Muruch

The November 16th show of Mountain Stage featured Vagabond Opera, Brett Dennen, Eric Bibb, Madison Violet, and Sister Hazel.

I was most excited about seeing Vagabond Opera, and they were fantastic! As expected, the kooky cabaret band put on a fun and dazzling set of songs from their new album, The Zeitgeist Beckons. Their colorful costumes and theatrics were fit for Vaudeville, and lead singer Eric Stern’s voice was astounding live. Their set was as entertaining for the eyes as it was the ears.

After the show, I introduced myself to saxophone player Robin Jackson and singer Ashia Grzesik. Ashia certainly is a multi-talented entertainer. She played the cello, sang a splendid rendition of “Ganef” (my favorite song from the album), and did a little Burlesque dancing during the other songs.

Considering the demented circus nature of their act, I was curious if they were fans of The Dresden Dolls. Jackson informed me that Vagabond Opera had performed with The Dresden Dolls and that Amanda Palmer was a big inspiration for them. No wonder I love them!

Scottish-Canadian duo Madison Violet followed with some melodic folk-country tunes from their new album No Fool for Trying. Their soft sound was a slight letdown after the sideshow act of Vagabond Opera, but their harmonies were even prettier live than on the album. The girls led the audience in a sing-a-long of “The Small of My Heart” and shared the tragic true story behind “The Woodshop.”

Eric Bibb was only recently added to the lineup before the show. I looked forward to seeing him perform live, since I loved his Get On Board album so much. Despite an audience member yelling a request for “Spirit I Am,” Bibb instead played songs from his upcoming album, Booker’s Guitar. The new songs were a mix of blues and soulful folk, and the highlight was his almost a capella (he was accompanied by a harmonica player) cover of Blind Willie Johnson’s “Nobody’s Fault But Mine.” Bibb’s voice was beautifully rich in person, and his guitar work called to mind classic blues musicians. He earned the first standing ovation of the night.

Brett Dennen was another artist I was interested in seeing. He played songs from his latest release Hope for the Hopeless, as well as one tune from his previous release So Much More (I’d hoped for “The One Who Loves You The Most,” but it didn’t happen). Dennen’s set was a straightforward presentation of his signature pop-folk acoustics, but I enjoyed it thoroughly. He was such a hit with the crowd that he was granted an encore, during which he sang “Heaven.”

I was unimpressed by the country-pop direction of Sister Hazel’s new album Release, but I liked them a lot in the 1990s (particularly their song “Your Winter” from the 10 Things I Hate About You soundtrack). So I really hoped they’d win me over at Mountain Stage. They didn’t.

From the beginning, the band seemed out of place at the venue to me. For one thing, they wheeled in their own big amplifiers and the extra loud volume just didn’t seem to mesh well with the Mt. Stage sound system. Also, I couldn’t tell if the lead singer was sick or if he simply couldn’t compete with those amplifiers, but his voice cracked painfully when he attempted the high notes of “Your Winter” and “All For You.” That was particularly disappointing since I actually like those two songs.

I’ve seen and enjoyed plenty of other rock bands at Mountain Stage, so my dissatisfaction with Sister Hazel’s performance had nothing to do with the style of their music. And it was certainly an example of how subjective musical taste can be. The majority of the audience responded enthusiastically to the band, while other rows emptied out before the end of their set.

I will say that, despite the weaknesses of their performance, the members of Sister Hazel were very personable and self-deprecating between songs. And I heard several people raving about them after the show (though many said Vagabond Opera and Brett Dennen were the best of the night), so to each their own…

All of the artists returned to the stage for the group finale, a cover of Creedence Clearwater Revival’s “Lodi.”

Muruch Mt Stage Reviews

West Virginia Symphony Orchestra’s “The Wonder of Love” concert was held at The Clay Center’s Maier Foundation Performance Hall this weekend and featured guest mezzo-soprano Audrey Babcock.

