The West Virginia Symphony Orchestra Blog

I know how Santa must feel!

bking@theclaycenter.org (Betty King) — Wed, 23 Dec 2009 14:30:00 +0000

There is nothing better these days than getting a note from someone you have touched in some way. A thank you note is that much better--especially written in a child's hand.

As a result of the WVSO Young People's Concert in November, the student and teacher evalautions have been pouring in. Sometimes we get artwork with student-drawn instruments or pictures of the performers. Some school children write thank you notes directly to the maestro, the orchestra, or the guest artists.

What I love is the genuine sentiment of the notes. Spelling and punctuation has not been modified below. I only wish you could see the handwriting--all priceless.

These notes were written to the sponsors who help defray admission and transportation costs for students to attend our Young People's Series.

From Ricki:
Thank you for letting me go to the "Boyz in the Wood" program. I had lots of fun. It was the best and funny play.

From Shawna:
I think you very much. Thanks for teaching my how to put music into a story.

From Kaelyn:
We thank you very much. I hope I can come back next year. I missed last year's concert. It was very good.

From Madison:
dear people that made boys in the wood I liked the show and music. It was fun too.

From Linda:
I like the music. I like the songs. I like the girls voice.

From Chris:
I thank you for leting me come to the concert. I liked the theme. I like the wolf man. I liked the music. I liked the songs. As you can see I like the concert.

From Regan:
Boyz in the wood were so cool and fun The music was great The condctor has a good face he was exlent thank you a lot

From Sandy:
Thank you for teaching me how to play music in a story. Thank you for teaching me how to play the harp. I can't wait to come back.

From Josie:
Thank you for the boyz in the wood and I can not wait until the next time I come.

So, I know Santa gets many more notes on the front end of his gig, but I am very happy to get notes after a concert. A symphony orchestra playing concerts for children is a year round gig for us at the WVSO, a labor of love, and a big part of our mission!

Happy Holidays!

Too long since we last wrote...Jon Nakamatsu charms Charleston

bking@theclaycenter.org (Betty King) — Sun, 18 Oct 2009 01:51:00 +0000

Many patrons this weekend were asking about the encore numbers that Jon Nakamatsu played:

Friday night: Liszt Widmung
Saturday night: Chopin Fantasie Impromptu, Op. 66

The blog is the perfect place to comment on Jon's performance. Do you want him to come back to Charleston? Let us know! Please see our website for links to Jon Nakamatsu's web site for more info about his recordings.

WVSO Opening Night is Just Weeks Away

noreply@blogger.com (Scott Dodson) — Tue, 01 Sep 2009 16:58:00 +0000

As we approach Labor Day, you can feel that fall is in the air in WV. The kids are back in school, we’ve enjoyed our summer vacations and the leaves start changing to wonder shades of red and orange across the mountain state. Here at the WVSO, we are celebrating our 70th year and getting ready to launch another fantastic season of the state’s best classical music.

Our Opening Night Performance is just weeks away on September 11-12 at the Clay Center. The performance features one of the world’s foremost classical pianists (Orli Shaham), a deeply loved major symphonic work and a piece by a new up-and-coming composer. There is certainly something for everyone to enjoy.

Below you will find some information about the pieces in the first concert. I hope that this will wet your appetite for what is going to be a great 2009-2010 season!

The concert opens with a wonderful work by Marc Mellits called 3 Machines. Marc says of his composition:

Three Machines, for orchestra, is a three movement work built more like three machines, rather than three musical movements. It is based on an earlier chamber work called Five Machines. This orchestral version was commissioned by the Carpenter Family for the bicentennial of Vienna, NY, and the score is inscribed “in honor of our parents who nurtured a deep love for music.” The musicians work together in tight formation, creating musical lines by close interaction with each other. Each musician plays a fundamental role with the others, fitting together like cogs in a wheel in one giant machine. The Cellos may have a line that turns a wheel that connects to the Violas, which in turn provides a springboard for the woodwinds, which then triggers the Violins to alternate notes in between. All the musicians fit together very closely in this fashion, and each only play a role in the larger machine that they all form together. The parts themselves do not reveal this overall musical structure; only when combined does the musical architecture come forth.

For more information about the composer and 3 Machines, check out his website at http://www.marcmellits.com/.

The next piece on the program is Beethoven’s Piano Concert No.4 in G with world-class pianists Orli Shaham. If you are not familiar with Orli, she is the virtuosic pianist sister of violinist Gil Shamam. She has soloed with some of the world’s greatest orchestras including: the Cleveland and Philadelphia Orchestras, the Chicago, San Francisco and BBC Symphonies, as well as the Filarmonica della Scala, Israel Philharmonic Orchestra, Stockholm Philharmonic, the Sydney Symphony Orchestra and many many others. You cannot miss what is sure to be a fantastic performance.

