10. American Icons
Went to the performance of the "American Icons" by the Royal Scottish National Orchestra (RSNO) at the Usher Hall today. Unfortunately I was busy with my studies and thus was unable to attend the pre-concert talk but I was generally familiar with the works on the bill so it was not important.
The audience was smaller than expected, many elderly and perhaps attending so as to keep their heating bills low at home. It was a little disappointing to note that some of the shirts worn by the men ranged from a good strong black to a well washed charcoal gray and quite wrinkled. Once again I was on an aisle seat as requested, this and my habit to get up and leave after the first bow of the conductor was adhered to. I also clutched at my program and water bottle so tightly that my hand hurt afterwards. It is these little rituals that, at the time, appear insignificant but when looked back on must sound quirky if not out right eccentric.
One curious thing I've noticed is that a lot of the girls working as ushers seem to wear their black trousers quite tight and the one who came on stage to present the flower bouquets walked on with, what appeared to be tightly clenched butt cheeks. What is it with today's generation and the need o show off their big bottoms - please put them away thank you.
The conductor was a Mr Garry Walker and who, as the short bio mentions "holds the positions of Principal Guest Conductor of the RSNO, Permanent Guest Conductor of the Royal Philharmonic Orchestra, Principal Conductor of Paragon ensemble and Music director of the Liverpool Mozart Orchestra." At the risk of sounding like a pleb I must still confess that I am unsure of what the "guest" actually means as regards rank. You may recall that the actor
DeForest Kelley, who played the good Doctor in Star Trek was billed as "guest star". There must be some implication to all this but I am way to lazy to google it to find out.
The theme for the night was "American Icons" with the works of Aaron Copland, John Adams, Michael Daugherty and Duke Ellington being played.
The performance started with the "Billy the Kid Suite" by Copland. Copland holds such an important place in American music that any ensemble must include him. When the world was recovering from the 9/11 tragedy I immediately thought of his often played "Fanfare for the Common Man" which is probably one of those records I would take to a desert island with me. The music plays into the vast panoramic landscape that the mythical Wild West of Cowboys and Gun slingers and evokes the richness of such stories regardless of the reality.
Copland was the son of an immigrant and he actively composed with American themes and rhythms in mind. As a student he studied in Europe and was surprised that despite obvious national styles, his own country had, up to that point, failed to develop its own musical identity. He was also a keen advocate for the New Music that was emerging and tied the two forces together to create his distinctive style that still influences music today. Sadly he was investigated back in the 1950's as part of the Senate investigations into Communist infiltration and was both blacklisted and had his music pulled from official functions. Fortunately he did not suffer long as no evidence was found showing Communist party membership and became one of the most awarded composer of his time.
The second piece was "On the Transmigration of Souls" by John Adams. This was a commission piece for the victims of the World Trade Centre atrocity. Adams uses various sound sources to create an almost hypnotic collage that highlights both the collective and the personal aspects of that tragedy.
Listening to it one could not help but be reminded of the feelings that were evokes when the frightful images of the World Trade Centre buildings were hit and eventually collapsed. Yet I would not say that this music is overtly melancholic, it has a slightly comforting religious undertone that somehow reminds us that life goes on despite the most excrutiating circumstances and that the dead are not truly lost to us if we choose to remember them.
This is the second live performance of one of his works that I have had the singular pleasure to attend. I already heard this music on CD but it really is something else to experience it in the flesh. The intermission was after this and at the end, I could see that my fellow audience were also similarly moved.
The third section was two pieces by Michael Daugherty; the first "Dead Elvis" followed by "Red Cape Tango" which comes from his Metropolis Symphony. The second work I have heard in its
entirety on CD. Both pieces were played with humor as would be expected from such obviously referential works would imply. The "Dead Elvis" is traditionally played with the star bassonist (and when do you find yourself saying that) dressed up as an Elvis impersonator. David Hubbard was the principal Bassoonist and came on dressed as Elvis and while playing struck all the iconic poses one would expect. I don't think I have ever heard the bassoon played so masterly and I am particularly sensitive to the bassoon as on account of my sister playing such a musical instrument.
"Dead Elvis" used the Faustian legend but with Elvis, Graceland and Hollywood as the story with Elvis as the bassoon with references both to Dies Irae which now invokes satanic imagery to today's ears as well as the bongo beat that so infused Elvis.
The second of the two was the "Red Cape Tango" from the superhero inspired "Metropolis Symphony". I thought this choice was a mistake as it also uses the Dies Irae musical reference and so both kind of bled into each other a bit. If they felt they needed for the Superman link, after all the bassonist returned now dressed as the man himself - red cape and all - despite not being centre stage, then "Oh, Lois" would have worked just as well.
The final item on the bill was "Harlem" by Duke Ellington which like Copland, links both popular music with high culture, and like Daugherty cites classical references within his own work so as to play with the audiences imagination. Here we can feel the jazz heart of Harlem back in the day.
Duke Ellington was born in 1899 which makes him the oldest of the four composers. He got the
"Duke" sobriquet due to his dauper looks and obvious confidence. He must have cut an impressive figure back then as this was the time of American segregation and so his music, so rich in the flavour of Black music, similarly has a rich self confidence that demands respect. Although lacking the pathos of the Adams piece or the vividness of Copland, I feel that Ellington brought the strongest and most valid voice of "America" to that nights performance.
