And once again, a day-time talk show has shown us the way...

It's tricky business commenting on and critiquing the work of others, and I'm speaking of our work here at the Detritus and not just the role of the critic in general. I've read a lot of reviews in the past couple years and I'm starting to wonder if I can ever be satisfied.

With that...

Music Review: Richmond Symphony Orchestra
Devorah Ben-David, Richmond Times-Dispatch, March 6, 2011

The Richmond Symphony Orchestra wowed classical music aficionados during its Masterworks performance at the Carpenter Theatre.

Well, surely this review will break the trend.

However, I’m curious why classical music aficionados were singled out here. I guess the obvious implication is that regular music aficionados and general classical music patrons were un-wowed by the performance at the Carpenter Theatre.

Intriguing, indeed.

"Dancers, Dreamers and Presidents for Orchestra," written by Haitian-American contemporary composer…

I like what I see here. New music...and one and a half sentences without the need to snark.

But yes, that contemporary music does tend to scare of those classical music novices.

…Daniel Bernard Roumain, launched the energetic opening piece.

A rough turn of phrase, to be sure, but you still have me. New music wows classical music lovers -- good news indeed!

So, can I hope for more than a one sentence review? Some in depth history or analysis? And more importantly, that this contemporary composition isn't just viewed through the lens of some gimmick, and be allowed to exist by itself as a work of art?

It was inspired by a 21-second dance shared by then-Sen. Barack Obama and Ellen DeGeneres on her TV show in 2007.

Hmmm… er. I hope this piece isn't as lame as it already sounds. Sorry, Daniel. I’m sure it’s a great piece and all (I mean, it did wow classical music aficionados), but just because it’s contemporary doesn’t make it not cheesy.

Remember, how we discuss music colors the reactions of others...and I'm not just alluding to critics. Contemporary music cannot just be another scavenger of the trash-heap of pop culture.

But, how about alleviating some of my concerns that this is just some trite gimmick about “hope” and what not?

His message is one of hope that the road to peace might be better served by dancing together than haggling over our differences.

figure misunderstood: "It's trying to bringing love! Don't let it get away! Break its legs!"

Who knew that the road to world peace went through a moderately amusing segment on a morning talk show.

I guess I shouldn't talk since I did write my Will it Float? Symphony.

And I do love when music is about all that hope-y, change-y stuff. It’s a powerful message, no doubt. One I’m not sure many composers have the courage to put out there.

The composition, which was commissioned by the Sphinx Commissioning Consortium, is fundamentally a dance piece.

Meaning people are intended to dance to it? How many dance halls employ full symphony orchestras nowadays?

It appears to include a part of everything Roumain has met in his musical life in terms of the classical and pop world.

Oh boy, a piece about world peace that bridges the divide (once again) between classical music and pop music.

I’m sorry. I love new music.

Snap out of it, Gustav.

As the three movements of the piece unveil, the element of surprise is intriguing. "Dancers" begins with a banging solo…

Is that “banging” as in awesome, or “banging” as in whacking stuff with sticks?

…for the timpani and drum kit, so reminiscent of Afro-Caribbean melodies.

I’m not sure which part that sentence is extraneous…the “so” or the comma, but we definitely need to lose one. And I think you mean rhythms and not melodies here. But, what do I know.

In "Dreamers," the contrabass section makes its dramatic entry, while another incarnation of musical vignette unfolds.

Really, is there any part of the music that doesn’t “unfold”, or isn’t “musical”?

Chordal patterns again repeat in "Presidents"…

Chordal patterns do tend to do that, from time to time.

…but quickly morph into hip-hop beats creating a crowded score.

And this too, although, I would wager with slightly less frequency.

figure presidential dignity: The Ellen Show quickly morphing into hip-hop beats with an actual presidential candidate.

Here Roumain's musical interpretation comes off as fragmented. But this may be purely intentional, as discontent ultimately breeds fragmentation in our world.

You're theorizing that his fragmented musical interpretation was intention. Wait, his music interpretation of what...hip-hop? And whose discontent are we talking about?

What we have here is a failure to communicate. Now, this seems to be an interesting analysis of the eclectic juxtapositions being made in this piece, but if you think about it for a second, I have no idea what the author is talking about. It may very well be that his fragmented musical interpretation was intentional. But, his music interpretation of what...hip-hop? And whose discontent are we talking about?

I should slow down though. For all my grousing, I do laud the author for taking the time to discuss this piece in such detail…especially when most critics would save their column inches for these next two works.

Tomasi's Concerto for Trumpet and Orchestra

Ah, the Tomasi Trumpet Concerto...I have been known to partake of this particular concerto from time to time. It is a striking piece, and as Philip Ramey writes in the liner notes to Wynton Marsalis' recording of this piece:

"Perhaps the most striking elements of this brittle yet lyric piece are the opening movement's trumpet cadenza with quiet snare-drum background and the jaunty cartoon-music finale."