You may also know Orli from her Classical Public Radio Network show, Dial A Musician that has been on the air since 2005. This unique program has listeners “dial in” to ask questions of musicians, musicologists and other classical music experts.

For more information about Orli Shaham visit her website at: http://www.orlishaham.com/.

The final piece of the evening is Brahms’ grand Symphony No.1 in C Minor. Brahms himself claimed that it took over 20 years for him to complete this master work. “In four movements, the symphony launches itself into existence by exploring—briefly and with enormous power—the musical concept of ‘c minor.’ The two interior movements are songlike in character but give way to a final reiteration of c minor as the finale begins. Dramatically developed, this ultimate expression of the symphony’s home key finally gives way to a redemptive theme in the horn and flute which lead us to the beautiful principal section of the movement, now in C Major.” - Robert Turizziani

Of Brahms’s four symphonies, this is probably the most popular.

To listen to an excerpt from Brahms’ Symphony No.1 or any of the other pieces from WVSO’s Opening Night Concert visit: http://www.instantencore.com/concert/details.aspx?PId=5038124.

Visit West Virginia’s Symphony at www.wvsymphony.org.

Snowshoe Festival more than just concerts

bking@theclaycenter.org (Betty King) — Mon, 31 Aug 2009 17:56:00 +0000

For some reason, my Snowshoe experience this past weekend aligned with lots of my Monday morning arts/news catch-up!

Most of my responsibility comes before the actual trip, making sure that production notes remind our stagehands to take "everything we might possibly need" since we are so far from home once we get on the mountain.

My journey TO Snowshoe the last two years has included the delightful task of transporting Byron Adams, musicologist and composer who participates in the pre-concert talks with Maestro Cooper and other guests as available. Byron is a great storyteller who is always having musical adventures. It was so much fun to catch up with his latest antics as a college professor, musicologist and composer.

Imagine my non-surprise when the article about the Bard Festival (which Byron regularly attends) mentions Byron as one of the liveliest presenters. Byron told me a bit about the Festival which focused on the music of Richard Wagner. Of course this article is not nearly as exciting as hearing Byron tell about it.

http://latimesblogs.latimes.com/culturemonster/2009/08/wagner-at-bard-college.html

Friday night, while some patrons were checking in and others were attending a special reception, I was watching The Soloist in the middle of Snowshoe Village in walk-up movie style. Chairs were provided, a big screen, Starbucks close by. Who could ask for anything more? Okay, a warm fuzzy blanket would have helped...

Little did I know that while I was watching this troubling movie about a young man with a promising cello career that went awry, the very man this true story was based on was sitting in a Los Angeles Philharmonic Concert, listening to YoYo Ma play. He even met Ma after the concert. I find this out on Monday morning while checking on my ArtsJournal.com updates. (Insert cold chill here.)

http://latimesblogs.latimes.com/culturemonster/2009/08/yoyo-ma-and-nathaniel-ayers-.html

As for The Soloist, it's a moving story about the power of music, and the cinematography and point of view are unique. Maybe not a date movie, but a must see for classical music and power of journalism fans.

While at Snowshoe, my main task is to facilitate the pre-concert talks. This is trickier than I like remember from year to year. I joke that I get to be the Vanna White of the talks, directing patrons to the easiest entrance to a hidden room in a bizarre building. As the room flooded with patrons, there is the scramble for seats and finding more chairs, and requesting that more chairs are available for the following day as word gets out that the power of knowing more about the music makes the concert even more meaningful.

This is where Byron comes in!

Hear what Mona Seghatoleslami thought about her trip to the Snowshoe Festival.

http://www.wvpubcast.org/newsarticle.aspx?id=11036

Do you have stories to tell about your trip to Snowshoe?

Summertime and the living, working is easy? How about steady!

bking@theclaycenter.org (Betty King) — Mon, 31 Aug 2009 17:29:00 +0000

It has been awhile since I have posted anything to the West Virginia Symphony Orchestra Blog, but it's not because there hasn't been a lot happening. (It was really to allow the two newest members of the staff--both men--to take over some of the fun of writing posts. Alas, this has not happened yet.)

Several of the musicians have asked how bored we office/administrative staff have been without the musicians around all summer. The answer is...we have not been bored at all.