Maestro Grant Cooper led his orchestra through performances of Richard Wagner’s “Prelude to Tristan und Isolde,” Gustav Mahler’s “Lieder eines fahrenden Gesellen,” and Hector Berlioz’s “Symphonie Fantastique.”

The Pittsburgh Symphony kindly granted the use of The Verdin church bells for the latter, and the nearly 600-pound cast iron bells were hidden off-stage as Berlioz originally instructed when he composed the piece.

During the pre-performance “Preludes” discussion, Grant Cooper shared some of the very specific instructions Berlioz wrote for his “Symphonie Fantastique.” These included the particular kind of stick to be used for striking the drums and the infamous hidden bells.

Cooper also gave a preview demonstration of the range in sound of the bells – from a soft, muffled illusion of distance to the thunderous peals of a looming cathedral bell tower.

The Symphony began with the “Prelude” to German composer Richard Wagner’s “Tristan und Isolde,” a three-act opera depicting the legendary medieval romance between a Cornish knight and an Irish princess (a story which also inspired the Arthurian stories).

Wagner’s composition was mostly based on Gottfried von Strassburg’s poem “Tristan,” but it was also inspired by Wagner’s affair with married author Mathilde Wesendonck as well as the theories of philosopher Arthur Schopenhauer.

“Tristan und Isolde” is considered to be one of the most influential works of the nineteenth century (the 2006 James Franco film Tristan and Isolde was based on Wagner’s opera), and its tonality is often credited as turning classical music in a new direction for the early twentieth century. Wagner was influenced by Weber and Beethoven, but his own work would inspire Mahler, Bruckner, Debussy, and countless other composers.

I’ve always thought Wagner’s works were a bit overrated, but “Tristan und Isolde” is the exception. The “Prelude” possesses a sweeping, cinematic beauty and elegance, and it was handled with tender grace in the many capable hands of the West Virginia Symphony.

Award winning mezzo-soprano Audrey Babcock joined the orchestra for “Lieder eines fahrenden Gesellen” by Austrian composer-conductor Gustav Mahler. This was the piece I was most excited about, as I’ve recently become enamoured with Mahler’s music (particularly his eighth symphony). After Beethoven and Bach, Mahler has skyrocketed to the top of my favorite composers list.

A contemporary of Brahms and Bruckner, Mahler was known to be intelligent, sophisticated, neurotic, and egotistical. Considering the brilliance, scope, and complexity of his compositions, I don’t blame him at all for such arrogance.

The four-movement “Lieder eines fahrenden Gesellen” (Songs of a Wayfarer) was Mahler’s first song cycle and was apparently inspired by the end of Mahler’s love affair with soprano Johanna Richter. You can read lyrics from all four songs at Wikipedia.

Singer Audrey Babcock was incredible. A stunning and satuesque beauty, her magnificent voice was perfectly suited to “Lieder eines fahrenden Gesellen.” As much as I love Mahler, this particular piece is a tricky one to carry off successfully since it relies as much on the vocalist as it does the orchestra. I’ve heard recordings that fell flat because the singer’s voice lacked the power to infuse the notes with the great emotion they require. Fortunately, Babcock’s voice was as emotive and lovely during the verses that utilized her lower register as it was in the breathtaking high notes. I was shocked that the audience did not give her a standing ovation.

French composer Hector Berlioz’ “Symphony Fantastique” is said to be the greatest first symphony ever written, though it was revised repeatedly a few years after the original composition in 1830. His orchestration was groundbreaking in its time – particularly the use of multiple timpani, bells, brass, and his trick of having the string players bounce the bow’s wood on the strings.

Berlioz briefly studied medicine before enrolling at the Paris Conservatory and supporting himself as a music reviewer for a local newspaper. His music was heavily influenced by Beethoven.

“Symphony Fantastique” was born after Berlioz saw a performance of Hamlet starring Irish actress Harriet Smithson as Ophelia. It was love at first sight for the composer and he poured his emotion into the symphony in hopes of capturing the attention of the new object of his affection.

