PITTSBURGH – The Pittsburgh Symphony Orchestra (PSO) performs its fifth annual Community Engagement Concert at East Liberty Presbyterian Church at 7 p.m., Saturday, June 2.

Resident Conductor Lawrence Loh leads the orchestra in the concert that will feature PSO musicians Jennifer Orchard, violin, and Marylène Gingras-Roy, viola, as soloists. The program features works by Mozart, Gustav Holst, Franz Schubert and Frederick Delius.

Tickets are $10 for adults, $5 for college students, and seniors 65 and older; free for anyone 18 and under who is accompanied by a parent or guardian. Tickets are available by credit card at browntickets.com, and by cash only in person and at the night of the performance at East Liberty Presbyterian Church, 116 S. Highland Ave. All ticket proceeds from the concert will benefit the partnering schools’ music education programs.

A pre-concert student performance will take place from 6 – 6:45 p.m., featuring students from Pittsburgh Creative and Performing Arts (CAPA) 6-8,  Pittsburgh Dilworth Traditional Academy (the Dilworth Band), and Hope Academy of Music and the Arts (EL CEO – East Liberty Community Engagement Orchestra). A post-concert student performance, featuring Pittsburgh Obama Academy’s Steel Band, will take place at 8:30 p.m.

The concert is one element of the PSO’s larger Community Engagement relationship with the East Liberty area. The PSO’s interaction with East Liberty includes the presence of PSO musicians at neighborhood schools and regular meetings with a Community Engagement Committee, which includes parents of area Pittsburgh Public School students, faith-based representatives, community representatives and music teachers in the East Liberty area.

Through Community Engagement Programs, the Pittsburgh Symphony Orchestra builds connections between the PSO and Pittsburgh communities via ongoing and multi-leveled relationships. These successful programs help to educate the PSO about its audiences and their home communities.  PSO Community Engagement Programs are specifically designed to build relevance between community residents and the Pittsburgh Symphony Orchestra.

The PSO would like to recognize and thank the EQT Corporation, Dollar Bank, PPG Industries Foundation and Goldman Sachs Gives for their support of this Community Engagement Concert.

Resident Conductor of the Pittsburgh Symphony Orchestra and Music Director of the Northeastern Pennsylvania Philharmonic, Lawrence Loh came to national attention in February 2004, when he substituted last-minute for an ailing Charles Dutoit with the Dallas Symphony Orchestra. Conducting Stravinsky’s Petrouchka and Berlioz’s Symphonie Fantastique, Loh received enthusiastic acclaim from orchestra players, audience members and critics. He is Co-Principal Conductor of the Pittsburgh Youth Symphony Orchestra. He has conducted the symphony orchestras of Portland, Cedar Rapids, Colorado Springs, East Texas, Fort Collins, Fort Worth, Lubbock, Plano, Shreveport, Sioux City, Spokane and Tallahassee.

Canadian violinist Jennifer Orchard has traveled the world performing as a chamber musician, soloist, and currently as first violinist of the Pittsburgh Symphony Orchestra since 2001. While in high school, Orchard won a position to study at the Curtis Institute of Music with Szymon Goldberg. She continued her studies, obtaining a master’s degree from the Juilliard School with Robert Mann and participated at the Marlboro Music Festival. After graduating from Julliard, she was invited to be a member of the world renowned Lark Quartet, and recorded works of Robert Schumann, Alfred Schnittke, Peter Schickele, Arnold Schoenberg, Alexander Zemlinsky, Amy Beach, Alexander Borodin and the Pulitzer Prize winning quartet by Aaron Jay Kernis – one of several new works for string quartet commissioned by the Lark Quartet. In 2002, she began performing in the Pittsburgh Piano Trio, which has performed at Carnegie Hall, St Petersburg Conservatory, and the Moscow Conservatory Grand Hall, where the Trio presented Russian premiere of the Triple Concerto of Paul Juon with the Tchaikovsky State Symphony Orchestra under the direction of Vladimir Fedoseev.

