100 Years Old Music

“Arbitrary as the choice of any year between 1880 and 1930 might be, 1913 was certainly distinguished by modernist landmarks in music, art, literature, fashion, and film /…/”

As it happens many times I don’t have access to my books in Budapest, Hungary when I need them. I have purchased and read a book entitled ‘1913’, and as much as I would love to use a couple of quotes here I cannot remember the author’s name. I tried finding the book online, but all the books of the same or similar title that pop up in a search, deal with politics and world history only instead of art. I found a great article at the Telegraph however and that is where the opening quote is from. Read the full article here:

https://www.telegraph.co.uk

Here are the dates for the pieces played by the Huntsville Symphony this Saturday for our last classical concert of the season.
Stravinsky: Rite of Spring -1913 (time of the infamous premiere performance)
Ravel: Alborada del gracioso -1905 (as a piano piece), -1918 (orchestra version)
Szymanowski: Violin Concerto #1 -1916 (composed), -1922 (premiered)

Yes, as unbelievable as it is, “The Rite of Spring” is over a 100 years old. So are the two other pieces. As you can see we are talking about a period a little over 15 years here, including some of the most turbulent times of the 20th Century, especially in Europe.
‘Rite of Spring’ was sure a “Vision of the Future” just one year before WW1 started. Ravel’s colorful Alborada del grazioso (The Jester’s Aubade) from the ‘Miroirs’ (Mirrors) piano series is one of the most popular examples of his “Spanish flavor” musical pieces. In its orchestral version it possesses the rhythmical and sound-color qualities of ‘Rite of Spring’.
I would like to encourage you to read the Wikipedia article below on Polish composer Karol Szymanowski. Upon reading his biography it’ll be clear how his gorgeous late-Romantic Violin Concerto No. 1 fits into the program.
https://www.en.wikipedia.org
By programming this beautiful piece of music, and by engaging the amazing Philippe Quint to play the solo violin part, I hope to contribute to the re-discovery of the music of this forgotten genius.

Thank You All for supporting the HSO in 2016-17!
Don’t forget to get your tickets to ‘Video Games Live’ on May 6 at the VBC! It will be the perfect ending to a great season.
Please read about our exciting next season here:
https://www.hso.org

Stay in touch and have a wonderful summer!

Bartók’s Birds

There is the famous bird trio for flute, oboe and clarinet in Beethoven’s ‘Pastoral’ symphony. There are the identifiable American birds in Bartók’s Piano Concerto No.3, and the sounds of rural Romania as composed by the young György Ligeti in his Concert Românesque. The 5th classical concert of the Huntsville Symphony fits the overall theme of the season: The Force of Nature.
David Kadouch
https://www.davidkadouch.com
a young and amazing pianist from France is playing the solo piano part of the Bartók Concerto. Needless to say, I am very particular about my Bartók. David has everything a Hungarian maestro’s heart can wish for in a pianist for the Hungarian composer’s last piano concerto. He is not only a virtuoso player but he also knows all the idioms, the unique phrasing, and the sound that is required to perform this music.

Join me and the HSO this Saturday at the VBC to hear three powerful compositions about the power of nature. Experience the power of live symphony music as only we can present it here in the great City of Huntsville!

Jacques And Richard Without Words

We are ready for our next adventure this weekend. Huntsville Symphony presents “Wagner Without Words” at the Von Braun Center on Saturday evening. The stage will be packed with musicians and instruments including some unusual ones like 4 Wagner-tubas, bass trumpet, anvils (in reality they are different size brake drums and other pieces pf metal). We are going to have 4 (!) harps on stage as well. Conductor Lorin Maazel, encouraged by Wieland Wagner, grandson of the composer, created a symphonic synthesis of Richard Wagner’s famous “Ring Cycle”.
Maazel wanted to
ONE a free-flowing synthesis (no stopping in between scenes or operas) in a chronological order starting with the first notes of ‘Rheingold’ and finishing with the very end of ‘Götterdämmerung’
TWO the transitions between scenes must be musically flawless
THREE most of the parts of ‘The Ring’ originally written for orchestra alone (no voices) must be included
FOUR every note must be Wagner’s own

