THE 2015 HUEY'S!!! Part One

Introduced in advance of the 2011-12 concert seasons, I began a pursuit--with accompanying commentary--of the most stimulating orchestral programing in this "neck of the woods."  Of course, Chicago, Milwaukee and the Twin Cities are within driving distance, it's rather difficult to make a day trip out of the concert experience.  So I've limited the draw to orchestras in Eastern Iowa and have (for the first time), added the Madison Symphony to the mix.  It's approximately the same distance from Dubuque as Waterloo-Cedar Falls and has a cool hall.  That in itself can make attending a concert more worthy, assuming there is something interesting on the bill.

The original Huey post laid out the criteria:

The "Huey awards" are totally arbitrary, based upon my own criteria which include possible thematic content, inclusion of both contemporary and American composers and overall creativity and originality. The latter would imply programs that step out of the Overture - Concerto - Symphony box. Also of important note is the presentation of works outside the standard repertory; i.e. why offer yet another performance of Dvorak 7 (or 8 or 9) or Shostakovich 5--regardless of my own love for those works--when there are hundreds of neglected works that may be favored by audiences (and surely the players). Do we need yet another performance of Beethoven 5 instead of say, the Bizet Symphonie? Or what about the Franck--long a staple of the repertoire that now seems to be rarely played? I could make a long list of neglected works and that's just the works of the "masters."

It is incumbent upon the modern day symphony to be a proponent of the music of our time BECAUSE that is the heritage of the medium. It was not until the mid to late nineteenth century that works of the past started to form any kind of "repertory." In the time of Mozart and Haydn, people were "discovering" the works of Bach and Handel as if they'd been composed in another millennium, rather than some one hundred years previous. In Mozart's time (and Beethoven's and many other's) the music presented on a concert program had to be new. There were no "interpreters" of the music of the past; most performers were led by the composers themselves. But, somewhere along the way (the early twentieth century and the rise of serialism?) the audience became disconnected from the music of its time. If we are to remain viable, we must espouse the changing milieu in which we live.

The criteria have evolved to place an emphasis not only on contemporary music, but the insistence that American orchestras should be committing themselves to American music--the both the past and the present.  The days of concert consisting of only dead white European males must come to a halt.  When women are making great strides on the rostrum (not enough) and off (the most recent Pulitzer Prize in music was awarded to Julia Wolfe for Anthracite Fields), the time has come to perform music by contemporary female composers.  While it may be viewed as righting over a century of "wrongs," it just makes musical sense.

The "contestants" are listed alphabetically by city of origin (my own personal bias bypasses the Cedar Rapids Symphony's reincarnation as "Orchestra Iowa"--it ain't my orchestra!)  By the way, any spelling or grammatical errors are offered as the material appeared on the orchestra's website when I visited.  Commentary is provided from the sites; Score and Podium's is in italics.

Couldn't resist.
He was on their website!

The Cedar Rapids Symphony: concerts held at The Paramount Theater and other locations.  Visit orchestraiowa.org.

September 12 (Brucemore Mansion Grounds)

DVORAK — Symphony No. 9, From the New World

SMETANA — The Moldau from Ma Vlast

arr. HANKEWICH — Men of Harlech

TCHAIKOVSKY — 1812 Overture

This one seems to always get me.  I like the "Czech bent" offered in a city with a large native population (as well as the National Czech and Slovak Museum).  One has to wonder why it's titled "The Moldau" instead of Vltava (aren't there several other movements from which to choose?) AND, WHY MUST AN ORCHESTRA OFFER YET ANOTHER PERFORMANCE OF 1812?  It has nothing to do with the American War of the same name and nothing to do with our independence.  Yet, it gets hauled out year after year, almost always with at least only huge (and worthwhile) cut!

October 16-17 “A National Romance”

ELGAR — Froissart Overture

RAVEL — Piano Concerto in G Major

SIBELIUS — Symphony No. 2 in D Major

Three iconic works from the late romantic era and early 20th Century, each of which defines the style of music of their nation. Edward Elgar pays tribute to Jean Froissart, whose Chronicles described the great era of chivalry, while Jean Sibelius stokes the patriotic conscience of his native Finland. Meanwhile, nobody represents the French style more than Maurice Ravel in his Piano Concerto in G Major, which flirts with influences of American Jazz and the music of George Gershwin.

Overture - Concerto - Symphony, all by dead white European males.