While the Opening Night concerts are coming up very soon, the actual preparation for a concert begins about 10-12 weeks in advance. And, that ten-week window takes into account that we already know what music is scheduled to be played, and that the bulk of our contracted musicians have already signed contracts and are available for the concert.

In my new official role in operations, I have created countless versions of the upcoming season, first for the Clay Center regarding the hall rental for concerts and rehearsals, then for the musicians regarding rehearsals and concerts, for Network Parking regarding musicians and patrons, for ushers regarding concerts, for security regarding rehearsals and concerts. No two versions are quite the same as far as time and space needs!

For our concerts away from the Maier Foundation Performance Hall, there are truck rentals for for our chairs and stands, and busses to haul musicians.

Marcia Graves, Assistant to the President, has been busy with flight and hotel arrangements for guest artists and piano tuning schedules, and setting up files with all the contracts and details for the season.

While all of this is a bit overwhelming at the start of the new season, with all the big pieces in place now, the rest of the details come concert by concert!

And since school has started, the Artists-in-Residence that teach in the Strings Program for Kanawha Couty Schools have hit the ground running.

Schools have received information about Montclaire School Performances available this year, and the Education Offerings by the WVSO brochure is at the printer, ready to go to thousands of schools in WV, OH and KY at all levels.

Where did the summer go?

I love it when Music just Happens...

bking@theclaycenter.org (Betty King) — Mon, 27 Jul 2009 13:14:00 +0000

Writing to you from the operations side of the WVSO, I can attest that there are so many details that go into a single concert--so when an impromptu performance "happens" and brightens the lives of people who "happen" to be in attendance, I smile.

This particular location is the atrium of the Mayo Clinic. The piano is there...

http://www.fark.com/cgi/vidplayer.pl?IDLink=4365716

I can't help wonder about the story behind this couple.

Were they concert pianists who toured? What other styles of music could they play? Why that particular song? Has music been the force that keeps them going, well into their nineties? And kept them together for over sixty years?

And what about the audience?

How many people sitting in that atrium area smiled and were soothed by that simple act of music? And the joy is obvious on the faces of the performers?

I see the life-long power of music!

Thanks to Ruth Hopkins, a Snowshoe attendee from New Jersey last summer, for sharing this link.

Summer Reading can include books about music!

bking@theclaycenter.org (Betty King) — Mon, 06 Jul 2009 19:50:00 +0000

Several writers have weighed in on keeping young minds in books for a part of the summer. Here's one such list that I found impressive.
http://www.nytimes.com/2009/07/05/opinion/05kristof.html?em&emc=eta1

If you want to interest children in the possibilities that music has to offer, try a few of these books, available as soon as I return them to the main branch of the Kanawha County Public Library in Charleston.

Zin! Zin! Zin! a Violin by Lloyd Moss JE
This book is partly about families of instruments and partly about counting the number of players in musical ensembles. We all know the words solo, duet, trio, and quartet, but can we count to ten in "ensemble"?

"...It's music that we all adore, It's what we go to concerts for." (Moss)

Also, wordless readers can delight in watching the sub-plot of the two cats who appear on every spread of opened pages and the mouse they chase. When the oboist brings her dog, the sub-plot really gets into a big chase. See how it ends!

The Musical Life of Gustav Mole by Michael Twinn JE
What a whirlwind life story of a little mole, Gustav, who grows up in a musical family. From birth he is introduced to music. My favorite part is when he wants to sell his instrument at the music store because the object of his affection does not seem to respond, even when he composes for her.

There is a guest appearance by the Famous Frogharmonic who appear to be quite a serious performing orchestra.

This delightful story came out in audio cassette as well as book form, so I'm anxious to hear the audio that goes with these delightful illustrations by Kathyrn Meyrick.

These are only a few of the books that are on my musical summer reading list...more later!

It was WET! No doubt about it!

bking@theclaycenter.org (Betty King) — Mon, 06 Jul 2009 17:18:00 +0000

Saturday, July 4 was a wet evening in Charleston, WV, but the old adage "the show must go on!" was our motto! Thanks to the crowd who appeared (slowly, but surely) to hear patriotic music played by the West Virginia Symphony and to see the fireworks show sponsored by WQBE and the City of Charleston.

I would share pictures of the event, but it was a bit hard to juggle the umbrella and the camera, much less the hot dog I enjoyed during the concert.

Having been in a few planning meetings for this event (including a few conversations about a rain plan), I can tell you that an outdoor event is as difficult to decide to cancel as it is to put on.

For an outdoor concert, the symphony grapples with hour-by-hour weather alerts, calls to the National Weather Service, coordinating the set-up of stands and chairs in an effort to keep the musicians safe, the instruments dry, and the audience comfortable.