The end product is a 75 minute long gorgeous piece of music for a huge orchestra. It includes the most original and powerful musical moments of the entire cycle and presents Wagner’s orchestral writing at its best.
Going down the “without words” path I have selected two short pieces by Jacques Offenbach, ‘Intermezzo and Barcarole’ from ‘The Tales of Hoffmann’ and ‘Overture to Orpheus in the Underworld’ to make up the first half of the concert. It only takes about 20 minutes to play these two pieces, but then again we will make up for the length in the second half of the show.
Why put Offenbach’s
https://www.wikipedia.org
music with Wagner’s?
https://www.wikipedia.org

First, they were contemporaries.
Second, they were both highly successful and popular, and had a great sense of stage.

I believe, that putting ‘Can Can’ and ‘The Ride of the Valkyries’ on the same program makes for and entertaining yet thought provoking evening. If you like popular melodies and great orchestra playing do not miss this concert!

4000 Kids, 2200 Adults

Huntsville Symphony has just completed a very busy and extremely successful week with 6 concerts and 2 programs. We performed 4 Young People’s Concert and a Free Family Concert for about 4K children (most of the 4th Graders) and a few hundred adults. The latter one I like to call “Bring Your Grandma” concert, and indeed there were many families: grandkids, parents, grandparents alike. Mozart: Figaro Overture, Mendelssohn: Piano Concerto No.1, 1st Movement (played by the brilliant Sarah Han, the winner of the Guild’s Concerto Competition 2017) and James Stephenson’s genius “Compose Yourself” were on the program. Jim’s composition introduces the orchestra, its sections and its instruments to the audience in a set of variations. Before the Finale audience members get to pick and mix 3 different melodies, harmonies and rhythms to create their very own piece of music. I highly recommend “Compose Yourself” to any orchestra interested in a stylish, clever and fun piece of music that can do what Britten’s Young Persons’ Guide can and more! At the Free Family Show I also did a crash course in conducting for kids who were not shy coming on stage. They got to conduct the Mozart Overture with the Huntsville Symphony.
On Saturday evening the HSO had a sold out pops show comprised entirely of John Williams soundtracks. It was a demanding and highly satisfying concert for the orchestra and drew several standing ovations from the audience. Once (tops twice) a year I agree to play the clarinet in Huntsville to benefit the Symphony. I have performed quite a few great chamber music pieces in the past couple of seasons, and also the obligate clarinet solo in a Mozart aria when my Mom was here to sing an opera gala under my baton. This time I played the clarinet solo of Viktor’s Theme from the movie The Terminal. Viktor’s character —played by Tom Hanks in the movie— is especially close to me. We are talking about a man from an imaginary Eastern-European country who gets stuck in an airport terminal in the US and has to manage living there for a few weeks. Considering my crazy busy traveling schedule I do feel like I live in an airport sometimes.
More great music is on the way with the Huntsville Symphony in the next couple of weeks: Mendelssohn, Richard Strauss, Offenbach and Wagner.
Check out our website here:
https://www.hso.org

Toward The Sea Into the New Year

The season of the Huntsville Symphony is always busier between January and May than it is in the fall. The reason? College football. In the fall we are doing our classical concerts on Fridays so we do not have to compete with the games on Saturdays. Also it seems it takes a while for everybody (definitely our core audience) to settle into the usual rhythm after the summer months. After presenting a no-orchestra New Years Eve show with the amazing Bela and Abigail Fleck the Huntsville Symphony is back on the stage of the Von Braun Center and we sure have a lot of notes to play for the second half of the season. Between February 1-4 we are doing 4 Youth Concerts, a Free Family Concert and a Pops concert with all John Williams movie hits. We are presenting our ever popular “dinner-concert” Casual Classics on February 12, then another classical concert with the music of Wagner and Offenbach on February 18.
https://www.hso.org

