharad (the term they used for the Iberian Peninsula) and wander to find new places to live. With them they brought their language (Ladino), their music and their poetry. You can still find Sephardic poetry and music, largely unchanged by time, for many wonderful songs have been passed down from one generation to the next through the centuries. Not long ago it would not have been unusual to hear in Sofia (Bulgaria) an old grandmother singing a fragment from De las mares altas.

In my settings I selected some of those texts that reflected a sense of longing, and that made references to the Diaspora, as well as some of those that represented aspects of their lives as ordinary people. Many times what has remained is just a fragment of a tune, but in most instances the lyrics are found in several completed verses. In completing the melodic fragments, I tried to do so in a seamless fashion. When I wrote these songs I wanted to recreate the spirit as reflected in the melodic fragments, and to evoke with the accompaniment a sound world that reflected the beautiful and profoundly moving imagery expressed in the verses.

The cycle opens with the song titled From the High Seas (De las mares altas), which tells the story of how the Queen became jealous of a beautiful girl that came from far away lands dressed in gold and pearls, crowned with sapphires. The next song, Echate a la mar y alcançalo (Go to the Seas and find him), originates from Jerusalem and also makes references to the sea, to going away. Here the theme of the wanderer is paired not with exotic imagery but rather with the language of daily routines, almost childlike in its simplicity: the water of the ocean becomes the bath water where one is washed, purified.

El rey de Francia tres hijas tenía (from Izmir, Turkey), which resembles many medieval romances, tells the story of the three daughters of the King of France. The song describes how the princesses labored in the palace, and how one day the youngest one fell asleep while embroidering. As the Queen tried to wake her up, she tells her mother of the beautiful dream she was having, but the Queen quickly explains (perhaps a warning) the symbolic nature of the dream: “the moon is your mother-in-law, the star ‘Diana’ is your sister-in-law, the three birds are your brothers-in-law and the golden pillar is the son of the King, your boyfriend”. The mother-in-law as subject is a common thread in the Sephardic tradition, and it could not be more clearly exposed with all its negative connotations (“my mother-in-law is stronger than death itself…”) as in the song that follows: My mother-in-law the evil one (Mi suegra la negra), which originates from Filipopolis, modern day Plovdic in Bulgaria.

The next two songs are from Sarajevo. Caminí por altas torres (I wandered by the High Towers) brings us back to the Diaspora: “…I navigated in lands, where the cock doesn’t crow, where nobody knew me. Rain falls from the heavens, tears from my eyes.” De que lloras Blanca niña also tells us about crying and sadness, but this time it is a girl the one that cries for the love that goes away and never comes back. The cycle closes as it opened: with the ocean and a song from Sofia (The Siren). In this song the ocean is the world of the siren, that mysterious and mad creature who wants sailors to love her.

Songs from the Diaspora was commissioned by Music Accord for Heidi Grant Murphy, Kevin Murphy and the St. Lawrence String Quartet.

* * * * *

In addition to the Songs, the program includes Chausson's gorgeous Chanson perpetuelle featuring all the musicians, and the Quartet (hailing from Canada) will perform Mozart's C-major String Quartet K. 465 as well as Shostakovich's Quartet No. 3. The SLSQ's recording of the Shostakovich has earned fantastic reviews (The New York Times calls it "a suberb" and finds all sorts of expressive words to describe its emotional impact). This will mark a welcome return of the SLSQ to our series (I heard them last summer at the Spoleto Festival and they were simply magnificent) but the first appearance with their new second violinist, Scott St. John (also no stranger to Spviey Hall). This promises to be another great highlight of the season. Don't miss it -- there are good seats still available.