In concept, the five-movement “Symphony Fantastique” is a bit like a classical Fear & Loathing in Las Vegas in that it follows the imaginary opium-induced visions of a young, lovesick artist. These drug-fueled hallucinations end with the artist being executed for murdering his beloved.

I’ve personally always found the first two movements boring, but my disinterest in the beginning of the piece was no reflection on the Symphony’s performance. The orchestra’s playing was impeccable as always.

Everything changed for me with the beautiful third movement, in which Berlioz made splendid use of the English horn and oboe to represent a country shepard and shepardess.

The fourth movement of “Symphony Fantastique” is astoundingly dramatic, and the orchestra’s performance was so fantastic that the audience burst into spontaneous applause between movements (breaking the unspoken rule to hold applause until the end of the symphony).

Maestro Cooper responded to the outburst by turning to the audience with a mischievous grin and saying, “It gets even better.”

Truer words were never spoken. The final movement was ominous, otherworldly, and well worth the wait. And oh the bells!

Cameras and recording devices were prohibited, so I have no audio or photographs from this performance to share. But I did find videos elsewhere…

Wagner – Prelude to Tristan und Isolde (YouTube Video)
Mahler – Lieder eines fahrenden Gesellen (YouTube Video)
Berlioz – Symphonie Fantastique (YouTube Video)

And there’s a nice interview with Maestro Grant Cooper by my pal Mona Seghatoleslami at WV Public Broadcasting’s blog Classically Speaking.

Wagner CDs @ Amazon

Mahler CDs @ Amazon

Berlioz CDs @ Amazon

The West Virginia Symphony Orchestra’s symphonic series continued this past Saturday with a “Regally Romantic” show featuring guest pianist Jon Nakamatsu. The concert was held in The Clay Center’s Maier Foundation Performance Hall.

Maestro Grant Cooper led his orchestra through performances of Franz von Suppé’s “Light Cavalry Overture”, Sergei Rachmaninoff’s “Rhapsody on a Theme of Paganini, Op. 43″, and Anton Bruckner’s “Symphony No. 4 in E flat major, WAB 104 ‘Romantic.’” Van Cliburn award-winning pianist Jon Nakamatsu joined the orchestra for the Rachmaninoff work.

During the pre-performance “Prelude” discussion, Cooper and Nakamatsu discussed the effect modern pianos have on the sound of classical works written on earlier models of the piano. They also mentioned how a pianist’s choice to play in a way that more accurately reflects the mechanical origins of a piece (as opposed to using the full power of the modern instrument) can influence whether they win awards. Other topics of discussion were how physical environment and climate alter a piano’s sound and the challenge of memorizing classical works.

Austrian singer-composer Franz von Suppé’s “Leichte Kavallerie (Light Cavalry)” is a three-act operetta (light opera, kind of like musical theatre) that was first performed in Vienna in 1866. The operetta is a political satire that centers on a certain Earl’s preferential treatment of his dancing mistress, whose ballet company the people mockingly call “The Light Cavalry”. The Overture is one of Suppé’s most famous pieces and has been used in everything from Beetlejuice to cartoons like Animaniacs and Tiny Toon Adventures.

The WV Symphony’s rendition of “The Light Cavalry Overture” was especially exciting, full of bombast and drama. The entire orchestra was spectacular, but the horn and violin sections were particularly magnificent. The structure of the piece made it as interesting to watch as it was to listen. It was the best WV Symphony performance I’ve been to in the past 25 years.

The inclusion of twentieth century Russian composer-pianist Sergei Rachmaninoff’s “Rhapsody on a Theme of Paganini, Op. 43″ was the main reason I wanted to attend and review this performance. I first heard a clip of it in the classic film Somewhere in Time and it was love at first listen.