Yesterday, with a smaller than usual orchestra on stage, I conducted the HSO in a show called “Flute and Harp Impressions”. Principal flutist Evelyn Loehrlein and harpist Katherine Newman joined guest flutist Gergely Ittzes in a selection of pieces by Vivaldi, Debussy, Takemitsu and Respighi.
Gergely Ittzes https://www.ittzesgergely.hu has also performed two of his own solo flute compositions presenting unusual virtuosity on his instrument along with many special effects never heard before by our audience. Ittzes is capable of playing clear double stops (intervals) on the flute and special effects that sound like walking bass or an Indian, or Japanese traditional instrument. Our audience was very enthusiastic and thrilled about all the music that was presented. I believe we did justice to Vivaldi as well, since his music —due to the big size of our concert venue— has been definitely underrepresented in the classical series.
My favorite part of the concert was when Gergely Ittzes played Debussy’s famous solo flute composition, Syrinx then we went right into playing Takemitsu’s mesmerizing “Toward the Sea II” for alto flute, harp and strings. Great job HSO string section!
I admire Takemitsu for his beautiful sound colors and soothing rhythmical complexities (yes it does sound like a contradiction, but Takemitsu is just doing, in his own language, what Debussy has invented more than a 100ys ago now). I was very pleased with the audience’s positive response.
Our New Year has just started, and we are sailing on toward new adventures. Come and join us in 2017, too!

Orchestra Tour in Poland

…then there are days when you really don’t have the time to write.

I have just finished my concert with the Hungarian Radio Symphony at the Liszt Academy on November 22 when received a call from the tour manager of the Hungarian National Philharmonic Orchestra. They were on the road in Poland and the conductor, János Kovács was hospitalized. I agreed to step in after my Eötvös-Bartók performance in Hamburg (November 23) and joined the orchestra in Wroclaw, Poland the next day. We had a one hour acoustical rehearsal at the amazing new concert hall built for the program of “Cultural Capital of Europe, Wroclaw 2016″, and we hit the ground running with the following program:

Kodály: Dances of Galánta
Liszt: Piano Concerto No.1 (Dávid Báll -piano)
Bartók: Concerto for Orchestra
(Encores: Brahms Hungarian Dance No.1 and Berlioz Rakóczi March)

Thee more concerts followed with great success (and a whole lot of bus riding in between). The Hungarian National Phil musicians and myself were having a ball.

Poland is a lucky country to have so many great, new concert halls. Three out of the four we have performed at were built in the last two years. Among these, the venue for our tour-closing performance was probably the best I have ever performed at (including Disney Hall!). The concert hall of the National Polish Radio Orchestra in Katowice is not only a great work of architecture but also the perfect mix of beauty and functionality with amazing acoustics for symphonic music.

Take a look!
http://nospr.org

This orchestra tour was part of the Hungarian Season in Poland commemorating the 1956 Revolution. Originally Zoltán Kocsis, world famous pianist and music director of the Hungarian National Philharmonic, who just recently passed away, was supposed to conduct all the concerts. We have been performing in his memory as well.

I am back in Hamburg, Germany today. The very last performance of the Eötvös: Senza sangue, Bartók: Bluebeard’s Castle production is tomorrow evening at the Staatsoper. The revival is schedueled for February 2018.

Mozart in the Looney Bin

I am about to take another brief break from Eötvös and Bartók, and take a short trip to London to conduct Mozart’s Magic Flute with the staging of Róbert Alföldi
http://alfoldirobert.eu
as part of the Armel Opera Festival Days at the Hackney Empire Theater.
This is going to be my London debut.
The director has placed Mozart’s magical opera-characters between the walls of a mental institution, where everybody has his or her own mental issue. Magically (pun intended) this idea works really well and highlights some of the more interesting twists and turns of the original story. Just think about it for a second: who is the bad guy here? Is it really the Queen of the Night or is it Sarastro? Is everything black and white like we would like it to be?