A native of Québec City, Canada, Marylène Gingras-Roy joined the Pittsburgh Symphony Orchestra viola section in the 1997 season and, in 2004, was promoted to fourth chair. She studied at the Conservatoire de Musique de Québec with Douglas McNabney and François Paradis and graduated in 1993 with unanimous First Prizes in both in viola and chamber music. She was then the recipient of Canada and Québec Arts Councils’ Scholarship Grants, enabling her to attend the Harid Conservatory with Victoria Chiang and the Curtis Institute of Music with Karen Tuttle and Joseph DePasquale, where she earned an Artist Diploma in 1997. She has participated in many festivals, including the Festival Dei Due Mondi in Spoleto, Italy, Solti Project at Carnegie Hall, Jerusalem Music Festival, and Jeunesses Musicales World Orchestra, where she served as Principal violist. Since 2000, she has been a member of the Sun Valley Summer Symphony in Idaho. She is heard regularly in chamber music concerts and maintains a full teaching schedule at Duquesne University, privately and is the viola coach for the Three Rivers Young People Orchestra.

PITTSBURGH – The Pittsburgh Symphony Orchestra (PSO) returns to the Hill District for a fifth annual Community Engagement Concert at 7 p.m., Thursday, May 31, at the Kaufmann Center, 1825 Centre Ave.

Resident Conductor Lawrence Loh leads the orchestra in the concert that will feature PSO musicians Jennifer Orchard, violin, and Marylène Gingras-Roy, viola, as soloists. The program features works by Mozart, Gustav Holst, Franz Schubert and Frederick Delius.

Tickets ($4 for students [K-college], $6 for seniors and $8 for adults) can be purchased by calling 412.392.6479. Tickets can also be purchased at the door on the night of the concert.  Ticket price includes a post-concert all-audience reception, and all ticket proceeds benefit the children in the arts programs of the Hill House Association.

The Hill House Association acts as host for the concert, and all ticket proceeds benefit the arts programs of the Hill House Association.

Through Community Engagement Programs, the Pittsburgh Symphony Orchestra builds connections between the PSO and Pittsburgh communities via ongoing and multi-leveled relationships. These successful programs help to educate the PSO about its audiences and their home communities.  PSO Community Engagement Programs are specifically designed to build relevance between community residents and the Pittsburgh Symphony Orchestra.

The PSO would like to recognize and thank the EQT Corporation, Dollar Bank, PPG Industries Foundation and Goldman Sachs Gives for their support of this Community Engagement Concert.

Resident Conductor of the Pittsburgh Symphony Orchestra and Music Director of the Northeastern Pennsylvania Philharmonic, Lawrence Loh came to national attention in February 2004, when he substituted last-minute for an ailing Charles Dutoit with the Dallas Symphony Orchestra. Conducting Stravinsky’s Petrouchka and Berlioz’s Symphonie Fantastique, Loh received enthusiastic acclaim from orchestra players, audience members and critics. He is Co-Principal Conductor of the Pittsburgh Youth Symphony Orchestra. His guest conducting appearances include the Malaysian Philharmonic, Detroit Symphony and San Angelo Symphony. He has conducted the symphony orchestras of Portland, Cedar Rapids, Colorado Springs, East Texas, Fort Collins, Fort Worth, Lubbock, Plano, Shreveport, Sioux City, Spokane and Tallahassee.

Canadian violinist Jennifer Orchard has traveled the world performing as a chamber musician, soloist, and currently as first violinist of the Pittsburgh Symphony Orchestra since 2001. While in high school, Orchard won a position to study at the Curtis Institute of Music with Szymon Goldberg. She continued her studies, obtaining a master’s degree from the Juilliard School with Robert Mann and participated at the Marlboro Music Festival. After graduating from Julliard, she was invited to be a member of the world renowned Lark Quartet, and recorded works of Robert Schumann, Alfred Schnittke, Peter Schickele, Arnold Schoenberg, Alexander Zemlinsky, Amy Beach, Alexander Borodin and the Pulitzer Prize winning quartet by Aaron Jay Kernis – one of several new works for string quartet commissioned by the Lark Quartet. In 2002, she began performing in the Pittsburgh Piano Trio, which has performed at Carnegie Hall, St Petersburg Conservatory, and the Moscow Conservatory Grand Hall, where the Trio presented Russian premiere of the Triple Concerto of Paul Juon with the Tchaikovsky State Symphony Orchestra under the direction of Vladimir Fedoseev.