Rachmaninoff was a friend and pupil of Tchaikovsky who suffered from depression and what was at times crippling self-doubt. His “Rhapsody” is a set of twenty-four variations on the last of Niccolò Paganini’s Caprices for solo violin, but Rachmaninoff’s work was written for solo piano and symphonic orchestra.

The piece begins with a fuller orchestral sound before gradually melting into that serenely beautifully and emotive piano melody (Variation No. 18) that I first heard in Somewhere In Time. The latter portion of the piece bursts into a faster tempo and the tension builds with its momentum.

Pianist Jon Nakamatsu played brilliantly, effortless maneuvering between moments that called for his piano to be the attention-grabbing focus of the piece and those which required a feather light touch to blend in with the rest of the orchestra. The audience was so impressed that they responded with a lengthy standing ovation, encouraging an encore.

I’ve only recently become a fan of nineteenth century Austrian composer Anton Bruckner. Bruckner’s love of music was sparked by a church organ when he was a young altar boy. He was a great fan of Wagner and, like Mahler, was unappreciated during his lifetime. In the late 1860s, Bruckner’s frenzied composing led to a mental breakdown and an obsession with counting (numeromania) that landed him in a sanatorium. Mental illness seems to have been a common part of classical composer biographies.

Bruckner’s “Symphony No. 4: “The Romantic” was written in 1874 and revised extensively in the years that followed – his compulsive habit of revising his work multiple times and the reworkings done by others after his death resulted in controversy over the authenticity of modern arrangements of his works (a.k.a. “The Bruckner Problem“).

In letters to his contemporaries, Bruckner revealed that his fourth symphony begins with a horn announcing a new day and then follows a hunting party through the woods. It depicts an almost reverent appreciation of nature rather than human romance. That initial horn blast and the gentle, horn-accented ascent of the first movement are my personal favorite parts of the symphony.

Cooper talked a bit about Bruckner during that initial “Prelude” discussion. I agree totally with his statement that Bruckner’s music is “gorgeous” and “sonorous,” but also understand his warning that the length and composition of Bruckner’s fourth symphony requires the patience and attention you would give to a wise but elderly grandparent.

I think the first movement is exhilarating and beautiful in a spacious, cinematic way – the theme initially presented by that morning horn is intricately woven throughout the movement. But even though I seem to be more of a fan of Bruckner’s music than most of the audience, it did get a little difficult to keep up my enthusiasm for the duration of the hour-long symphony. Still, the orchestra did a superb job of it and I enjoyed the night immensely.

Cameras and recording devices were prohibited, so I have no audio or photographs from this performance to share. But I did find a legal mp3 and video elsewhere…

US Marine Band – Light Cavalry Overture (mp3) *
Sergei Rachmaninoff – Rhapsody on a Theme of Paganini (YouTube Video)

*mp3 hosted by US Marine Band & link was provided by Wikipedia

I encourage everyone to check out a classical performance in your local area, even if you don’t normally enjoy listening to classical music. Seeing a symphonic orchestra perform live can be an inspiring experience if you have an open mind.

WV Symphony Official Site

Suppé CDs @ Amazon

Bruckner CDs @ Amazon

Rachmaninoff CDs @ Amazon

The Charleston Chamber Music Society opened their sixty-eighth season Saturday evening with the Garth Newel Piano Quartet, who performed works by Brahms and Fauré. The concert was held at Christ Church United Methodist in Charleston, which doubles as a small music venue.

Researching the Quartet, I found there isn’t a member named Garth Newel. Rather, “Garth Newel” is a Welsh phrase meaning “new hearth” or “new home”, and it is the name of the non-profit music center in Virginia which spawned the Quartet. The Quartet is composed of violinist Teresa Ling, viola player Evelyn Grau, cellist Tobias Werner, and pianist Andrew Harley.

The Garth Newel Piano Quartet is apparently known for its high-energy, informal, and interactive performances, so I wasn’t sure what to expect. Though I personally find watching an orchestra perform classical music more exciting than seeing a rock band shake a stage, the terms “high-energy” and “interactive” aren’t typically synonymous with chamber music. I’m still not sure what could have been considered “interactive” about the performance, aside from pianist Andrew Harley explaining the history of the music. But they were energetic and the intimate setting did create an informal atmosphere.

