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July 31, 2007

Edward Geelhoed, 1921-2007

Edward Geelhoed, my dad's dad, died last Friday, and services were held early this week. He was a trumpeter and musician in his younger days, and played reveille for his Army battalion in World War II, in the South Pacific. After the war, he returned to Grand Rapids, Michigan, joined SYSCO/Frostpack as a salesman, and began climbing their corporate ladder. My dad was his only child, and his wife Martha is alive and well.

Grandpa was one of those guys who was extraordinarily confident, yet was never intimidating or condescending. He had subtle ways of encouraging you to do more than you were capable of. He and Grandma used to have a summer cottage in Mackinaw, Michigan, a small town at the northern tip of Michigan's mitten. There was a bright red paddle-boat there that my dad or mom and I would take out into the Straits of Mackinaw. My legs were too short to reach the pedals, so Grandpa taped woodblocks to them so I could reach them, and take part in the fun. The woodblocks were a little smaller each summer, until I no longer needed them.

Grandpa had an insatiable appetite for financial news. He began reading the Wall Street Journal when he entered business, and the wealth of knowledge he assembled concerning the markets and corporations enabled him to become an extraordinarily savvy investor. Many afternoons, he would have CNBC on the TV, and would be watching the stock ticker at the bottom of the screen. I would be sitting somewhere else, reading a book or magazine. He would pick up his pad and pencil, scribble a few numbers, then call his broker to make some sort of transaction. As an aesthete who struggles with basic arithmetic, this still makes my head spin.

He was a trumpeter, and a darn good one, I'm told. I never heard him play, since he had put the instrument away by the time I was born. He loved playing, but his false teeth were unable to support his embouchure. In his day, he played Flight of the Bumblebee and all of those virtuoso cornet solos by Herbert L. Clarke, and a family friend spoke yesterday of how good it was to hear him playing in church. He had perfect pitch, and I remember seeing him miming the trumpet fingerings for the hymn we were singing in church one Sunday morning. He was transposing the hymn in his head as we went along, playing the B-flat fingerings for the C sheet music in front of him. He hadn't played in decades, yet that skill hadn't deteriorated.

My first instrument was the Conn cornet he purchased in the mid-1930s. I switched to a trumpet eventually, but I'll always be fond of that instrument, with its gold-wash bell and exquisite etching. It really was a remarkable and flexible cornet, with a mellow tone that could blend with an ensemble easily, as well as slice through it when you needed it to. I pulled it out a few times, the most recent in 2000 for a performance of Berlioz's Symphonie fantastique.

Finally, Grandpa simply took life in stride. If an argument ever broke out over dinner, he would shake his head before levelly explaining how the world actually worked, and why the other person was wrong. He never pounded the table or yelled, because he didn't need to, and set a remarkable example by not doing so.

He was beset by diabetes and several other ailments these last months. His mind remained clear, though, for which I'm grateful. A week before he died, I went to see him. Not trying to dwell on the negative, I brought up a quotidian news event.

"Ford is trying to sell Volvo, I read last week," I said.

"They've been trying to do that for two years," he responded, weakly.

He then launched into a description of Ford's various maneuvers covering the last two years. It was difficult for him, but he had a point to make, and was going to make it.

He lived to be 86. I'm grateful that he lived so long, and that we were able to know each other over so many years. It still wasn't enough.

July 27, 2007

Introducing Lucy

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Who is mesmerized by the strains of Poulenc's Les Animaux Modeles, and thinks the New York Review of Books is good for sleeping on.

July 26, 2007

Conductors Carneiro and Lintu

"Carrying the baton." Time Out Chicago, July 26, 2007. The Grant Park Orchestra turns to two 30-something conductors this week, Joana Carneiro and Hannu Lintu (requires ability to read Finnish).