A native of Québec City, Canada, Marylène Gingras-Roy joined the Pittsburgh Symphony Orchestra viola section in the 1997 season and, in 2004, was promoted to fourth chair. She studied at the Conservatoire de Musique de Québec with Douglas McNabney and François Paradis and graduated in 1993 with unanimous First Prizes in both in viola and chamber music. She was then the recipient of Canada and Québec Arts Councils’ Scholarship Grants, enabling her to attend the Harid Conservatory with Victoria Chiang and the Curtis Institute of Music with Karen Tuttle and Joseph DePasquale, where she earned an Artist Diploma in 1997. She has participated in many festivals, including the Festival Dei Due Mondi in Spoleto, Italy, Solti Project at Carnegie Hall, Jerusalem Music Festival, and Jeunesses Musicales World Orchestra, where she served as Principal violist. Since 2000, she has been a member of the Sun Valley Summer Symphony in Idaho. She is heard regularly in chamber music concerts and maintains a full teaching schedule at Duquesne University, privately and is the viola coach for the Three Rivers Young People Orchestra.

During the performance this evening I noticed a photographer in suit and tie holding an impressive professional-looking camera taking photos of the orchestra. To do this one would need special permission. Often I have wondered what it would be like to be able to photograph Music Director Manfred Honeck as he adroitly conducts the Pittsburgh Symphony Orchestra. It would be a treat to first see the majestic movements and then to capture in photographs the ethereal elliptical pirouettes inscribed in mid-air by his baton as he renders moments of pure musical joy exhibited by his one and only exuberance for the music reflected by his smile, or at other times in his serious attention to detail, manifestly pinpointing with succinct motions to the orchestra indicating specific direction.

Pétroushka, by Igor Stravinsky, received this vigorous yet nuanced attention from our venerable music director. Notes gushed forth like an irruption of migrating birds upon the warming spring grounds in search of a singular niche to call their own. Despite the unrelenting swift tempo, I was enthusiastically taken by the performance. Knowing that Pétroushka was a puppet: “the immortal and unhappy hero of every fair” was to aid my hearing of the programmatic music. My expectations were in this case enhanced by reading the program prior to listening to the music. Musically, what I appreciated most was the optimal balance of the strings to the rest of the orchestra — the brass didn’t overwhelm. Here are a few of the notes I took at the time:

• quick start; drum and trombone accent;
• sawing – a Stravinsky trademark; melody familiar;
• fragmented & programmatic; English horn – sounding sour notes; one brief interlude;
• take flight (last movement, The Fair, towards evening); strings jovial; effervescent ending, yet more

There you have it — now what did I mean by that

Next up was the Cello Concerto by Arthur Honegger with expert solo by Anne Martindale Williams in blue dress and beaming smile. It was impressive to watch her play, and amazing the way she would use vibrato to accentuate the notes in the first part of the movement. Often the notes would go all the way down the scale to the very lowest frequency tone that can be achieved by a cello: the last string with no fingers, and this would end a phrase. This piece seemed to have a sort of rhythm and blues sound. The middle and end section seemed to suggest first a march, then a final chase, a fitting conclusion. The audience of the packed Heinz Hall offered Ms. Williams a grand standing ovation, richly deserved.

And last (but not least, there was to be one more selection), George Gershwin: “An American in Paris” with a very large compliment of musicians arrayed upon the stage.  Luscious is the first word that comes to mind in trying to describe this sweeping and melodic score. Conductor and orchestra were in complete synchronicity, as they swept me away with the sounds I’ve heard countless times before, but never like this, for the reasons I’ve often tried to describe. Sounds never heard were now heard; counterpoint revealed; harmony unhinged; it becomes evident that the symphony is an experience that simply cannot truly ever be experienced with 2, 4, 5 or even a dozen speakers, at home or at a movie theater. It simply must be experienced with 100 musicians and a singular conductor at the concert hall.