That doesn't even include the details of safety, traffic, vendors, boaters, and fireworks prep that the City of Charleston had in place on Saturday night.

Having checked my watch all week to make the sure the 9:30 p.m. start time for fireworks wouldn't be too light over the Charleston skies, I was delighted to see the fireworks begin at 9:10 p.m. against the overcast, but brighter blue sky that made those red stars and purple bursts look ever more magnificent. Accompanied by patriotic music broadcast on WQBE, the evening ended in time for me to get home to dry out and enjoy a cup of tea before turning in.

Happy Birthday, America!

If it's the Fourth of July, it must be time for Tchaikovsky's 1812 Overture

bking@theclaycenter.org (Betty King) — Wed, 01 Jul 2009 18:50:00 +0000

I'm not exactly sure why, but on the list at instantencore.com of concerts for the Fourth of July, ALL of them have Tchaikovsky's 1812 Overture, and usually as the last or next to the last selection to be played. ("Stars and Stripes" is listed as last in most instances--if not this one, another Sousa march for sure).

It has become a musical tradition, but how and why? Of course, I figured I could "google" it or "ask jeeves." Surely I was not the only person asking this question.

The piece was first conducted by Tchaikovsky himself when he visited New York City in 1891 at the dedication of Carnegie Hall. Hmmm....

That's about the only historical connection that anyone has seemed to find to America.

Beyond that, you have the French National Anthem and an old Russian national anthem, lots of cannons depicting Napolean's retreat from Russia in the year 1812.

It must be the cannons and the fireworks connection then! Oftentimes when the overture is performed outdoors, real cannons will be used. If cannons are not available, the percussion section is charged with the task of replicating cannon shots.

A few other writers and bloggers weighed in on "Why 1812 Overture on July 4?" See their answers:

http://www.geocities.com/Vienna/Strasse/1570/1812.htm

http://www.associatedcontent.com/article/309550/the_fourth_of_july_and_the_1812_overture.html?cat=37

http://www.post-gazette.com/ae/20030704overtureae3.asp

Top 15 songs for the Fourth of July
http://www.associatedcontent.com/article/1870623/my_4th_of_july_playlist_for_your_independence.html?cat=33 (see this one for a suggested playlist for Fourth of July that you can download)

Top 10 Songs for Your Fourth of July
http://www.associatedcontent.com/article/1884692/top_10_songs_for_your_fourth_of_july_pg3.html?cat=33

Both lists above include the 1812 Overture. If you want to impress your friends, refer to the piece by its proper name "Festival Overture: The Year 1812" which happens to be in Eb flat major, Op. 49. That bit of trivia will get you far at cocktail parties.

In addition to the 1812 Overture, come hear Sousa marches, Maestro Cooper's arrangement of "Country Roads", some Irving Berlin and John Williams.

Veterans will be invited to stand to represent their service branches during the Armed Forces Salute--this has become a Charleston tradition.

Want to hear a preview of some of the selections? http://www.instantencore.com/concert/details.aspx?PId=5037750

Thanks to the City of Charleston for making this free event possible and for providing live orchestral music at Haddad Riverfront Park. Concert starts at 8:00 p.m. at the levee. We hope to see you there!

Who won? The audience of course.

bking@theclaycenter.org (Betty King) — Wed, 01 Jul 2009 16:02:00 +0000

What a delightful evening chamber music and some never before heard jokes! In case you missed it: the audience was the real winner in this event!
TWO PRIMAL FORCES OF THE SYMPHONY ORCHESTRA ...JUST SHORT OF MORTAL COMBAT.
West Virginia Public Radio’s Mona Seghatoleslami mediated this contest between musical rivals: West Virginia Symphony Principal Clarinetist Bob Turizziani and Principal Violist Sandra Groce, with Pianist Vicki Cavendish.

Did you attend? Have you ever been to an event like this before?

What about that ring girl!

Cage Match Tonight! 7 p.m. at Christ Church UM

bking@theclaycenter.org (Betty King) — Wed, 24 Jun 2009 13:38:00 +0000

I have been intrigued by tonight's concert offering since I first heard about the idea. As we get closer to the event, even stranger things have happened in my office. First, the presence of a clarinet player asking my help in finding viola jokes; and just a day later, a violist asking for my help with clarinet jokes.

This could get ugly.

Tonight's CLASSICAL CAGE MATCH will feature WVSO musicians Bob Turizziani and Sandra Groce, accompanied by Vicki Cavendish on piano. WVPR's Mona Seghatoleslami will moderate.