November 6-7 “The Fifth Season”

FINZI — The Fall of the Leaf

PIAZZOLLA — The Four Seasons of Buenos Aires

TCHAIKOVSKY — Symphony No 1, Winter Daydreams

Whether it’s English autumnal majesty fostered in Finzi’s music, the sensuous tango influences of Piazzolla’s Argentina, or the fiery passion of Tchaikovsky, each work explores the various seasons in a feast of musical style. Four seasons and one concert to enjoy them all.

An attempt to disguise the tried and true Overture - Concerto - Symphony model.  The Piazzolla, although originally scored for his own quintet of violin (viola), piano, electric guitar, double bass and bandoneón, has been rearranged by Russian composer Leonid Desyatnikov as a Violin Concerto.

January 29-30 “Stirring Fantasies”

VAIGHAN (sic) WILLIAMS — Fantasia on a Theme By Thomas Tallis

TCHAIKOVSKY — Serenade for Strings

BIZET/SHCHEDRIN — Carmen Suite

Watch these musicians expansively soar and thrill in these masterworks for large string ensemble. Vaughan Williams’ Fantasia on a Theme by Thomas Tallis fuses renaissance England with early 20th century sensibilities, as Tchaikovsky writes some of his most passionate and memorable melodies in his Serenade for Strings. Old meets new again, with a re-invention of Bizet’s music from his masterful opera. Just as Carmen seduced the passions of her suitors, this music, uniquely scored for strings and percussion, will stir your fantasies.

Trying to figure out the relationship among these three works.  Oh yeah, all the composers are dead.  It's a cheap show to produce, however:  NO WINDS!

March 11-13 “New Frontiers”

MILHAUD — La Création du Monde

MOZART — Bassoon Concerto

SCHUMANN — Symphony No. 2 in C Major

Featuring Matthew Ransom, bassoon

Each composer broke new ground in their own unique way whether it was the shocking embrace of 1920’s jazz idioms in Mihaud’s whimsical interpretation of the Creation of the World, Schumann’s exuberant hyper romanticism or Mozart’s unprecedented precocious ease with his musical mastery. Together, these works make a memorable evening of musical daring. This concert marks principal bassoonist Matthew Ransom’s debut performance as a soloist with Orchestra Iowa.

Dead, dead, and dead:  although it is refreshing to see a Milhaud work on an Iowa orchestra program.

May 6-7

BEETHOVEN — Missa Solemnis

featuring: Mary Wilson, soprano; Renée Rapier, mezzo soprano; Eric Barry, tenor; Sumner Thompson, bass

Orchestra Iowa is proud to continue our mission of serving our great state in this partnership with the combined choruses of Simpson College (College Chamber Singers and the Simpson College Choir), and the Des Moines Vocal Arts Ensemble. Written during the same time as his ninth symphony, Beethoven’s Missa Solemnis is widely considered to be one of his supreme achievements, and one of the greatest monuments in the symphonic/choral literature. Rarely heard in live performance, this concert represents yet another first in Orchestra Iowa’s 94-year-old concert history.

Beethoven: he be dead too.  As I've found several mentions of Missa Solemnis performances around the country, it's hard to say that the work is "rarely heard."  Heck, I've sung it--my first major work as   a vocal/choral major undergraduate.

June 4 “A Hero’s Lifef (sic)

SIBELIUS — Lemminkaïnen’s Return

WAGNER — Siegfried’s Funeral March from Götterdämmerung

DVORAK — A Hero’s Song 

R. STRAUSS — Ein Heldenleben

Don’t miss this rare occasion to experience the pinnacle of Richard’s Strauss’ orchestral writing. Ein Heldenleben (A Hero’s life) chronicles the life and loves of a hero (presumably the composer himself) in a symphonic tour de force that will leave audiences breathless. To compliment the remainder of the program, each piece pays tribute to various mythic legends, including Dvorak’s very last orchestral work which, like the Strauss, places the artist as the ultimate hero.

This might be the most interesting program of the whole season, but--of course--we've already heard from Sibelius and Dvorak.  The other two guys are dead as well.

For those keeping score:

Dead guys:  20 (some were counted twice)

Living guys:  none

Women:  none
Austro-Germans: 5 (Beethoven, Mozart, Schumann, R. Strauss, Wagner)
French: 3 (Bizet, Milhaud, Ravel)
Czechs: 2 (Smetana, Dvorak appears twice)
Scandinavians: (1 Sibelius twice)
Russians: 1 (Tchaikovsky, three times)
Brits:  3 (Elgar, Finzi and Vaughan Williams)

Americans (not counting an "arranger"): 0 (One if you count Piazzolla)

Was it?  Couldn't tell you....I wasn't there.