Tonight was offered an extra intermission and one final selection, this time with the Pittsburgh Youth Symphony Orchestra in place of the PSO, conducted by Lawrence Loh performing a piece by Darius Milhaud “La Creation duMonde” with ballet by Attack Theatre. Very well done, both musically, and the dance!

My love affair with Impressionism continued. Manfred Honeck was back at the helm this weekend, conducting Debussy’s “L’Apres-midi d’un faune” (I’ve just checked, and yeah, I’m still infatuated with Debussy’s awesome self.) The piece made me feel very Midsummer Night’s Dream-esque; I imagined hanging out with Shakespearian characters and indulging in delicious mischief inside of a Monet painting. After Debussy, we were treated to a performance by the Mendelssohn Choir, who performed Lili Boulanger’s Psalm 130, “Du fond de l’abime,” which translates to “Out of the depths have I cried unto thee, O Lord.” The emotion was tangible. I wanted to snatch fistfuls of music from the air and stuff them into my handbag for later. The choir’s haunting vocals penetrated my bones and injected an electric bolt of pure evocative exhilaration into my spine. (I love it when that happens.)

The capstone of the evening was, in my opinion, Maurice Ravel’s Bolero. Let me preface by saying that the orchestra played the piece magnificently. I also loved the “Impressionist Lighting” (can we officially call it that?). The music pulsed in tandem with the lights; the entire hall was infused with the rapid echo of Ravel’s masterful and epic composition. The music itself was wonderful and, as Wendy will certainly attest, I was humming it for the rest of the evening. It was like a piece of gum that was inconveniently stuck to my shoe—no matter what I tried to do to rid the melody from my mind, it remained adhered to me mercilessly. I stayed for the post-concert Gershwin performance, which was fantastic…but even the power of Gershwin could not un-stick Bolero from me.

One final note about Part Deux of my Parisian Festival adventure: while I am quite disappointed that I did not meet and mingle with Honeck as Doug did, I was fortunate enough to have a celebrity encounter of my own. As Wendy and I were enjoying our post-concert martinis (as is tradition), we happened to meet Woody Harrelson, currently of Hunger Games fame, at Olive or Twist. Mr. Harrelson was extremely gracious and patient as Wendy and I gushed about our unfaltering adoration for him and his stormy Hunger Games character, Haymitch Abernathy. He expressed curiosity and interest in the Paris Festival when he spied my program…and of course, I plugged my humble little blog and attested to the fantastic talent of the orchestra.

As I sweep up all of the names that I’ve just pretentiously and obnoxiously dropped, I must express my excitement about the program for the conclusion of the Paris Festival this weekend. Honeck will be conducting Gershwin’s An American in Paris. (A basic rule for life states that if an opportunity to experience Gershwin ever presents itself, TAKE IT.) Additionally, the PSO will be performing Igor Stravinsky’s Petrouchka and Arthur Honegger’s Concerto for Cello and Orchestra, with Anne Martindale Williams shining as the soloist. I wholeheartedly recommend going for the Impressionism, the romance, the music and the intrigue.

The best adventures are always to be had on symphony nights.

In deconstructing Claude Debussy’s “Prelude to the Afternoon of a Faun,” I’m going directly against my covenant with Jennifer. She indicated that it would be interesting to describe the emotions felt while listening to and experiencing this beautiful piece of abstract music. Yet I can’t help myself. Certainly she’s right that the emotions are what grab most patrons who enjoy hearing the compositions by Debussy, especially when played so very well by the Pittsburgh Symphony Orchestra conducted by Manfred Honeck. Yet even when I try to focus on these so-called emotions, I always fall back into my usual mode of listening, trying to pick out individual aspects of the whole, and trying to see how the pieces of this complex puzzle fit together in such an intriguing fashion. At the concert hall this is possible; with prerecorded music, or radio, it is not. In the upper sections of Heinz Hall, I’m able to view each part of the orchestra as the music plays and match their part to the pinpointed sounds made by their instrument.

And what did I discover? I realized that too much introspection can somehow take away from the overall magic of the piece as a whole. Deconstructing Claude was a fun exercise in discerning different aspects of the music, sort of like reverse engineering a piece of software or technical innovation, but in the process I’ve lost my view of the overall composition, the beauty of the piece was somehow diminished. I do, however, still have a great appreciation for the complexities of the composition.