I printed some signs on Monday that make me think this is going to be a pretty serious match. ROUND ONE, ROUND TWO, ROUND THREE ...

...and some not-so-serious signs with statistics on the performers. I won't divulge their secrets, but I plan to be there to see who wins!

Tickets ($10) available at the door beginning at 6 p.m.

More sights from the University of Charleston and Symphony Sunday

bking@theclaycenter.org (Betty King) — Tue, 09 Jun 2009 19:47:00 +0000

A Great Sunday for Music! What is your favorite memory of Symphony Sunday?

bking@theclaycenter.org (Betty King) — Tue, 09 Jun 2009 19:30:00 +0000

So what was your favorite part of Symphony Sunday? In the Food category: mine was the Symphony Sundae from Ellen's Ice Cream. We had made 50 or so parrots and listened to four hours of great music. Time to prop feet up and settle in for some ice cream!

How about you?

Symphony Sunday...Music or Food? Why not both!

bking@theclaycenter.org (Betty King) — Mon, 01 Jun 2009 23:29:00 +0000

A great weekend is in the works. If you don't believe me, check out the articles in the Charleston Gazette Mail's Sunday edition.

http://sundaygazettemail.com/Food/200905270637

There will be much to eat beginning on Friday evening. Come hang out on Sunday for the entire day of local entertainment and a feature concert by the WVSO at 8 p.m. Fireworks will top off the evening!

Check our web site for details!

So now, you are the reviewer...

bking@theclaycenter.org (Betty King) — Sun, 17 May 2009 12:48:00 +0000

Wearing my Education Manager hat, I spent most of last week visiting schools, talking with fine arts classes and music classes about "opera" and why they should give La Boheme at the West Virginia Symphony a try on Saturday night.

One young lady from St. Albans said she didn't like opera, but when I probed a bit deeper, she had never been. I challenged her to accept a complimentary student ticket and try it!

I am anxious to hear what she thought, and what you think too.

I was pleased with the number of younger patrons we had floating around the Grand Lobby at the Clay Center.

I spoke with one adult patron who was working for a few days in Beckley. He ended up staying in WV a few days longer and was thrilled to see that La Boheme was playing in Charleston. He was far away from his season tickets at the Oregon Opera, but took advantage of our offering on Saturday night!

Another couple was seeing La Boheme for the second time as a couple. They were anxious to compare the two productions.

So, now is the chance for you to share with us your thoughts about the production. Comments are encouraged!

Rehearsals in Full Swing...

bking@theclaycenter.org (Betty King) — Thu, 14 May 2009 12:57:00 +0000

Mimi (Barbara Shirvis) and Rodolfo (Jeffrey Springer) in Act I.

The Maier Foundation Performance Hall stage is set. The principals have been in town for a week now, putting together their actions on stage under the direction of Bob Neu.

The final props are gathered and the paint is dry on the fireplace. Two final rehearsals are all that remain between now and Saturday night's performance of La boheme by the West Virginia Symphony Orchestra.

Want a sneak peak?

Opera is not for me because...

bking@theclaycenter.org (Betty King) — Mon, 11 May 2009 12:58:00 +0000

Opera is only for serious music lovers: I won't understand it.

...a lot of serious music listeners are into opera, and yes, the words will be sung in Italian, but there will be supertitles projected over the stage so you can follow the plot in English. A summary of the plot is also included in the program.

Opera is boring and tragic: Isn't this one a tragedy?

...a tragedy doesn't have to be totally dark. La boheme is full of comic scenes and songs.

the writer burns his play manuscript to keep warm, and sings about how the critics didn't enjoy the plot, but the play is meaty enough to keep him from freezing
the landlord stops by for the rent, the roommates ply him with alcohol and then distract him with stories so he forgets about the money
the singer who arrives at a restaurant with her new love interest, flirts and sings to woo her old love interest, and leaves the other man with the bill
one guy sings an song to bid farewell to the coat he is about to sell

Opera is attended by people who wear fancy clothes:

...there is no dress code to attend. Some people choose to dress up, go to dinner, and craft a special evening around the performance. This is personal choice.

Opera is outdated and has no relevance to my life:

...the stuff of opera happens all the time in every day life. Events are often magnified and exaggerated just a bit--just like on television. My favorite is when the writer when the writer sees the seamstress for about 20 seconds in the dark, decides he is in love with her and will spend the rest of his life with her, and says so in spontaneous song.

If you have seen the musical RENT during its run in the last dozen years or on video recently, why not experience the main source of inspiration. Remember AIDS in RENT? In Paris back in Puccini's day, the main disease spreading quickly and killing folks was tuberculosis.