Couldn't have said it better myself.

The trumpet, which dates to at least 1,500 B.C., has been a victim of musical snobbery in history.

Snobbery, eh? Do you have any particular composer in mind? Mozart was rumored to be a trumpet-ist.

But certainly not when Thomas Hooten is playing "Concerto for Trumpet" by French composer Henri Tomasi.

Wait, the trumpet players were the snobs?

The lyrical piece is neo-classic in texture, melody and rhythm and has three of the maestro's signature trademarks. The music is structured, concise and clear.

How convenient that three of Tomasi’s trademarks are completely consistent with all neo-classical music.

While some may regard this particular work as slightly brittle,…

Brittle?

Huh. I wonder who "some" might be.

…Hooten breathes life into the opening movement of the trumpet cadenza.

Cadenza = concerto?

While he appears to fatigue a bit during the cartoon-music finale, he nonetheless leaves the stage with a standing ovation.

Is it normal that only players who don’t get tired during a concerto get standing ovations?

And that's so funny that you called it a "cartoon-music finale"? I guess it didn't realize how clearly that finale sounds like cartoon music.

figure unoriginal: Hey, who's your favorite player?

Symphony No. 6 in B Minor, Opus 74, "Pathétique"

One of the great classical music composers is Pyotr Il'yich Tchaikovsky.

Are you writing a report for your high school music appreciation course? Here, let me save you some time by giving you part of a report I wrote on Tchaikovsky.

Tchaikovsky was born on May 7, 1840 and died of suicidal cholera on November 6, 1893. Although, he was Russian, Tchaikovsky was no communist as attested to by his pro-American anthem, the “1812 Overture”, written in honor of the glorious victory of America over the forces of evil (France) for a 4th of July celebration. Equally famous for his symphonic, ballet and operatic output, he strongly resented the trumpet.

And while Symphony No. 6 in B Minor was meant to be a celebration of life, he died nine days after its premiere.

How pathetic. But it’s a good thing that his death couldn’t actually rewrite the music, which should still sound like a celebration of life, right?

It begins with the somber voice of the double basses and is punctuated by the violas' mournful voice.

That’s not how I’d compose a piece celebrating life, but I’m not one of the great classical music composers either.

Listening carefully, one instinctively feels that something is haunting the composer's mind.

Aren’t the concepts of “listening carefully” and “instinctively” sort of at odds with each other?

Can I find fault with any sentence? Are all my comments in the form of questions? Never mind.

If only Tchaikovsky had called 555-2368, maybe the music wouldn’t have retroactively been rewritten. And maybe he might still be alive today.

The Richmond Symphony Orchestra does a flawless job of interpreting this agitation. All that was left in its wake was thunderous applause.

They applauded Tchaikovsky’s inner turmoil and utter demise? That seems like a bit of a jerk move don’t you think?

Symphony Programs Beethoven, Staff Critic Approves

A season preview in the Richmond Times-Dispatch, simply attributed to the Staff Reports.

Richmond Symphony: On the Knees

Seems like a difficult way to perform, but whatever...on their knees it is.

Beethoven's Ninth Symphony has established itself as the most beloved work in the repertoire.

Ah, Beethoven's Ninth Symphony, no other piece is so universally praised and loved.

I think super-duper composer Louis Spohr summed it up nicely in his autobiography:

"I confess freely that I could never get any enjoyment out of the Beethoven's last works. Yes, I must include the among them even the much-admired Ninth Symphony, the fourth movement of which seems to me so ugly, in such bad taste, and in the conception of Schiller' Ode so cheap that I cannot even now understand how such a genius as Beethoven could write it down. I find in it another corroboration...that Beethoven was deficient in esthetic imagery and lacked the sense of beauty."

Thanks in large part to its choral finale, known as the "Ode to Joy,"

"Ode to..." what now?

...it serves as the anthem for Europe...

What an oddly nonspecific way of saying that it is recognized as a European Anthem by both the European Union (EU) and the Council of Europe.

...and is played during momentous occasions throughout the world.

Oh yes, the "Ode to Joy"! Quite the famous tune, indeed.

And, thanks to the music in the piece, it's the European Anthem and is used to underscore momentous occasions? Really, could it have been any other way?

But, "Ode to Joy" -- who doesn't love that tune. As Philip Hale so eloquently extolled its virtues for the Musical Record in 1899:

"But oh, the pages of stupid and hopelessly vulgar music! The unspeakable cheapness of the chief tune, 'Freude, Freude!' Do you believe way down in the bottom of your heart that if this music had been written by Mr. John L. Tarbox, now living in Sandown, N.H., any conductor here or in Europe could be persuaded to put in rehearsal?"

embeddence Ode: "Ode to Joy", anthem of Europe and jingle to help sell tickets!