What emotions was I feeling… I really didn’t explore that question, beyond the mere wonderment at the ability of Debussy to construct a visionary entity out of all these individual components, in complex creative ways that I don’t suppose I would have ever thought of myself.

The next piece was Lili Boulanger: Psalm 130 with Stephanie Lauricella, mezzo-soprano, Juan José de León, tenor and the Mendelssohn Choir of Pittsburgh. There was so much this composition had to offer. The singing lent a wonderful aspect to the music as a whole. Yet what I liked most was the orchestration.

After intermission Lise de la Salle played the piano solo with the PSO for the concerto by Ravel. Her premier this evening was truly a treat. This concerto began with music that to me sounded like Gershwin. Who knows, perhaps it’s just coincidence. The technique used by Lise de la Salle on the piano was fascinating to watch. The way she would attack the keyboard was enthusiastic, and after a phrase she would move her head in a way that suggested a sort of implied Vibrato. First hearing this piece this evening, it became to me an instant hit, something I’d like to hear again.

Ravel traveled to the U.S. in 1928. In a way it must have been his desire to compose the piano concerto in order to play in the U.S; from the program notes: “With a view toward having a vehicle for himself as a pianist on the return visit (to the US), he started work on a concerto in 1929.” With that in mind, perhaps it is fitting we are hearing Ravel’s concerto in Pittsburgh, performed by Lise de la Salle, piano.

Last but not least was everyone’s favorite Bolero, with fantastic lighting effects which highly enhanced the experience. All the lights were dimmed, and a spotlight shone on Manfred Honeck. The audience laughed when he turned with a wry grin. Then as the drummer commenced, and each individual instrument played, the spotlight would highlight their solo as part of the composition. This progressed and then large sheer curtains lowered behind the players, with lights illuminating with interesting patterns.

After the concert Manfred Honeck and Lise de la Salle were introduced by Jim Cunningham for the Wqed night at the orchestra. I was able to meet Manfred Honeck and discuss the variety in the different compositions this evening. For instance, the Lili Boulanger: “Psalm 130″ to me had a very somber tone, and reminded me of Mozart’s Requium, to which Mr. Honeck indicated that it will be returning next season. He seemed glad to hear that we were happy with the program, including favorites along with music that is not often heard, a nice mix of classical music.

Claude Debussy sagely opined the above, while engaging in some fabulous rule-making (and breaking) of his own.  Debussy was clearly a man who was anti-establishment before it was cool to be anti-establishment.  Though he chafed at the “Impressionist” label that some critics (or in his words, “imbeciles”) used to describe his music, the symbolic, metaphorical nature of his works embody the core ideals of the Impressionist Era.  Impressionist composers, writers and artists captured the overall essence of that which was being described, rather than depicting the finer details.  Indeed, it is the essence, or core, of a work that evokes emotion and leaves an impression.  Debussy used his broad cache of emotions to compose work that was considered by many of his contemporaries to be wildly strange and unconventional.  They’re highly varied—jumpy and rousing at times, yet smooth and almost indolent at others.  (It’s not really surprising, given that his personal life was like an especially saucy episode of “The Young and the Restless.”)  Instead of telling a story, Debussy tells an emotion. He played a crucial role in yanking music from the grasp of the Romantic Era.  Not that I have anything against Romantic music, per se.  Just sayin.’  All we’ll have the opportunity to hear MORE Debussy as the Paris Festival continues!

The beehive of the Impressionist movement was, of course, Paris.  It’s not in my budget to visit the City of Lights this year (or maybe ever…such is the life of a graduate student).  It’s heartbreaking, I know.  I’ve always steadfastly grasped the (as yet unrealized) notion that the Love of My Life will whisk me away to Paris.  We will stroll hand in hand down Champs-Elysees and eat ridiculously fabulous pastries in a traditional, yet ultra romantic, café as white petals breeze outside the windows like snowflakes. Until my romantic (and slightly Impressionist?) dream comes true, I have the Paris Festival at the PSO to tide me over.  And it has, so far, been amazing.  I feel like I am being trained for the real thing; Heinz Hall looks spectacular in its Parisian décor.  The numerous café tables, French artwork and the berets that ushers are sporting all contribute to the sparkling Parisian immersion.