Opera is long: It's not over until the fat lady sings, and she usually sings and sings and sings...

...not the case in all operas, especially in La boheme. The dying scene is quite a simple one. None of the artists or their girlfriends are "fat". Remember, they are all poor, starving artists! This opera is made up of four acts with an intermission in the middle. There is so much going on in each act, time will fly. The overall running time is about two and a half hours.

If you have never seen an opera before, La boheme is a great starting point:

...come broaden your horizons. See local Charleston folks as the chorus members, waiters, and children on stage. See and hear the West Virginia Symphony Orchestra under the direction of Artistic Director and Conductor Grant Cooper.

Want to know more before you attend Saturday night? Part 1

bking@theclaycenter.org (Betty King) — Mon, 11 May 2009 12:52:00 +0000

Once upon a time…there were four roommates who struggled to make ends meet. While they each enjoyed their chosen noble professions, they are, in fact, poor starving artists who have adventures. It is these adventures that make up the action of La Boheme.

For a quick video musical introduction by the San Diego OperaTalk!, link to http://www.uctv.tv/search-details.aspx?showID=4315

Tickets are going quickly for Puccini's La Boheme, presented by the West Virginia Symphony with Artistic Director and Conductor Grant Cooper. Call the Clay Center Box Office at (304) 561-3570.

What does Semi-Staged mean, anyway?

noreply@blogger.com (Maestro Cooper) — Tue, 05 May 2009 14:03:00 +0000

Is Semi-Staged opera the same as a Concert version?

A patron of our concerts this past weekend sent me the following question via e-mail [gcooper@theclaycenter.org]. I hope my response helps clarify a point which could remain unclear about our upcoming semi-staged version of La Bohème.

He wrote:

“Maestro Cooper; We thoroughly enjoyed last night's performance, but were wondering if the opera will feature soloists/acting, or if the singers will be reading from a libretto next to the symphony. I'm uncertain as to what "partially staged" means. Please let me know.”

I replied as follows:

“Thanks for your question. I need to clarify this point publicly, perhaps, since it is an important issue.

“The singers will have the music memorized; there will be interaction between and among the characters; they will be dressed according to their part (i.e. they will not be in tails or other "formal" concert dress). The singers will be downstage of the orchestra.

"So, what is "missing," as compared with a full production, is sets - that will be the main difference between what we are doing and a fully staged version. The vocal artists being in front of the orchestra, (and not enclosed by a painted-canvas, sound absorbing set), certainly ought to enhance the projection of the singing and, therefore, the total musical experience.

“I hope you choose to attend our performance - this will be an inspiring way to enjoy this incredible score.”

I was very pleased to receive the following reply:

“Thank you for clarifying the issue. I believe the perception is that the performance will be singers will be stationary and reading from the libretto. We plan to attend.”

I hope all music lovers will choose to attend, too. This is an amazing piece of music. The theatrical elements will still be there and you will be able to experience La Bohème as the powerful music drama that it is!

Yours in music,

Grant Cooper

noreply@blogger.com (Maestro Cooper) — Sun, 26 Apr 2009 19:41:00 +0000

La Bohème: To stage, or not to stage? That is the question.

As a child who spent his formative years in the opera house, both onstage and in the pit, my appreciation of this marvelous art-form we call opera is at the very core of what I understand to be the communicative potential of music.

Those early experiences left me with a memory of opera which is beyond music, scenery, and costumes, extending to smells and spine tingling rushes of excitement, with my every sense being saturated by the cumulative effect not only of the performance, but of the life one leads in order to prepare a performance of this many-faceted art.

In fact, my childhood memories are dominated by opera. For a while, my family lived on the other side of a mountain range from the opera house. Each and every Friday afternoon we would pile into this old, stinking-of-exhaust car and drive over the mountains for rehearsals, returning on Sunday evening. (I am not making this up!)

So, it was not only opera itself, but the process of what goes into committing to making opera happen which imprinted itself so deeply into my subconsciousness.

Needless to say, I did not learn until adulthood that opera was also a tremendously expensive art to produce. That it is expensive makes sense, of course, since we must fund the musicians - singers and instrumentalists – in detailed rehearsal not only for the music, but also for the time it takes to integrate the dramatic nuance of theater into the music. And we must add the cost of scenery and costumes.

But that is, surely, what makes opera what it is: a feast for the eyes and ears – a saturating experience for the senses.