Heads up: Don't miss Paul Lewis and Joyce DiDonato

2007-01-17T16:42:00.000-08:00

I've been on hiatus with the blog during the holidays and am actually posting this entry from New York, where I'm attending two conferences and meeting with artist managers to put the finishing touches to Spivey Hall's 2007/08 season. Good things are in store for us! We plan to announce the details of next season in April (subscribers and Friends of Spivey Hall will receive invitations to this event in March). Before then, there's a tremendous wealth of concerts still to come. We had such a terrific fall with vocalists Rolando Villazon and Angelika Kirchschlager and the triumphant return of Chanticleer. The great singing continues with American mezzo-soprano Joyce DiDonato, who had a huge success in Santa Fe this summer in the title role of Massenet's Cendrillon (Cinderella) and enjoys a career that's strongly on the rise, especially in the opera houses of Europe. In addition to a beautiful voice and excellent musicality, she has a very lively personality. I eagerly await her recital, for I know she will infuse it with tremendous character -- the sort of music making that make songs truly come alive. We're now coming into a great line-up of pianists at Spivey Hall. Richard Goode and Ivan Moravec will be with us again; Richard's program has changed a bit since we first announced the season (be sure to see his revised program, which now features Fantasies by Brahms, and a second half of Chopin). I look forward to every note of both programs, for both of these musicians are undisputed masters who as artists have much, much, much to say. Both are major artists we're extremely proud to present. I am no less excited about the debut of British pianist Paul Lewis. Not infrequently, Spivey Hall patrons will tell me they were sorry to miss a concert that friends who had attended said was really marvelous -- and why I had not told them it was going to be so great? Well, this is one of those concerts you should not miss. Come hear Paul Lewis. He's new to this part of the world but is celebrated in Europe and rightly so. Other leading presenters and their audiences in the United States have discovered the magnificence of Paul's playing, and I'm delighted that metro-Atlanta music lovers finally have the chance to hear Paul at Spivey Hall. Paul is the midst of what is for pianists the equivalent of climbing Mount Everest: playing and recording all 32 of the Beethoven piano sonatas. This is a major, life-changing experience for a pianist, for these works are central pillars of the repertoire, some of Beethoven's most profound musical statements; they pose great intellectual and interpretative challenges in addition to testing the pianist's fortitude and stamina. Each generation must rediscover them anew. Transversing the Beethoven sonatas as a cycle is a transformational experience, and to witness a pianist undertaking this journey of the soul (even just one program of it) is a rare privilege. Some patrons may know Paul's playing from BBC Music Magazine, which has featured him on several occasions and included excerpts of his recordings on the free CD that accompanies the magazine. I actually first heard his Beethoven on a harmonia mundi release -- one of the earlier releases of his cycle. The "Moonlight" Sonata, which is part of his all-Beethoven program, is certainly one of the most popular of Beethoven's piano sonatas. Some people consider it a "warhorse" -- a well-known piece that rarely fails to please and which (in the minds of some) perhaps gets played too often. Sometimes Beethoven's Fifth Symphony and Tchaikovsky's "Pathetique" are labeled as warhorses, but I've never come away from a performance of either without learning something new about them. And that, to me, is a measure of a great work. I am of the opinion that warhorses are warhorses for a reason: they have an enduring power not only to move listeners, but also to inspire performers. Yes, the opening movement of the "Moonlight" is extremely familiar to our ears; but it's the final movement that I most yearn to hear these days. Thus I'm keen to experience what Paul will do with this piece, and I'm extremely curious to hear the rest of his program as well. Initially I was enthused and pleased that Paul would be on the series, and I must give credit to Sherryl Nelson for booking him -- he was one of the first artists early on in our 2006/07 season planning. Since that time, I'd sought out other recordings by Paul Lewis, to learn more about him as a musician, and found a copy of his Liszt B-minor Sonata at Tower Records in New York about a year ago now. (Sadly, very very sadly, Tower Records stores are no more. This was not news to me and is probably not news to you either, but still, it hadn't really sunk in until I saw the old store near Lincoln Center empty tonight as I walked by, following a reception in honor of the new President and CEO of the Woodruff Arts Center, Joseph Bankoff; Atlantans may consider themselves extremely fortunate indeed that he is at the helm of this most important organization. But the pleasure I was feeling after the reception was abruptly diminished when I saw Tower Records dark and abandoned; it really made my heart sink, for I'd spent so many happy hours there, finding new recordings, and discovering artists and repertoire through them. It has always been, for me, a favorite haunt, and dangerous place to be with a credit card.) Anyway -- for those who love the piano repertoire, the Liszt Sonata is an important measure of any pianist -- one of the truly transcendental works of the Romantic literature, and vastly revealing. I think my collection of recordings has at various times included some 20 versions by different pianists of this piece, and right now, I have about a dozen, with a very short list of favorites. Well... I put Paul Lewis's recording in the CD player one night late at the office, and was totally thunderstruck. The passion, the extraordinarily expressive nuance, the remarkable phrasing and "control of the moment," the imagination (!!!!), the power, and the architectural grasp of the piece his interpretation conveyed knocked me sideways! Paul's recording went straight to my shortlist. I was captivated. Through his recording, the sonata had been revealed to me once again, fresh and new. I was excited in so many ways. For someone who hears as much music as I do, it is such a pleasure to make a discovery of this nature! So... you can now see why I implore any of you reading this who haven't got a ticket yet, love Beethoven, love the piano, and want a "big experience" listening to these masterworks performed by a compelling artist, hear ye, hear ye: you do not want to miss this concert! I have very high expectations and feel quite confident they will be more than met. And of course I will be very interested to hear the opinions of patrons who hear this recital, and encourage you to post your comments.