The three-weekend long Paris Festival will feature a plethora of pre and post-concert goodies, as well as numerous educational lobby exhibits and all of the Impressionism that you can handle.  Concert-wise, week one touted an extremely charismatic Gianandrea Noseda, who conducted Ottorino Respighi’s La Boutique Fantasque, Debussy’s “Iberia,” and Suite No. 1 and No. 2 from Manuel De Falla’s The Three-Cornered Hat.  All I can say is: magical.  This weekend, there’s more Debussy (aka, my new favorite composer), much to my extreme delight.  We’ll also be treated to Maurice Ravel’s Bolero and some GERSHWIN in the lobby after the concert!!  Who could ask for anything more?

So I’m not going to Paris this year…but thanks to the PSO, I’m almost ok with that.

PITTSBURGH –  Aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen performing feats of daring will all be seen on the Heinz Hall stage while the Pittsburgh Symphony Orchestra (PSO) performs favorites from Tchaikovsky, Saint-Saëns and Khachaturian.

The PSO, led by Resident Conductor Lawrence Loh, presents “Cirque de la Symphonie” for one night only at 8 p.m., Saturday, May 12. This once-in-a-lifetime performance brings together the awe-inspiring cirque tradition with the lush beauty of orchestral music in Heinz Hall.

Tickets, ranging from $35 to $80, can be purchased by calling the Heinz Hall box office at 412.392.4900, or by visiting the PSO online at www.pittsburghsymphony.org.

The concert will feature some of the most accomplished veterans of exceptional cirque programs from across the globe. Their performances are uniquely adapted to stage accommodations shared with the symphony, and each artist’s performance is choreographed to the music arranged in collaboration with the maestro. When the artists of Cirque de la Symphonie perform in front of the full orchestra, an incredible fusion of these two great art forms takes place. The aerialists and acrobats turn the concert into a three dimensional entertainment extravaganza, and the orchestra seems to play with enhanced enthusiasm.  Veteran concert-goers and new patrons alike are thrilled by the exhilarating cirque performances combined with the majesty of a live symphony orchestra.

Alexander Streltsov is a Russian aerial artist who started working with famed cirque choreographer Pavel Brun and producer Valentin Gneushev when he was only twelve, performing on Broadway at the Gershwin Theater. The same year he won the gold medal in the competition among international cirque artists at the Festival Mondial Du Cirque De L’Avenir in Paris.

Christine Van Loo is a 7-time consecutive National Champion, Female Olympic Athlete of the Year, and Athlete of the Decade in acrobatic gymnastics. As a professional aerialist and acrobat she has performed in the 2002 Winter Olympics, at two Grammy Awards (with No Doubt and with Ricky Martin), at the American Music Awards (with Aerosmith), the Miss Universe pageant, and Paul McCartney’s European tour.

The mind-boggling strength and agility of Jarek and Darek’s “Duo Design” provides one of the most powerful acts to be included in Cirque de la Symphonie’s captivating program. This dynamic and exciting balancing act consists of Jaroslaw Marciniak and Dariusz Wronski, former Polish national hand-balancing champions.

Byamba Jigdengombo comes from the rich circus traditions of Mongolia. She began training at 6 with masters in the arts of contortion, hand-balancing and dance at the prestigious Mongolian Circus School.  The multi-talented artist also developed into a world-renowned aerialist on the flying trapeze and the lira. Her international performances with the Big Apple Circus, the Moscow International Circus and other major international organizations have astounded crowds around the world from Asia to South Africa and throughout North America.

Vladimir Tsarkov provides a spell-binding performance with combinations of mime and juggling feats. A favorite of the younger members of the audiences, Vladimir’s Red Harlequin act features rings, balls, and batons, and he’s even been known to teach the maestro a trick or two!

