1. A catch-up post of sorts. It seems that last week I was under the weather, psychologically or spiritually anyway, and I am although I am good this week there remains a bit of a backlog, a backlog which also reminded me that during periods of upheaval I often neglect things that are important to me. One of those things is that I stopped writing about music last fall and never caught up. I didn't stop going to concerts; there were simply other things going on in my life and I couldn't really marshal my thoughts into coherent patterns. Now all of a sudden I feel I have been remiss. I am trying to be consistent, and obviously occasionally failing at that, but I have simply decided to carry on, attempting to release the burdens of expectation I place on myself and accept that there are flows and eddies in life and in blogging. I shall simply hope not to bore you too often.
2. Nearly two weeks ago, on Sunday March 4th, I went to the last concert of the Knoxville Symphony's Chamber Classics series. It was a really sparkling and bubbly concert, and a perfect way to end a beautiful season. The concert was billed around Mozart's symphony #41, the "Jupiter" and that was, indeed, the final work, but the theme of the concert was Bach's third Brandenburg concerto, which opened the concert. The Bach was beautifully light and sparkling and the music seemed to dance through the hall. Aram Demirjian seems to have brought a greater emotional depth to performances, without overplaying, and there was a tightness and clarity to the music that reminded me how far this chamber orchestra has come since I moved to Knoxville, six years ago now. I sat, reveling in the music, perfectly content. The remainder of the concert focused on works that were inspired by or modeled after the third Brandenburg, including the aforementioned Mozart.
Of the middle pieces, Stravinsky's Concerto in E-flat major, called Dumbarton Oaks, was my favorite. This is Stravinsky in his more Neo-classical mode. Immediately following the Bach, as it was, the direct reference to the Brandenburg 3 was evident, and yet it still sounded like Stravinsky, crisp and modern. The music still danced, but that dance was a little dryer, the sparkle a little sharper. The third piece was entitled Muse, by Christopher Theofanidis, a piece specifically written as a modern reimagining, a "new" Brandenburg. It was melodic and contemporary and I suppose well played. I did not dislike it, but I have no specific memory of the work other than that it was pleasant and I caught the references to the Bach, some of which I thought were clever. I suppose I actually need to hear it again. This is not a criticism per se, merely an acknowledgement that I often need to hear something multiple times before I can coherently wrap my head around it.
Of course the Mozart was brilliant. The musicians managed to highlight the baroque polyphony in the finale without deemphasizing the very Mozartiness of the work. Again, the musicians played with intention and lightness and the music danced in a way that Mozart concerts rarely seem to achieve. We've grown so familiar with Mozart that I sometimes feel performances and audiences take it for granted. This was Mozart as we all know and love, but it was Mozart afresh, light and sparkling, music that is the star of the party, the guest who lights up the room with wit and charm, who carries people away in a bubble of their own making.
3. Friday, a week ago today, I went to a very different kind of performance. A modern opera, Follow Suit, performed by the local Marble City Opera Company. The libretto, which I was fortunate enough to be able to read before the performance, is by Emily Anderson and I found it light, charming and witty. The setting was in a hotel bar; as was the performance, and my group was lucky enough to arrive early and claim beautifully positioned seats for the performance, a position that hit the right balance between singers and musicians. The subject matter, wedding-centric, addressed relationships, failed and hopeful, fear, longing, and the burden of expectation, was deftty and skillfully explored. The music itself was a bit modern, a bit edgy in places, and it seemed to this listener to suit the setting and the subject well. I was completely charmed and I would love to see and hear this work again and again.
4. Despite my spring-induced urge to be out walking more, I have been slowed down right by hip and groin pain, partially involving the adductors and also some other muscles. This is a life-long issue, partially relating to some anatomical issues due to my scoliosis, but also severely aggravated by a twisting fall down a flight of stairs nearly 20 years ago, which luckily for me caused no fractures, but unluckily did result in some muscle tears and strains and probably helped precipitate some arthritic changes as well. At that time it took me six months to learn to walk again, at least walk well or for any distance. In comparison, this current pain is but a minor residual. There is little point in complaining, just adapting and accepting that my body will do the best it can if I give it both rest and opportunity. Besides adaptation surrounds me. It is spring. Forward movement and growth abound despite minor setbacks like spring frosts. Life moves forward, reminding me that flexibility, not certainty, is key. Perhaps fewer, shorter walks. Perhaps an occasional foray to the mall, despite the mind-numbing nature of mall-walking, on those days that even a slight incline becomes tortuous. I will be out among the flowers often enough.
5. And closing with yet more music, last Sunday afternoon I attended a beautiful performance of Durufle's Requiem. For me this was something new as I had only heard the work in its variations with organ (solo) or organ and chamber orchestra, but not with chamber orchestra alone. I was entranced, and promptly went out and bought a recording, which has entertained me during times of enforced rest, knitting or needlepoint in hand. I do think the orchestral version has become my favorite, although given that there are far more recordings with organ or organ and orchestra, this may be a minority view.