The Dubuque Symphony, with concerts at Five Flags Theater and the University of Dubuque Heritage Center.  See dubuquesymphony.org.

Symphonic Fantasies

SATURDAY, October 10 | 7:30pm SUNDAY, October 11 | 2:00pm

AMY DUNKER New Fanfare (world premiere)
RACHMANINOFF Piano Concerto No. 2 - Natasha Paremski, piano

BERLIOZ Symphonie Fantastique

The Dubuque Symphony Orchestra opens its 57th season with an exciting new fanfare written specifically for this concert by Dubuque composer Amy Dunker. Russian piano virtuoso Natasha Paremski joins the orchestra for Rachmaninoff’s romantic and powerful Piano Concerto No. 2 while Berlioz’s fantasy- filled symphony is a thrilling blockbuster. From the “March to the Scaffold” to the “Witch’s Sabbath,” this music is truly one of the great classics.

Interesting to note Dubuque's take on "fantasies."  Rach 2 has appeared here several times over the years (yes, it does have some fabulous tunes).  The Berlioz?  Did he write anything else?

Magical Mozart

SATURDAY, November 14 | 7:30pm SUNDAY, November 15 | 2:00pm

MOZART Overture to The Marriage of Figaro

GLASS Movement 3 from Symphony No. 3

HAYDN Trumpet Concerto - Wes Skidgel, trumpet

MOZART Symphony No. 40

Mozart’s sparkling overture begins this concert, followed by the beautiful, mesmerizing strains of Philip Glass’ music for strings from his Third Symphony. DSO Principal Trumpeter Wes Skidgel is the featured soloist for Haydn’s lovely trumpet concerto. The program then concludes with Mozart’s Symphony No. 40 masterpiece, which is graceful yet emotionally compelling.

One of these doesn't belong and two of them ain't Mozart.  Haydn?  Even though he belongs, been there, done that.  It's the "go-to" trumpet piece. Why not the Hummel?  Much more interesting piece.  Philip Glass?  This might be palatable, just once.  Still, amidst Mozart and Haydn?  It doesn't make sense, other than as filler.

Beautiful Brahms

SATURDAY, March 5 | 7:30pm  SUNDAY, March 6 | 2:00pm

BEETHOVEN Symphony No. 1
BRAHMS A German Requiem - Dubuque Chorale, chorus;

Emily Birsan, soprano; Ashraf Sewailam, baritone

Beethoven’s lively and exciting First Symphony is followed by Brahms’ German Requiem, one of the most beautiful pieces of music ever written. Both tender and powerful, it features the Dubuque Chorale, two outstanding vocal soloists, and a large orchestra.

This is not the DSO's first traversal of the Brahms (nor the Beethoven I believe) in recent years.  Verdi anyone?  I don't think that's been heard since the tenure of Nicholas Palmer.

Giselle

SATURDAY, April 2 | 7:30pm SUNDAY, April 3 | 2:00pm

ADAM Giselle (fully staged ballet) - Heartland Ballet Company Dubuque City Youth Ballet

The orchestra joins forces with the Heartland Ballet Company to present a fully staged production of the romantic ballet Giselle. A tragic love story with supernatural elements, this ballet is both heartfelt and fun. It has been more than 10 years since the symphony last performed a fully staged ballet, so you won’t want to miss this uniquely special event.

Many, MANY years ago, the DSO (or at least a portion of it) was the house band for the local ballet, which performed nothing with canned music.  Unfortunately, that's gone by the wayside.  So, it's good to see a return to tradition in a hall that can probably accommodate a larger complement of players.

Midori

SATURDAY, May 7 | 7:30pm SUNDAY, May 8 |2:00pm

DVORAK Symphony No. 9 “From the New World”

TCHAIKOVSKY Violin Concerto - Midori violin

“Midori has already established herself as one of the most important violinists of our time!" (This quote is at least ten years old, if not more.  Midori has been playing professionally for over 30 years. Born in 1971, she's not a kid anymore.  Maybe I should be forgiven my lack of enthusiasm, but she once blew off a residency while I was studying at UW-Madison.)

The scorecard:

Dead guys:  10 (and 1/2 if you want to count Glass)

Living composers:  2

Women:  1, although a brief work.  Condescension anyone?
Austro-Germans: 4 (Beethoven, Brahms, Haydn, and a double helping of Mozart!)
French: 2 (Adam and Berlioz)
Czechs: 1 (Dvorak)
Russians: 2 (Rach and Tchaik--surprise!)
Americans 2

So, part way through our traversal of the local orchestral scene, it seems a certain victory for dead guys and the traditional concert "meal."  

To be continued.....