Playlist

Viktoria Mullova and Katia Labeque Stravinsky, Schubert, Ravel, Clara Schumann (Onyx)*

Dream House by Mary Ellen Childs, performed by Ethel (Innova)

New Impossibilities Silk Road Ensemble, Chicago Symphony Orchestra, conducted by Miguel Harth-Bedoya. A live recording of this concert, minus Osvaldo Golijov's Rose of the Winds, the work I used the most space to write about. (Sony, available July 31)

125th Anniversary Album Stravinsky. Jennifer Frautschi, violin (what a sound!!), Philharmonia Orchestra, others, conducted by Robert Craft (Naxos)

Symphony No. 2 Mahler. Berlin Staatskapelle, soprano Diana Damrau, mezzo Petra Lang, conducted by Pierre Boulez (EuroArts DVD) (Like watching the written score go by)*

*Purchased as part of an ongoing effort to prop up the classical CD industry

July 25, 2007

I bet he can still blow out the candles on his cake

Happy birthday to Adolph "Bud" Herseth, the legendary former principal trumpet of the Chicago Symphony Orchestra, who turned 86 today. Herseth held down the chair for 53 years, and, with astonishing players such as tubist Arnold Jacobs, trombonist Jay Friedman, hornist Dale Clevenger and a host of others, made the CSO brass section the one brass section that everyone talked about. He and his wife Alice still attend concerts to make sure the section's reputation remains intact.

WFMT broadcasted six recordings of Herseth playing the opening Promenade from Pictures at an Exhibition this morning, led variously by Rafael Kubelik, Fritz Reiner, Seiji Ozawa, Carlo Maria Giulini, Sir Georg Solti, and Neeme Jarvi. A variant of that segment has played out in the dorm rooms of scores of trumpet students, who meticulously note the differences in Herseth's recordings of Mahler's Fifth Symphony, Bartok's Concerto for Orchestra, and on, and on. At least, they did when I was in school; I assume they still do.

MG's Top Five Herseth Recordings

Pictures at an Exhibition Mussorgsky/Ravel. Fritz Reiner, conductor. (RCA) ArkivLink

The Antiphonal Music of Gabrieli Brass sections of the Chicago Symphony, Cleveland Orchestra, and Philadelphia Orchestra (RCA) ArkivLink

Sinfonietta Janacek. Seiji Ozawa, conductor. With Bartok's Concerto for Orchestra. (EMI) ArkivLink

Symphonies 4 & 7 Bruckner. Daniel Barenboim, conductor. (DG) ArkivLink

Symphony No. 5 Mahler. Sir Georg Solti, conductor. (Decca) ArkivLink

Before you go home

(Posted originally to the Time Out Chicago blog.)
 

 

125.x190.class.tcpq.open.jpgThe Third Coast Percussion Quartet played to about 300 people (by my estimate) last night at St. James Cathedral as part of the Rush Hour Concerts series.  Having played in the lovingly distressed environs of the Hideout and the Empty Bottle, as well as concert halls, the quartet can now claim to have covered the gamut of available sacred and secular performing spaces. I wrote about the ensemble last week, and it’s always nice to have your high expectations met.

They started out with quartet member David Skidmore’s Ritual Music, which calls to mind earthy, primitive rites with its thumping tom-toms and driving, unrelenting rhythmic pounding. Steve Reich’s two-marimba fantasy Nagoya Marimbas and Tobias Brostrom’s Twilight, both played with soft mallets, brought the energy level down a bit, then they closed with the vivid and (what the heck?) joyous Third Construction by John Cage. That last one, with the use of coffee cans and other bits of clanging metal, calls to mind a gamelan orchestra. (You can hear Ritual Music and Twilight on the group’s MySpace page. I wish they’d played Ta and Clap, by wunderkind composer Nico Muhly, but you can’t always get what you want.)

Rush Hour Concerts, which I first wrote about here, is the only concert series I know of that puts the listener first. Organizer and pianist Deborah Sobol arranged to have free receptions before the free weekly concerts (with wine!), and there’s a coupon for discounts to Argo Tea and Bijan’s Bistro stapled to your program. Sobol wants to make it easy for people to integrate a concert into their life, and brings the music to them. The start time for concerts is 5:45 and each consists of 45 minutes of music, with the musicians giving brief comments from the stage. (Those musicians include Chicago Symphony players and other top musicians and singers in the area.) Judging by the turnout last night—professionals covering all the age brackets, parents with children, and the handful of diehards who seem to attend every single classical concert—she’s succeeding.

Sobol recently launched a series of podcasts in addition to the Rush Hour Concerts blog, and it’s one of the few places where you can hear Chicago Symphony members talking about what it is that they do. (The other is the CSO’s archive of its BP Chicago Symphony Radio Broadcast, which is broadcast Sunday afternoons on WFMT-FM, 98.7.)

