Rachmaninoff's Piano Concerto and Symphonic Dances
February 2015: Rachmaninoff's Symphonic Dances is one of the great orchestral works of the 20th Century. At once famous and unappreciated, the composer wrote this piece as a kind of endgame. History has shown that the great composers of the 20th Century who were derided as conservative have nonetheless endured. This includes Rachmaninoff, and also Richard Strauss, Sibelius, Prokofiev, Benjamin Britten and Aaron Copland. Other lesser composers who chose either the "conservative" or "experimental" path have not lasted for reasons of quality, not genre. Great music is great music.
The sadness of Rachmaninoff's life permeates this music, but so does his steeliness and strength, and many other things as well. To me, this music is great because of the emotional terrain it covers - subtle yet unforgettable combinations of nostalgia and whimsy, violence and humor, surrender and resistance, laughter and tears. These specific, sympathetic, yet undefinable feelings exemplify Russian literature and music. They are highly personal but also universal.
One thing that I love about this piece and seems unique to me is the "haunted house" quality of the music. From the violent poltergeist blows of the first movement, and the phantasmic quote of his own failed First Symphony at its end, to the swirling chromatic ghost waltz of the second movement, to the glimpse of the beyond in the middle of the third movement, to the coda, which pits Dies Irae against Alliluya with no hint of the outcome, this piece is haunted and haunting - uncanny.
As we grow older, the ghosts begin to gather around us, some friendly, some frightening. They keep us company until the end. Few artists have brought their own ghosts to life better than Rachmaninoff does in this piece.
- Edwin Outwater
A Midsummer Night's Dream
January 2015: For me, poetry and the spoken word are special kinds of music. Sometimes when I am in the mood for a night out, there's nothing I like better than attending a play, with great actors speaking great words. The pleasure of hearing rhythm, diction, and inflection without melody and harmony is a kind of artistic spa day for me. It's relaxing, and lets me be a fan: someone who gets to enjoy and admire the hard work and artistry of writers and actors and NOT WORRY ABOUT IT.
For this concert, I am joined by Mervon Mehta and Brigit Wilson, two wonderful actors associated with the Stratford Festival. To hear them recite Shakespeare along with Mendelssohn's youthful and magical score to A Midsummer Night's Dream will be a wonderful treat for me and the audience. We all know that composers are inspired by literature and poetry, but to hear the words of Shakespeare and then immediately hear the music inspired by them is a more immediate, illuminating experience. These two artists obviously didn't know each other personally. Words inspire music here, and the results have a sound and sense all their own.
I've included music by two other composers to highlight the power and potential music possible in Shakespeare's words. Purcell's Suites from The Fairy Queen is the most famous early musical responses to A Midsummer Night's Dream. Purcell's musical numbers included here are short masques included in a 17th Century adaptation of Shakespeare's play. This music has the same playful, magical and mischievous quality as Mendelssohn's. Vaughn Williams's Serenade to Music takes it's inspiration from The Merchant of Venice. Here we do the version without vocal soloists, but the words will be projected on a screen behind the orchestra, and you will see how Shakespeare's glorious words inspired pure sound.
- Edwin Outwater
November 2014: I have a great appreciation of music that's "deceptively simple." As I learned more about music, I came to realize how difficult and admirable it is to write notes that communicate directly, but are full of meaning and sophistication. In poetry it's called "sound and sense," and I think this applies to music as well. Aaron Copland's music exemplifies this. His goal as a composer (at least in the works we'll be playing) was to communicate with everyone. So you'll hear folk tunes, dance rhythms, simple melodies, and feelings that evoke individual and collective pleasure. Though his music has come to symbolize the "American Sound," in films, TV, and even Republican campaign commercials, Copland's agenda was different. Some of his more conservative supporters might be surprised to know that "Billy the Kid" was written by a gay Jewish socialist from Brooklyn. To me, Copland's music is indeed for everyone, but it whispers secrets to musicians. He trained with the refined French pedagogue Nadia Boulanger, and Boulanger's teach was Gabriel Fauré. I hear a direct connection from Fauré's music to Copland's. A carefully chosen soundscape - each note deeply considered, but perfectly natural. Thought and instinct combine into artistry. Listen carefully to Appalachian Spring and Our Town and you'll feel it.