I don't think there could have been a single person in the audience that was disappointed; there truly was something for everyone. If there was a low point it was the poor attendance - something that I still find hard to imagine as I thought Edinburgh was a haven for culture vultures.
The audience was smaller than expected, many elderly and perhaps attending so as to keep their heating bills low at home. It was a little disappointing to note that some of the shirts worn by the men ranged from a good strong black to a well washed charcoal gray and quite wrinkled. Once again I was on an aisle seat as requested, this and my habit to get up and leave after the first bow of the conductor was adhered to. I also clutched at my program and water bottle so tightly that my hand hurt afterwards. It is these little rituals that, at the time, appear insignificant but when looked back on must sound quirky if not out right eccentric.
One curious thing I've noticed is that a lot of the girls working as ushers seem to wear their black trousers quite tight and the one who came on stage to present the flower bouquets walked on with, what appeared to be tightly clenched butt cheeks. What is it with today's generation and the need o show off their big bottoms - please put them away thank you.
The conductor was a Mr Garry Walker and who, as the short bio mentions "holds the positions of Principal Guest Conductor of the RSNO, Permanent Guest Conductor of the Royal Philharmonic Orchestra, Principal Conductor of Paragon ensemble and Music director of the Liverpool Mozart Orchestra." At the risk of sounding like a pleb I must still confess that I am unsure of what the "guest" actually means as regards rank. You may recall that the actor
DeForest Kelley, who played the good Doctor in Star Trek was billed as "guest star". There must be some implication to all this but I am way to lazy to google it to find out.
The theme for the night was "American Icons" with the works of Aaron Copland, John Adams, Michael Daugherty and Duke Ellington being played.
The performance started with the "Billy the Kid Suite" by Copland. Copland holds such an important place in American music that any ensemble must include him. When the world was recovering from the 9/11 tragedy I immediately thought of his often played "Fanfare for the Common Man" which is probably one of those records I would take to a desert island with me. The music plays into the vast panoramic landscape that the mythical Wild West of Cowboys and Gun slingers and evokes the richness of such stories regardless of the reality.Copland was the son of an immigrant and he actively composed with American themes and rhythms in mind. As a student he studied in Europe and was surprised that despite obvious national styles, his own country had, up to that point, failed to develop its own musical identity. He was also a keen advocate for the New Music that was emerging and tied the two forces together to create his distinctive style that still influences music today. Sadly he was investigated back in the 1950's as part of the Senate investigations into Communist infiltration and was both blacklisted and had his music pulled from official functions. Fortunately he did not suffer long as no evidence was found showing Communist party membership and became one of the most awarded composer of his time.
The second piece was "On the Transmigration of Souls" by John Adams. This was a commission piece for the victims of the World Trade Centre atrocity. Adams uses various sound sources to create an almost hypnotic collage that highlights both the collective and the personal aspects of that tragedy.
Listening to it one could not help but be reminded of the feelings that were evokes when the frightful images of the World Trade Centre buildings were hit and eventually collapsed. Yet I would not say that this music is overtly melancholic, it has a slightly comforting religious undertone that somehow reminds us that life goes on despite the most excrutiating circumstances and that the dead are not truly lost to us if we choose to remember them.
This is the second live performance of one of his works that I have had the singular pleasure to attend. I already heard this music on CD but it really is something else to experience it in the flesh. The intermission was after this and at the end, I could see that my fellow audience were also similarly moved.
The third section was two pieces by Michael Daugherty; the first "Dead Elvis" followed by "Red Cape Tango" which comes from his Metropolis Symphony. The second work I have heard in its
entirety on CD. Both pieces were played with humor as would be expected from such obviously referential works would imply. The "Dead Elvis" is traditionally played with the star bassonist (and when do you find yourself saying that) dressed up as an Elvis impersonator. David Hubbard was the principal Bassoonist and came on dressed as Elvis and while playing struck all the iconic poses one would expect. I don't think I have ever heard the bassoon played so masterly and I am particularly sensitive to the bassoon as on account of my sister playing such a musical instrument."Dead Elvis" used the Faustian legend but with Elvis, Graceland and Hollywood as the story with Elvis as the bassoon with references both to Dies Irae which now invokes satanic imagery to today's ears as well as the bongo beat that so infused Elvis.
The second of the two was the "Red Cape Tango" from the superhero inspired "Metropolis Symphony". I thought this choice was a mistake as it also uses the Dies Irae musical reference and so both kind of bled into each other a bit. If they felt they needed for the Superman link, after all the bassonist returned now dressed as the man himself - red cape and all - despite not being centre stage, then "Oh, Lois" would have worked just as well.
The final item on the bill was "Harlem" by Duke Ellington which like Copland, links both popular music with high culture, and like Daugherty cites classical references within his own work so as to play with the audiences imagination. Here we can feel the jazz heart of Harlem back in the day.
Duke Ellington was born in 1899 which makes him the oldest of the four composers. He got the
"Duke" sobriquet due to his dauper looks and obvious confidence. He must have cut an impressive figure back then as this was the time of American segregation and so his music, so rich in the flavour of Black music, similarly has a rich self confidence that demands respect. Although lacking the pathos of the Adams piece or the vividness of Copland, I feel that Ellington brought the strongest and most valid voice of "America" to that nights performance.I don't think there could have been a single person in the audience that was disappointed; there truly was something for everyone. If there was a low point it was the poor attendance - something that I still find hard to imagine as I thought Edinburgh was a haven for culture vultures.
posted by Laclos at 10:54 pm
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