A new Spivey Hall CD by organist Alan Morrison

2006-12-02T19:35:00.000-08:00

In May 2005, distinguished American organist Alan Morrison -- a welcome and regular Spivey Hall guest artist, head of the organ deparment at the prestigious Curtis School of Music in Philadelphia, and son of two wonderful friends of Spivey Hall, Don Morrison and Clayton State University professor emerita of music Jeannine Morrison (a close friend of Emilie Spivey) -- gave a recital of works by American composers that was recorded live in concert. Copies of the recording, AMERICAN VOYAGE, arrived here last week, and I was eager to hear the music again.

The CD opens with Paul Creston's engaging Suite for Organ, Op. 70, includes Harold Stover's Mountain Music, and closes with two works by Dan Locklair: In Mystery and Wonder (The Casavant Diptych) and VOYAGE, A Fantasy for Organ (the latter of which was actually previously released on one of Alan's earlier CDs, no longer available). Several of the recorded selections -- Daniel Crozier's Cantilena for Organ, Eric Sessler's Fantasy for Organ Solo, and Larry King's Resurrection -- are fairly rare since they are published only in manuscript, and appear here for the first time on CD.

This CD represents quite a diversity of American compositional voices as well as highly original writing for the organ. Alan's superb performances of these works reveal many different characters of Spivey Hall's magnificent 4,413-pipe, 77-rank, 3-manual Albert Schweitzer Memorial Organ, built by Fratelli Ruffatti in Padova, Italy. In addition to some wonderfully extroverted moments, the disc features quiet, contemplative, introspective passages, too. Liner notes by Alan and a Voyage note by Dan Locklair offer interesting insights to enhance your listening experience.

This CD is a production of Atlanta's own ACA Digital Recordings, Inc. -- namely, the excellent team of Tommy Joe Anderson and Fred Horton, who have recorded the vast majority of Spivey Hall performances heard on local radio broadcasts as well as on National Public Radio's Performance Today. Tommy Joe and Fred have been with Spivey Hall from the very beginning, know how to record music here like no one else, and have played a major role in the Spivey Hall success story, as the music they record here continues to be disseminated over the airwaves and in commercial releases such as AMERICAN VOYAGE. We also owe lasting thanks to Tommy McCook of Widener & Co., curator of the Albert Schweitzer Memorial Organ, whose invaluable expertise supports all of our organ performances and recordings. To Alan and the entire production team, congratulations!

AMERICAN VOYAGE is available at Spivey Hall for $15 (including sales tax). To purchase a copy, just visit the Spivey Hall box office, or call (678) 466-4200 with your credit card number and we'll be glad to mail you a copy.

RIAS Kammerchor, Rolando Villazon, Anonymous 4

2006-12-02T16:11:00.000-08:00

There's so much going on at the Hall these days...we need 36-hour days this time of year! I'm writing this between two concerts on Saturday, December 2nd (organist Jonas Nordwall and The Atlanta Singers) and November 11th seems like a long time ago. However, it must be blogged that the RIAS Kammerchor Berlin made a splendid Spivey Hall debut with a cappella singing of the most rewarding beauty. I loved hearing their exquisite Brahms, Schubert and Schumann, as well as their arrangements of the two Mahler songs -- and was enthralled to hear the Ligeti works (Night, Morning, and the Three Fantasies after Friederich Hoelderin -- "The Middle of Life," "If From a Distance," and "Evening Fantasy") sung with such precision and richness of expression. (The more I hear of Ligeti -- especially in live performance -- the more I want to hear. I find this so often true with modern and contemporary music -- a live performance often has an effect that a CD recording, no matter how good, cannot.) The Kammerchor and conductor James Wood joined the entire audience for a post-concert reception hosted by The Friends of Spivey Hall, The German Consulate General Atlanta and The German Cultural Center. German Deputy Consul General Lutz Goergens and GCC Executive Director Wolfgang Krueger honored us with their eloquent remarks. I sincerely thank them for their gracious cooperation and for inviting their special guests to attend. This was a musically memorable evening, with an exceptionally warm and happy spirit. I gladly praised the artists: a cappella choral singing of this high quality is rarely heard, and it suits the acoustics of Spivey Hall perfectly. They started their North American debut tour very strongly, and left Spivey Hall with an immediate invitation to return.