The symphony celebrates triumph and offers consolation during times of sorrow.

And has accompanied some of the most heart-warming cinematic moments:

So, to what do you attribute to this piece's success?

Although not overtly religious -- and Beethoven himself does not seem a man of the creed -- it strikes many souls.

O...kay. That all seems fairly reasonable.

And if the Ninth resembles a secular prayer, then Beethoven's "Missa Solemnis" may be a mass scored not only for believers but for doubters and perhaps even for scoffers.

...Good point?

But now that you've randomly brought it up, I should say that I love the "Missa Solemnis". As was written in the London Morning Chronicle in 1845:

"The Missa Solemnis was generally regarded as an incomprehensible production, the depths of which (if they really were depths) it was impossible to fathom."

Greatest mass ever? I think so.

In both compositions, music is the medium and the message.

So...not a secular prayer, nor mass for the believers and friends?

But why did you bring up the Missa Solemnis?

The pieces came to mind when the Richmond Symphony released its schedule for 2010-2011.

I was just wondering this. Why did these two pieces come to mind when the schedule was released? I'm going to guess it was the stirring words of John Ruskin (yes, that John Ruskin) in a letter to John Brown (in 1881), who wrote:

"Beethoven always sounds to me like the upsetting of bags of nails, with here and there an also dropped hammer."

Steven Smith's first season as music director will open with the Ninth and close with the "Missa Solemnis."

Ah...makes sense. But really, you've already told us sooo much about this music, I feel like I've heard them already. Why bother performing them?

Words cannot fully explain music because music would not be necessary if words sufficed.

Yeah, you're totally right -- well, as long as you don't actually think about it.

But, circular logic aside...are you really sure? How about an analogy?

Descriptions of tunes usually prove as insightful as those wine reviews that detect about 73 distinct flavors in a jug of red. Just listen.

I must say, as a classical music lover, I have been known to take part of jug of red from time to time. Words just won't suffice. Say no more.

But you've gotten to the point so quickly, surely there's a word minimum for this article. Maybe you cram in some random quotes supporting your thesis about the awesomeness of Beethoven? And maybe an odd transition while we're at it?

The finale of the Ninth may convey universals,...

To be sure. But universal what? Universal remotes? Universal Studios? Oh, I know...universal truths? I hope so, because that's how I like my truths.

...but the preceding movement is sublime.

The third movement doesn't have universals, but is sublime?

And, by the way, excellent job on the odd transition here.

So, go on, what ya got on the Adagio movement?

In his charming and rewarding The Ninth: Beethoven and the World in 1824, Harvey Sachs writes of the Ninth's third movement: "[N]othing more beautiful than this movement has ever been written for the symphony orchestra."

Well, Sachs definitely proves his objectivity on the subject by not allowing himself to become victim to hyperbole.

And Sachs is totally right, of course. As the Boston Daily Atlas put it in 1853:

"The Adagio certainly possessed much beauty, but the other movements, particularly the last, appeared to be an incomprehensible union of strange harmonies. Beethoven was deaf when he wrote it."

So, what ironclad evidence does Sachs provide?

Sachs cites Arturo Toscanini's passionate comments that the movement "lifts me off the earth, removes me from the field of gravity, makes me weightless. One becomes all soul. One ought to conduct it on one's knees."

Fascinating. The laws of physics actually cease to exist while the third movement of Beethoven's Ninth Symphony is being performed?

I was aware of the rumors surrounding the mystical powers of Beethoven's music, but never before had I seen it proven.

In Witness, Whittaker Chambers testifies to the transformational presence inherent in the adagio.

Wait? What?

Whittaker Chambers? The Soviet Spy who defected to the US prior to World War II?

The same Whittaker Chambers who testified against Alger Hiss in front of the House Un-American Activities Committee?

That Whittaker Chambers? What did he have to say about the third movement?

Whittaker Chambers testifies to the transformational presence inherent in the adagio.

So, if I may be permitted to read between the lines a bit, not only is the Adagio the most beautiful movement ever written, with powers to break down earth's gravity, but it contains the transformational powers to turn...capitalists into...communists?

And if the third movement is, as Sachs says, the most beautiful symphonic movement ever composed,...

If?

...then the Sanctus from the "Missa Solemnis" stakes a claim for ultimate beauty, too.

Really, how do you figure? Are you suggesting that the Missa Solemnis' beauty is directly tied to our opinion of Beethoven's Ninth Symphony, third movement?

That'd be pretty strange, wouldn't it? Wouldn't really expect that, but what the hell do I know? I didn't even know that there really could be a piece that was the most beautiful symphonic movement ever.