There’s still time to check out the summertime series, which runs through August 28, and I’d recommend next week’s collaboration with the Poetry Foundation, with poets reading original poems inspired by J.S. Bach’s music, and the August 14 performance featuring flutist Claire Chase and cellist Katinka Kleijn. If you’re so inclined, you can count it as your weekly round of church attendance, too.

   

July 20, 2007

Discovery of the week

David Sedaris wrote somewhere of how he refused to be friends with anyone who claimed to "discover" any restaurant that was listed in the telephone book, so I can't honestly claim to have "discovered" composer Kirsten Volness since she recently won the BMI Foundation's Annual Women's Music Commission. Nonetheless, I direct your attention to the young University of Michigan student's piano quartet Hverfa..., which she calls her attempt to meld the piano quartet with Icelandic pop music. I admire the way she layers the entrances of the strings in the opening, blurring the 3/4 meter in the process, and how the blurring only intensifies as that passage progresses. The whole songful thing has a certain frosty timelessess, and the appealing openness of youth. 

July 19, 2007

Drums

"Mallet it be." Time Out Chicago, July 19, 2007. The Third Coast Percussion Quartet, an ensemble that effectively doubles as a commissioning machine, plays a Chicago show before heading on two separate tours to Florida and California.

July 17, 2007

Epistemology

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"People can know all kinds of things and still not see the truth."—Don Kurtz, South of the Big Four.

July 16, 2007

Waltzing away from Eugene Onegin

Barbara Frittoli has canceled all of her appearances in Lyric Opera's Eugene Onegin, set to open in March. (Dmitri Hvorostovsky cut his performances in half, and will sing the first two weeks.) She will be replaced by Dina Kuznetsova, who performed admirably as Gilda in Rigoletto and Juliette in Gounod's Romeo et Juliette, and who, pardon my Czech, sang the heck out of The Cunning Little Vixen, all at the Lyric.

"[A]fter studying for more than a year, the language, alphabet, and pronunciation continue to elude my grasp," Frittoli said in a statement. "To hope for a ‘miracle’ can only put the production at risk. Therefore, the only ‘miracle’ for which I truly hope is that Lyric Opera will generously re-invite me in the near future. I deeply appreciate Lyric Opera of Chicago and the public for its understanding.”

The Russian language will presumably pose no hindrance to the Russian-American Kuznetsova.

July 12, 2007

Playlist

Lots of Baroque and a pair of women cellists for the summer weekend. As Slim Pickens observed in Dr. Strangelove, "Shoot, a fella could have a pretty good weekend in Vegas with all that stuff."

Nash Ensemble Brahms: String Sextets (Onyx)

Sabine Meyer and Julian Bliss Clarinet concertos by Louis Spohr and Franz Krommer. Academy of Saint Martin in the Fields, Kenneth Sillito, director (EMI) (He's not labeled conductor; please don't shoot the messenger)

Viktoria Mullova and Ottavio Dantone J.S. Bach Sonatas for violin and harpsichord (Onyx)

Bernard Rands Preludes for Piano. Robert Levin, piano (unreleased)

Man of Sorrows George Tsontakis, Schoenberg, Berg, Webern. Stephen Hough, piano; Dallas Symphony Orchestra, Andrew Litton, conductor (Hyperion)

Paul O'Dette J.S. Bach Lute Works, Vol. 1 (harmonia mundi, available in August)

Brentano String Quartet Mozart Quartet in A, K. 464; Quintet in D, K. 593 with violist Hsin-Yun Huang (Aeon)

Emmanuelle Bertrand Saint-Saens cello works, with Pascal Amoyel, piano (harmonia mundi)

Cantus Cologne J.S. Bach Mass in F, etc. (harmonia mundi, available in August)

Ian Bostridge Handel arias. Academy of Saint Martin in the Fields; Kate Royal, soprano; Harry Bicket, conductor (EMI)

Mahler Symphony No. 2. Tonhalle Orchestra Zurich; Juliane Banse, soprano; Anna Larsson, mezzo; David Zinman, conductor (RCA)

Natalia Gutman Schumann Cello Concerto, Brahms Serenade for Orchestra No. 1. Mahler Chamber Orchestra; Claudio Abbado, conductor (DG)

Jorge Federico Osorio Debussy: Complete Preludes for Piano, Liszt Petrarch Sonnets, etc. (Cedille)

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