At this very time, stories from across the United States are being told, almost on a daily basis, of the reduction or elimination of opera performances. Even the great opera houses in New York and Los Angeles are proposing trimmed seasons for the foreseeable future, while slightly smaller markets, such as in Baltimore and Orlando, are seeing the closure of their companies.

There is no need for me, here, to spend any further time referencing the economic downturn that currently grips the entire world. The question before us was and is quite simple: can we afford to present a fully staged opera in Charleston at this time? If not, is there any use or point, even, in presenting the music without the staging, costumes, and scenery?

I have referenced the actions of companies such as the Metropolitan Opera as a means of answering the first question. The West Virginia Symphony Orchestra cannot afford to imperil the future of the core mission of the orchestra in order that we continue to pay the (ever increasing) costs that a fully staged opera represents. We are a symphony orchestra at our core and we must focus on protecting our symphonic performances into the future. If I am to fulfill my responsibilities as your Artistic Director, I must be willing to make decisions I believe to be in the best long-term interests of the WVSO, regardless of personal feelings or ambition.

But what of the second question? Is there anything of value left in Puccini’s creation if we do not present it in a fully staged version? What if I were to up the ante even further and rhetorically postulate that a semi-staged version robs La Bohème of its “full glory?”

This is where it gets very interesting for me. I started out by describing some of my childhood experiences with opera. On reflection, I realize that opera is, indeed, the sum of its parts, but it is most surely the sum of its compromised parts!

Allow me to give you but one example. I remember vividly my mother (an opera singer) constantly speaking in my company of the importance of diction in singing: she was adamant that the words be understandable. She often worked with colleagues who felt that the glory of the voice should trump diction. This topic deserves its own dedicated discussion, but the simple truth is that all singers will make “adjustments” to vowels and consonants in order to be able to sing a given passage. This is notably true when singing in translation, when the composer has had no control over the connection between the pitch and the vowel.

Here's an example from this opera. At the end of the first act of La Bohème, Mimi ascends to a high C on the word “amor.” Nice open vowels in the original Italian. A German singer, required to enunciate “Liebe,” with a closed “e” vowel, cannot do this and sing a beautiful high C. The soprano has no choice: the German will modify the vowel to be able to sing the note. Were one to sing the opera in English, the soprano has no choice but to make a compromise. The word “love” will be sung as “aah,” pure and simple. No “l” and no “v.”

Was my mother “right” in this argument, or was this a case of a broader conclusion being drawn? What I learned from this, and have since found to be the case with every “either/or” question, is that opera is the art of compromise.

Herein lies the silver lining. By not staging the opera in a full-blown production, we have the potential of allowing the music to be presented and revealed more fully.

In case it is not glaringly obvious, I have chosen to be a symphonic conductor as my life’s work, so I can be expected to show a little bias here. But I think it is no conceit to say that any opera succeeds in the repertory based on its music. Can you think of an opera whose plot, libretto, and stage effects are so compelling that it is acclaimed despite its music being awful? I can’t. Not a single one. On the other hand, I can think of several operas whose music is their only reason for still being performed today.

La Bohème is not such an opera, of course. The story is compelling, believable (almost overwhelmingly so), and relevant. Even so, the act of compromise which necessarily occurs when putting staging with the music means that Puccini’s music cannot reach its full glory when the singer/actors are concentrating on things other than the music.

But, as wonderful and dramatic as the story of La Bohème is, Puccini has written a score which is a triumph of imaginative story telling in music. In fact, by using our imaginations to fully realize the drama, we will be participating in this experience in a fundamentally deeper way than if we also use our eyes. This is similar to comparing the reader of a book with a viewer of a movie: each one of us will have a uniquely personal experience of the sights, sounds, (and smells) of this great work when our primary focus is the music.

Our semi-staged version allows us to celebrate Puccini’s genius as a composer. The music is front and center in this performance. Truly, in its full glory!

Yours in music

Grant Cooper
Artistic Director and Conductor
West Virginia Symphony Orchestra

Audience comments welcome! "Classical Mystery Tour"

bking@theclaycenter.org (Betty King) — Sun, 26 Apr 2009 16:01:00 +0000

Several patrons on Saturday night commented that they thought David Williams' review was a positive one; several others thought David didn't accurately capture the energy of the audience as part of his review. Not trying to review the reviewer, but blogs are great places for patrons to let us know what they thought of the group, the concert, the total experience!

What did you think? All of these "Imagine"-ation ideas we put forth in the description of the concert?