Check out the full Armel program at the Hackney Empire here including the ‘In Memory of 1956’ concert program on October 23 conducted by Adam Fischer
http://hackneyempire.co.uk

In Nature’s Realm

I am back in Huntsville. The weather is beautiful as always in September. As my friends in Europe are starting to wear their rain coats and sweaters, I still get to dip in the swimming pool in the morning. I love how summer is stretched out here in the South.

Our 2016-17 Season at the HSO is starting with a kind of musical meditation on Nature and on Human Life.

Dvořák: In Nature’s Realm, op. 91
Smetana: The Moldau, from My Homeland
Fauré: Requiem, op. 48

Guest Artists:
Tiffany Boltic-Brown, Terrance Brown and the Huntsville Community Chorus

Visit our website for more information on our opening gala and on the rest of the season.
http://hso.org

Talking about “meditation”, very soon musicians of the Huntsville Symphony and myself will be presenting a Yoga Session with Live Music at one of my favorite venues ever: Lowe Mill ARTS & Entertainment
http://lowemill.net
More about this concert soon!

Last week was busy (indeed, the Season does not start with the first fall performance but with all the preparation the precedes this part of the year). After finishing the editing of the studio recording of my composition “Clarinet Symphony” (it sounds great and I am hoping to report soon about what happens to the recording itself) I traveled to Szeged (Southern-Hungary) where I did a few pre-rehearsals for Armel Festival’s presentation of The Magic Flute at the Hackney Empire Theater in London, England. I am also preparing for the long rehearsal period at the Hamburg Opera starting at the end of September. I will be adding another opera to my repertoire: Peter Eötvös’ Senza sangue (Without Blood)
http://eotvospeter.com
This new work will be staged alongside with Bartók’s Bluebeard’s Castle (an amazing piece of music soon to be a 100 years old!).

Nature, music, lot of travel: Season 16-17 here I come!

Slavic Feast at Silicon Valley

Tonight and tomorrow afternoon Symphony Silicon Valley presents its second to last weekend of their 15-16 classical concert season. As a returning guest conductor I get to lead the orchestra in the following program:

Martinu: Overture
Prokofiev: Piano Concerto #3 – with Natasha Paremski as soloist
Prokofiev: Love for Three Oranges Suite
Janáček: Sinfonietta

This is my first time doing the Martinu piece, a lovely neoclassical, “all C-major” type of opening and also the reduced version of Sinfonietta (I think I am sticking with the original version in the future).

Check out the program here:
https://www.symphonysiliconvalley.org

This is my third time in Silicon Valley around Cinco de Mayo. Since Wednesday evening was kind of quiet I anticipate to run into more parties downtown tonight. I will look around after the concert for sure.

Brahms and The Chairs

Three Brahms compositions in two concerts mark the Finale of the Huntsville Symphony’s 15-16 season. Yesterday evening, celebrated by a large audience at the Von Braun Performing Arts Center HSO was playing Brahms Symphony #3 and Violin Concerto in D. After a long standing ovation the mesmerizing sounds of the first movement of Bach’s Violin Sonata No.2 in A-minor ended the last classical concert, played beautifully by Nikki Chooi. What an amazing way to end the season!

Now wait a second! There is more. It is a little “encore” to our 61st season if you wish. This afternoon, members of the audience are invited to sit on the stage of the VBC next to and around the principal players of the HSO as we perform Serenade #1 by Brahms. This time it is the wind-quintet+string-quintet version on the program and I will be talking about the music, about the composer, and about the process we musicians rehearse and perform. To start the show I am planning to make our audience just stand in the lime light on stage and stare out into the empty auditorium to get a sense of what it feels like being up there in the presence of hundreds of people. In between movements of Serenade #1 I will ask the audience to switch to a different chair (hence the concert title we used for a similar show last year: Musical Chairs) to experience the acoustics of the stage of the VBC and to be able to watch and listen to different musicians playing different instruments. If you like unusual concert formats, join us at 3:30pm today or sign up for our Casual Classics series next season. The program will be out soon!

http://www.hso.org

Thanks Everybody for making 15-16 a successful season in every regard! We are looking forward to welcome you back in September. Have a great summer and keep up listening to good music!