En route to picking up my wife at the airport in Lexington (flight to Cincinnati was canceled), I am enjoying a little dinner downtown at the 21C Hotel restaurant, called "Lockbox." Awaiting my grilled asparagus and a green garlic spaghetti, washing it down with a nice Tempranillo from Ribera del Duero. Don't worry, this isn't turning into a food blog, nor a travel blog, but on the subject of TRAVELING, I have the honor this summer of conducting the world premiere of "Fellow Travelers," a brilliant new opera by Greg Spears, libretto by Greg Pierce. The piece is based on a historical novel of the same title by the author, Thomas Mallon. It revolves around an illicit romance during the McCarthy era (mid-1950's), during which time the US government hunted down not only Communists, but homosexuals, as they were considered corruptible and morally depraved. This dark period in our history is know as the "Lavender Scare," and many good people lost their lives, reputations and/or livelihoods.
Aside from its powerful and timely socio-political message, it happens to be a stunning work of theater and a frankly beautiful piece of music, flattering for the voice and yes, "hummable." And I must add, tears literally flow at every staging rehearsal, the piece is so moving. Performances June 17-July 10, at the Jarson-Kaplan Theater in the Aronoff Center for the Arts, downtown Cincinnati. The production also marks my debut with the Cincinnati Symphony Orchestra, albeit a small subsection thereof, as the work is scored for 17 players. First orchestra reading tomorrow morning.
Also on my study desk presently are major works of Lutoslawski and Szymanowski, in preparation for this fall's Polish Music Festival at CCM. Why have I not done the Lutoslawski Concerto for Orchestra yet?? Tremendous piece of music; great way to start the season (Sept. 9). I think that for many years I found it intimidating, but as I often say, it is just the same 12 notes, in different orders and patterns. So now I study, breaking down all those chords, those fugal entrances, those scurrying scalar figures. And it comes to me, slowly but securely.
The Szymanowski Symphony No. 3, "Song of the Night," is a setting of an Arabic poem, of all things, translated into Polish, written for a big orchestra, chorus and tenor soloist. The style is essentially Polish Impressionism, and risky to program, because as thrilling as it is, it doesn't end with a bang. Yet sublimely beautiful and very powerful.
Why do these pieces? Isn't Beethoven 9 a more thrilling choral/orchestral work? And why not do the Bartok Concerto for Orchestra? Well, we are doing the Bartok, in November, for the first time in a while, and the Beethoven…well, as I have suggested to the members of the Philharmonia, there are other works. Elgar's "The Music Makers" was in a similar vein; it is just too great not to do. And as far as Beethoven goes, not to worry; we do the Eroica in January, paired with Don Quixote of Richard Strauss in a program we call "Hero/Antihero."
The spaghetti (actually "alla chitarra") was delish. Asparagus with Boursin and olive oil was too much alongside the pasta; the rest of it is in a box by my side. On my other side is a butterscotch pudding, which one must just have when it tops a dessert menu, topped with whipped cream and sorghum chips.
THE BOOK. The book is in the capable hands of Oxford Univ. Press, though with a small - but not minor - addition, a brief citation honoring the recent passing of my beloved teacher, Gustav Meier (1929-2016). Gustav was in my life for some 38 years, first as teacher, then mentor, then 2nd father, then colleague and friend; it is because of him that I am in this profession. That said, friends, the torch has been passed on to us, and there is much work to do. Back to work; he would have wanted nothing less.
So, ENJOY YOUR SUMMER, but keep a score close at hand, please. At least the conductors among you. And for other reading, I just finished "The Road to Little Dribbling,"Bill Bryson's latest offering. Laughed out loud; you will too. And I confess that K and I recently indulged on Hulu in the entire series of "Angie Tribeca," a new faux crime show from the demented mind of Steve Carell. It is in essence the twisted offspring resulting from the mating of "Brooklyn 99" and "Airplane." "Black-ish" is making me laugh as well.
Be well, all. - MG
Aside from its powerful and timely socio-political message, it happens to be a stunning work of theater and a frankly beautiful piece of music, flattering for the voice and yes, "hummable." And I must add, tears literally flow at every staging rehearsal, the piece is so moving. Performances June 17-July 10, at the Jarson-Kaplan Theater in the Aronoff Center for the Arts, downtown Cincinnati. The production also marks my debut with the Cincinnati Symphony Orchestra, albeit a small subsection thereof, as the work is scored for 17 players. First orchestra reading tomorrow morning.
Also on my study desk presently are major works of Lutoslawski and Szymanowski, in preparation for this fall's Polish Music Festival at CCM. Why have I not done the Lutoslawski Concerto for Orchestra yet?? Tremendous piece of music; great way to start the season (Sept. 9). I think that for many years I found it intimidating, but as I often say, it is just the same 12 notes, in different orders and patterns. So now I study, breaking down all those chords, those fugal entrances, those scurrying scalar figures. And it comes to me, slowly but securely.
The Szymanowski Symphony No. 3, "Song of the Night," is a setting of an Arabic poem, of all things, translated into Polish, written for a big orchestra, chorus and tenor soloist. The style is essentially Polish Impressionism, and risky to program, because as thrilling as it is, it doesn't end with a bang. Yet sublimely beautiful and very powerful.
Why do these pieces? Isn't Beethoven 9 a more thrilling choral/orchestral work? And why not do the Bartok Concerto for Orchestra? Well, we are doing the Bartok, in November, for the first time in a while, and the Beethoven…well, as I have suggested to the members of the Philharmonia, there are other works. Elgar's "The Music Makers" was in a similar vein; it is just too great not to do. And as far as Beethoven goes, not to worry; we do the Eroica in January, paired with Don Quixote of Richard Strauss in a program we call "Hero/Antihero."
The spaghetti (actually "alla chitarra") was delish. Asparagus with Boursin and olive oil was too much alongside the pasta; the rest of it is in a box by my side. On my other side is a butterscotch pudding, which one must just have when it tops a dessert menu, topped with whipped cream and sorghum chips.
THE BOOK. The book is in the capable hands of Oxford Univ. Press, though with a small - but not minor - addition, a brief citation honoring the recent passing of my beloved teacher, Gustav Meier (1929-2016). Gustav was in my life for some 38 years, first as teacher, then mentor, then 2nd father, then colleague and friend; it is because of him that I am in this profession. That said, friends, the torch has been passed on to us, and there is much work to do. Back to work; he would have wanted nothing less.
So, ENJOY YOUR SUMMER, but keep a score close at hand, please. At least the conductors among you. And for other reading, I just finished "The Road to Little Dribbling,"Bill Bryson's latest offering. Laughed out loud; you will too. And I confess that K and I recently indulged on Hulu in the entire series of "Angie Tribeca," a new faux crime show from the demented mind of Steve Carell. It is in essence the twisted offspring resulting from the mating of "Brooklyn 99" and "Airplane." "Black-ish" is making me laugh as well.
Be well, all. - MG
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