During its coming season, the Richmond Symphony will give music-lovers a chance to decide for themselves.

That the 'Sanctus' can stake a claim of ultimate beauty?

And those unfamiliar with the concert scene will find the programming an accessible introduction to the purest of the arts.

Wait, what were you saying about the communists again?

Tchaikovsky and Higdon make the perfect pear

One of our favorite memes at the Detritus is food metaphors. Oh, no words seem to explain the greatness of a piece of music quite like the comestibles it has nothing to do with.

Today's entry comes to us from the Richmond Times-Dispatch where Angela Lehman-Rios has the difficult task of explaining the difference between a "concerto" and a "concerto for orchestra".

Symphony impressive on a wide range of works

Saturday's Masterworks concert by the Richmond Symphony explored the relationship of parts to a musical whole.

I'm not at all certain what that means, but it sure does sound important.

What parts are we breaking down today. Are we just looking at rhythm? or perhaps harmony? Perhaps those are bit too broad...timbre maybe?

Oh, why guess when you can just tell me.

While the parts were sometimes more interesting, the sum was certainly a pleasure to behold.

So, the parts were more interesting, but you liked the whole thing too?

What were we comparing again?

The program started with "D'un Matin de Printemps" by Lili Boulanger.

Oh, no time for that "parts to the whole" discussion...looks like we've got actual music.

From its shimmering beginning to its full-bodied end, the short work demonstrates the grace and power of an orchestra playing all together.

Yes, the piece features a burst of bold raspberry, slutty kiwis and rambunctious African horned melons, along with hints of chicken, gravel and compost. After a short fugal explosion of toner, semisynthetic organic amorphous solids, and black currant, there is a long finish of nacho cheese with an intriguing ferrous hint.

Conductor Erin Freeman easily drew a rich, balanced sound from the musicians.

Excellent! So, it's as though Erin Freeman made a cohesive whole from the sum of the parts.

I like the unity. Go on.

Tchaikovsky's Concerto in D major for Violin and Orchestra, on the other hand, is a showpiece for a soloist.

Yes, I know what a concerto is, thank you very much.

[snip]

Okay, so far so good. What else was on the concert?

The evening concluded with the five-movement "Concerto for Orchestra," written in 2002 by Jennifer Higdon.

Wait, what? You said this is a concerto...but for what instrument? "Orchestra" is not an instrument, but instead is the sum of many instruments.

This work combines or isolates parts of the orchestra -- entire sections or players within a section -- in various ways, and also gives the full orchestra the sort of brilliant writing a concerto soloist gets.

So, it's a standard orchestra piece? I guess I don't follow. Perhaps you can break this down for me in easier to understand terms.

Think of a salad, if you will.

Okay. A salad.

figure salad: A salad.

Got it.

A violin concerto is grilled tuna atop a bed of greens...,

Whoa, whoa. Slow down...

...violin. concerto. is. grilled. tuna...

...but Higdon's work is a Greek salad:

...Higdon's. is. Greek. salad. Got it.

Okay. But what does it all mean?

In any bite, the feta, the pepperoncinis or the crisp lettuce may stand out, but the flavors work together as a whole.

But the tuna doesn't work together with the greens?

I think I understand?

Nevertheless,...

What do you mean, "nevertheless". We were just on the edge of breakthrough!

Okay, we'll move on, but this better be good.

...the second and fourth movements are perhaps most attractive for new listeners,...

What kind of salad are they?

...since they single out sections of the orchestra (string and percussion, respectively), which makes it simpler to take in something unfamiliar.

Huh? So the reason new music has had such a difficult time finding mainstream audiences is the fault of the woodwinds and the brass sections?!?

Does Brian Ferneyhough know this?

The symphony's percussionists were clearly enjoying the chance to demonstrate a vast range of sounds, and delighted murmurs could be heard from the audience.

Don't they know you're not supposed to talk in between movements? That's like talking with your mouth full. It's just gross.

The third movement features short solos played by section leaders who are joined by the section and often paired with another section.

The section leaders are joined by the section and paired with another section?

Strangely, that couldn't make more sense.

Yes, pairing section leaders with a contrasting side section can be an effective way to build a menu...er, I mean work.

The violas, led by Molly Sharp, made delicious work of their tune,...

[insert food joke here]

...while Russell Wilson's piano and Lynette Wardle's harp were also highlights. Leisurely crescendos and decrescendos bind the elements together, as does a sliding motif played by the strings, although it becomes tiresome.

Yep, her music only has two moves: shake, and bake.

The full orchestra performed expertly in the first and fifth movements, and the piece ended with a flashy Hollywood-esque cadence that made the audience laugh.

Hehe. Film music is funny.

...

sigh.