Irina Burdetsky lives in New York, but travels worldwide as one of the most entertaining hoops performers in the business. She grew up in a circus family in Moscow, trained by some of the greatest names in acrobatics, gymnastics, and hoops, and traveled as one of the youngest performers with the Moscow Circus.

Elena Tsarkova, the “Lady in White,” is a graduate of the famed Moscow Circus School and first-place winner of the prestigious National Russian Circus Festival.  From her “Master of Sports” in gymnastics, Elena developed into a unique and graceful performer with the Big Apple Circus, Switzerland’s Circus Knie, and Germany’s Circus Roncalli. Her combination of contortion, balance, and graceful dance moves has made her a major star with Cirque de la Mur in Florida and Circus Circus in Las Vegas.

By Kristen Miller

The set of April 27-29 concerts given by the Pittsburgh Symphony was the much-anticipated musical opening to the Pittsburgh Symphony Orchestra’s Paris Festival. I attended Saturday’s concert and was drawn in to the aura of Paris while hearing a wonderful sampling of music.
The concert began with the delightful La Boutique Fantasque (“The Fantastic Toy Shop”), a ballet by Ottorino Respighi that was inspired by the work of Italian composer Gioacchino Rossini (who experienced a great burst of creative activity in Paris). The ballet tells the story of dancing dolls that outwit customers in the toy shop to prevent the sale of two can-can dancing dolls. The music is not only aurally descriptive, but colorful as it depicts the antics of the dolls bustling around the shop. The virtuosity of the Pittsburgh Symphony’s woodwind section was evident as they figuratively “became” the dolls. It was an enchanting performance that transported the audience into another time and place.
Next on the program was Ibéria by Claude Debussy; he was a composer who played an important role in developing French music and Impressionism. Ibéria is a triptych (a piece in three movements) that is the second part of a larger suite entitled Images. The piece was conceived after Debussy attended a bullfight in Spain and he was compelled to capture the character of the country. The portrayal of “Through the Streets and Lanes,” “The Fragrances of the Night,” and “Morning of a Feast Day,” was extremely reminiscent of Spanish culture and flair while still being truthful to Debussy’s style. During this piece, I experienced the music with closed eyes and was able to feel the personality of each movement in such a vivid manner that I felt like I was in Spain with Debussy.
To finish off the concert, the Pittsburgh Symphony played Manuel De Falla’s Suites Nos. 1 and 2 from The Three-Cornered Hat. The Three-Cornered Hat is also a ballet, but it is very Spanish in sound. It tells the story of a miller and his wife as they try to fend off the advances of a devious Corregidor (mayor). A series of lively dances characterize these pieces and again, the Symphony’s performance propelled listeners into another reality. My favorite dance was The Miller’s Dance from the Suite No. 2- the solos in this movement played by William Caballero (French horn) and Harold Smoliar (English horn) were exquisite.

Overall, this series of concerts certainly leaves high expectations for the concerts to come. I am excited to see what the coming weeks of the Paris Festival hold! Au Revoir!

This composition, which I’m hearing for the first time tonight, except for a few melodies which I do recognize, seems amazing to me. Each piece, each section, and as a whole, this music is much too amazing to be so obscure. The overture begins with a great melody, playful and enticing, and when it’s done, I wish to hear more. Yet no fear, each and every movement to follow has the same quality, enduring and melodic. With this music as a backdrop, I begin to write the following, even turning into poetry…

In the beginning there were sounds. Sounds, branching into myriad amalgamations of sonorous tendrils bundled algorithmically into packets of temporal relations, juxtaposed behind alternating selections thematically grouped in musical forms intended to smack the listener with the greatest melodic impact.

Then there were words, but just what words can accurately, concisely and vigorously capture the fullest splendor of the music?

Words can be beautiful. Words can be bright.
Say the thing you mean, but do words have the right?
Can they usurp the reality of the tender music,
That we would hear throughout the night.

A vain attempt these words do make
to model reality and meaning take;
losing in the transcription the larger part
between harmonious reality and what’s in my heart.

My noble attempt to say the words, now past
has led me here to the threshold, magic at last.

The city of lights this night is hewn before my ears,
release the hidden subtlety as comprehension nears;
the music, as with the light, unleashed to shed our fears.