"The orchestra score is exact, right down to every note and instrument that was on the original recording. On 'Got to Get You Into My Life,' we have two tenor saxes and three trumpets. That's what it was written for, and that's what we use. And on 'A Day in the Life,' can you imagine that big orchestra crescendo happening live?"
"We have some real show-stopping numbers," says Owen. "I wish I could actually be in the audience to see and hear this show. The power of the emotional and nostalgic connection back to each of our individual experiences with The Beatles is hard to put into words."

Do you agree?

I enjoyed the generations that attended together and often commented to the school-aged students that they were fortunate that their parents (all closet rockers, I'm sure) had brought them to this concert to share in their musical history!

Tell us your Beatles stories! Many of our veteran patrons shared great stories with me before the concert each night...

Symphony of Ideas Broadcasts this weekend!

bking@theclaycenter.org (Betty King) — Wed, 08 Apr 2009 13:55:00 +0000

In case you missed the March 6-7 concerts featuring violinist Lindsey Deutsch and the WVSO, you'll want to turn up the surround-sound speakers and catch the Symphony of Ideas Broadcast on West Virginia Public Radio this Friday, April 10 at 1 p.m. or on Monday, April 13 at 9 p.m.

Let us know what you like about the broadcasts!

Clarinet Display at Gorby's on Saturday

bking@theclaycenter.org (Betty King) — Fri, 03 Apr 2009 19:06:00 +0000

In conjunction with clarinetist Larry Combs' visit to Charleston, Gorby's will host a special viewing of rare clarinets, clarinet mouthpieces, books, and doctoral papers on the clarinet from the private collection and research library of Gorby's music.

This event will follow the clarinet master class by Combs at WVSU campus, Davis Fine Arts Building from 1:30 p.m.-3:30 p.m. on Saturday, April 4.

Instruments on display:

A reproduction of a Jacob Denner Baroque (ca.1700) clarinet in C in Turkish boxwood with four joints and two brass keys in A-415, made by Brian Ackerman in England.
Very strange McIntyre system Bb clarinet
An Albert system clarinet made by Albert.
The Stubbins clarinet, made by Leblanc with an extra vent for the throat Bb.
A soprano clarinet in Ab--very rare
One of the ultra-fine German Oehler system clarinets as used to day in German symphony orchestras.
Three soprano clarinets in Eb, D and C
The "Atomic" clarinet plus many more clarinets and the world's rarest saxophone in the key of F with a low A key and range to high G.

For more details, call Gorby's Music, Inc. at (304) 744-9455.

Why take music appreciation in college?

bking@theclaycenter.org (Betty King) — Fri, 03 Apr 2009 18:31:00 +0000

I was fortunate to get to speak with a Music Appreciation Class at West Virginia State University on Thursday. I was asked to share information about the WV Symphony, some of the inner workings, kinds of concerts, etc.

I posed a question at the beginning of the class meeting: Why does your degree program require you to take a music appreciation class?

Well, one question leads to another--how important is music in your life? Much easier to get an answer to that one from the twenty-some twenty-year-olds who are in the class, most of whom entered the room with ear buds attached to the listening device of their choice.

I have challenged them to visit the blog and to comment. I challenge you to do the same. Did anybody out there have to take a music appreciation class? Has it benefited you?

Way to go, SCORCH!

bking@theclaycenter.org (Betty King) — Mon, 23 Mar 2009 12:40:00 +0000

The combined Capital-South Charleston HS Orchestras, now known as SCORCH, performed in the National Orchestra Festival on Thursday, March 19 in Atlanta, Georgia, under the direction of Colleen Tan.

This is the first high school group to be invited and perform from the state of West Virginia. The National Orchestra Festival invited only 12 schools nationally in the HS String Orchestra category. SCORCH earned an "Excellent" rating.

"Our students performed the best concert I have ever conducted in my twelve years of teaching," said Tan. "The preparatory concerts in our community at the Clay Center and at WVSU were fine performances, but the Atlanta showing exceeded all previous efforts. The students performed to their highest capacity and made KCS and WV very proud. "

The students also performed and participated in four different Masterclasses: violin, viola, jazz, and fiddling. They had a clinic with a professor from George Mason University who offered world-class pedagogy. They perused the American String Teacher Association's conference exhibit hall with exposure to fine instruments, music, and music technology. Students observed national peer groups performing and attended a professional styles concert.

Students were able to explore some of Atlanta's cultural/educational offerings such as the Chinese Terracotta Army exhibit and the Georgia Aquarium, among others. It was indeed a life-changing experience for them musically, educationally, and personally.

This performance experience would not have been possible without years of arts support from KCS and school-based administration, as well as the WVSO. It took the students many years to attain this incredible level of mastery of their instruments.

Hats off to everyone who helped make this experience possible!