Rolando Villazon's recital the next afternoon was indeed a momentous event -- truly one for the Spivey Hall record books. Mr. Villazon was in magnificent voice and sang with intelligence, passion, an inviting personality, and tremendous joy. He is someone who takes enormous pleasure in performing and communicates this pleasure amply to the audience, who cheered him mightily. I enjoyed the dramatic insights of his interpretation of Dichterliebe and had Tosti's "Chanson de l'adieu," snippets from Fernando Obradors' Canciones Classicas Espanolas, and Rossini's "La danza" (one of several encores) ringing in my head for days afterwards. This was simply thrilling singing, and pianist Bryndon Hassman proved a superb collaborator. Mr. Villazon signed autographs for about 90 minutes following his recital and many photographs were taken. We were delighted to welcome guests of Mexican Consulate General Remedios Gomez-Arnau and Instituto de Mexico Executive Director Lucilla Ruvalcaba to this auspicious occasion; they all made Mr. Villazon feel especially welcome in Atlanta, and for this I am especially grateful. The Consulate General and the Instituto generously co-sponsored a post-concert reception with The Friends of Spivey Hall, which was lively, reflecting the excitement of this important debut. I'm delighted to report that Mr. Villazon was very pleased to discover Spivey Hall; he admired its intimate size, its inspiring acoustics and the warmth and attentiveness of the audience. He told me he wishes to return for another recital in a future season, which I consider excellent news indeed! I was on such a high after this event.... Such a sound to savor, such extraordinary communication between artist and audience, and such amazing energy during and after the performance. I'll remember this one.

Spivey Hall is a favorite concert venue for Anonymous 4. They'd been away far too long! They returned on November 18 for their latest program, "Long Time Traveling," featuring two special guests, fiddler Darol Anger and guitarist Scott Nygaard. Anonymous 4 generally perform a cappella, thus collaborating with instrumentalists was something of a departure from their typical concert format. As we might have expected from these marvelous musicians, the program succeeded beautifully. If you liked their mega-chart-busting recording American Angels but haven't heard their latest CD, Gloryland, there's a big treat in store for you. "Long Time Traveling" features many of Gloryland's best tunes. I was especially taken by "Merrick," one of several folk hymns and revival songs in the program (and on the CD), with its refrain "Lord, revive us" that rolled around in my head for days afterwards (you can hear a bit of it on their website, www.anonymous4.com), and the gospel song "Where We'll Never Grow Old." Darol and Scott did some impressive numbers of their own, and the four members of Anonymous 4 -- Marsha Genensky, Susan Hellauer, Jacqueline Horner, and Johanna Maria Rose -- were not so anonymous as they took turns speaking to the audience with grace and congeniality. Their voices blend with uncanny unity, but each has its own distinctive character and color, revealed when they take solo turns. Singing from the heart, they created a lovely rapport with the audience. I just received my first holiday card of the season at Spivey Hall, and (lo and behold) it's from Anonymous 4. Many thanks, ladies, for your splendid concert and your good wishes! We look forward to your next project and the pleasure of another evening in your musical company.

Kids and Schoenberg - a winning combination

2006-11-10T08:35:00.000-08:00

Okay, here's a short post: this morning (Friday, Nov 10) we have two more-than-sold-out houses of school children (mostly high school with some middle school), teachers, homeschool parents and chaperones listening with rapt attention to Verklaerte Nacht (Transfigured Night) by Arnold Schoenberg, performed by the highly-acclaimed string sextet, Concertante. The name Schoenberg conjures up mixed reactions from adult audiences -- his later 12-tone works do not always yield their rewards easily to the casual listener -- but this early work is a prime example of what I like to call "ripe, rich, almost-ready-to-rot late Romanticism." It's lushly, deeply expressive music.

This string sextet is inspired by an 1896 poem of the same name by Richard Dehmel. A woman who is desperate to have a child meets with a stranger and conceives. She then encounters another man, her true soul mate, but she fears he cannot love her, because she has borne her child by another man. Her soul mate accepts the child as his own, taking their love to a higher realm. All very passionate indeed, and the music reflects the spirit of the poetry masterfully.

Concertante's musicians, making their collective debut here today, are all extremely talented Juilliard School graduates. They're not only illustrating excerpts of the music before playing the entire work, they're reading the poetry to the students and explaining the connections, providing an important "way in" to understand this composition. At 9:15 in the morning, this topic is probably not your average children's concert fare, but in an age when children encounter issues like this in the media (not to mention in real life) , they can relate to it -- and to the music, when presented in this way -- without a problem. Coming out of the concert, the kids snicker a bit at the poetry, but like the idea that true love can be compassionate and transforming.

What's even more gratifying is that they connect with the beauty of the music, which Concertante is performing exquisitely. The piece ends extremely quietly, and having gone on the musical journey with Concertante's performance, the students are utterly engrossed. I think this is truly fantastic!

Transfigured Night is on the program Concertante will perform tonight at 8:15 PM, along with the excellent Brahms B-flat Sextet, and the elegant Introduction to Capriccio (the opening of the actual opera, for string sextet) by Richard Strauss...a heady dose of deliciously high-cholesterol German Romanticism. There's a free pre-concert talk at 7:15 on Transfigured Night by Dr. Kurt-Alexander Zeller. If you want to be transported in deep-Romantic musical bliss, good seats are available.