Also on this program we welcome two very distinctive young artists. It takes a violinist with particular gifts to play the Barber Violin concerto. I'm captivated by Tai Murray's sense of storytelling as she plays the piece. The music unfolds as if she's narrating something off the cuff. But behind this initial impact of innocence, one begins to sense a tremendous game plan. Here again, there's great artistry behind the folksy address of the music. I love how Tai captures this, and makes the extreme virtuosic challenges of the music secondary to the expression it demands.
I discovered the music of Riho Esko Maimets in a pile of scores. I'm always trying to discover more great Canadian music. Sometimes I hear about it through the grapevine, and sometimes I plow through a pile of music of people I've never heard of, with open ears, waiting for something to grab me. I included Riho's music in this program because his emotional starscape complements the emotional landscapes of Barber and Copland. I also think he shares Copland's gift of deceptive simplicity. In ...aux étoiles, he chooses his notes deliberately and carefully. He invests great emotional weight in them, and it pays off. He's very young, but already the notes he chooses have sound and sense.
- Edwin Outwater
Todd Yaniw Plays Grieg
For this concert, we welcome Tito Muñoz to join us. Below, he shares some of his thoughts about this special concert.
- Edwin Outwater
I am thrilled to return to KW with this wonderful program featuring two up-and-coming Canadian artists. The opening work, "Eris," was written by Abigail Richardson-Schulte who was born in England but grew up in Calgary. She based her work on the recently discovered planetoid, which is named after the Greek mythological goddess of chaos, discord and strife. The music narrates her story of jealousy and revenge which leads to the Trojan War. It will be my first time performing Abigail's music, so I am very much looking forward to it.
Also on the program is Grieg's Piano Concerto with Edmonton-native Todd Yaniw. Todd is gaining a lot of recongition in the music world through the many awards and competitions he has won and the numerous performances he is giving all around Canada and all over the world. We are very happy to be presenting him on this concert and I look forward to meeting him and getting to know his artistry.
Lastly, we will feature Schumann's First Symphony, titled "Spring Symphony." It was Schumann's very first symphonic work which he wrote in only one month! At the time, he was only known for his piano and vocal works, but his wife Clara encouraged him to write orchestral music. This is one of my favorite pieces to perform. It has so much magic and life, and it manages to be very lyrical and rhythmic at the same time, and this is the characteristic about some of Schumann's music that I love very much. He also recalls his piano piece "Kreisleriana" by using some of its material in the final movement of the Symphony.
- Tito Muñoz, guest conductor
Time for Three and Encores!
August 2014: I am completely thrilled to welcome Time for Three to our opening concert of our Signature Season. They first joined the KWS on our Intersections series and created a sensation. Since then, they've played with major orchestras all over the world and created a genre of music all their own. Nick, Zach, and Ranan are a "classical music garage band," and bring a kind of exuberance, freedom and spirit to their performances that I've always yearned for in classical music concerts. They back up their showmanship with impeccable musicianship at the highest level. For our concert, they'll be playing a classical "mashup" of Grieg's "Holberg" Suite and lots of unexpected and wonderful melodies. I really think these guys are part of the future of classical music, and if you haven't seen them in KW yet, you won't want to miss them.
As a bonus, check out the video to the right of Time for Three playing Leonard Cohen's "Hallelujah," in my KW loft during their first visit here. This video has been viewed almost 12,000 times! You can also see it on Youtube.
I always like to begin the season on a lighter, festive note, and this season is no exception. We'll be playing a collection of some of my favorite encores. From John Estacio's Bootlegger's Tarantella to Fauré's famous Pavane, the second part of the concert will be full music that is, in a word, delightful.
Joining me on this concert is our new assistant conductor, Daniel Bartholomew-Pyosner, who impressed all of us this spring in a very comprehensive and competitive audition. He brings great skill, enthusiasm, and teaching experience to us, and we'll be thrilled to welcome him to the KWS family. He'll be conducting Glinka's Ruslan and Ludmilla Overture.
Hope you can take some time to join us for our opening concert! See you there!
- Edwin Outwater