The group performed “C minor Piano Quartet” by composer Johannes Brahms followed by Gabriel Fauré’s “G minor Piano Quartet.”

“C minor Piano Quartet” was inspired by the tragic death of Brahms’ friend and mentor Robert Schumann in an asylum, as well as Brahms’ own unrequited love for Schumann’s wife Clara. For the quartet, Brahms created the character of Werther, a young man who commits suicide over his unrequited love for an older, married woman. As a result, the Brahms piece was dark and dramatic, interspersed with brief moments of sweet melancholy.

Meanwhile, Fauré drew inspiration for his “G minor Piano Quartet” from the aural memories of his childhood, mimicking the sounds of a forge and the peals of evening church bells. The sprawling piano of Fauré’s quartet made for a more sweeping, cinematic sound. I thought the Quartet played both sets beautifully, but I definitely preferred Fauré’s arrangement.

If you live near Charleston and enjoy classical music, I recommend that you attend one of the Charleston Chamber Music Society’s upcoming performances. You can view their schedule and purchase tickets at their website.

Charleston Chamber Music Society Official Site
Garth Newel Piano Quartet Official Site

Though there were other artists booked for last night’s Mountain Stage concert, I went for one man: Black Joe Lewis. Well, one man and his seven bandmates.

Black Joe Lewis & The Honeybears are an eight-piece “garage-soul” ensemble from Austin, Texas. As I said when I reviewed their album Tell ‘Em What Your Name Is, their music is “the kind of guttural, robust, bluesy soul of James Brown and Screaming Jay Hawkins, rough edged with a very modern sense of humor and garage instrumentation.”

Tell ‘Em What Your Name Is will certainly be near if not on the top of my year end list, but not even such a brilliant recording can compare to what it was like seeing these guys perform live.

Actress turned singer and Judy Collins protégé Amy Speace opened the show. She’s a singer-songwriter of the Joan Baez or Dar Williams variety. I would say of the other non-Joe performers, I enjoyed her set the most.

The Proclaimers followed with heavily accented harmonies. The Scottish twins are best known for what they endearingly admitted was their only hit “I’m Gonna Be (500 Miles).” The Benny & Joon theme closed their segment of the show. Their performance – which bordered on novelty – was tolerable for a short set, but would grate on my nerves for a full concert.

Contemporary classical group Cordis was a pleasant surprise. Featuring West Virginia native and electric cimbalom player Rick Grimes, the band mixes lovely chamber melodies and upbeat rock instrumentals.

And then they took the stage, all eight of ‘em: Black Joe Lewis & The Honeybears. They immediately started blaring out songs from Tell ‘Em What Your Name Is, the highlights being “Sugarfoot” and “Bobby Booshay.” While the production of their studio album seems to emphasis the soul side of the band’s style more than the garage, it was the noisy rock of Joe’s guitar that was most apparent in the live show. The entire band was loud, energetic, and awesome. Young and old audience members alike were tappin’ their feet and bobbin’ their heads along with the beat.

Former Men at Work frontman Colin Hay was granted the final slot of the night. Hay was very personable between songs and his simple acoustic tunes sound much better live than on his studio albums, but such a low key set would’ve fit better at the beginning of the concert. Black Joe Lewis & The Honeybears unquestionably stole the show.

Sadly, Joe himself elected not to join in the group finale. But the horn section of The Honeybears returned to the stage with the other artists to cover The Clash’s “Should I Stay or Should I Go?”

Black Joe Lewis – Sugarfoot (audio stream)

Black Joe Lewis Live on Craig Ferguson (video)

Buy @ Amazon

Black Joe Lewis Official Site
Black Joe Lewis MySpace

Muruch Mt Stage Reviews