Kallen at Calvary

On Wednesday afternoon October 21st 2009, I attended one of the six free concerts and lunches at Calvary Episcopal Church, located downtown at the corner of 2nd St and Adams Ave. If you haven’t heard about Calvary and the Arts, I recommend looking into it! It’s a great opportunity to hear wonderful music for free and for a small fee enjoy some delish food as well! This past Wednesday I saw renowned opera star Kallen Esperian perform a diverse repertoire ranging from traditional American art songs to operatic standards. Sometimes between songs Kallen would explain why she chose to include a particular piece in the program that afternoon. While it was hard to hear a lot of what she was saying since I was sitting towards the back of the sanctuary, it was great to see how passionate she was about each song she sang. Her rendition of “Vissi d’arte” from Puccini’s opera Tosca nearly brought me to tears! I thought the combination of American music with standard opera rep was an interesting change from last year’s performance, in which almost all of the selections were operatic. I have to say, though, I really do prefer hearing her sing the arias rather than the American folk songs!
These concerts will be going on through December 9th every Wednesday at 11:45 am. They last about 45 minutes and are totally worth it! This upcoming Wednesday features Joyce Cobb, a “Jazz Diva with a Memphis Soul”. Don’t miss out!
-Brigid Hannon

The Topping Tooters of the Town!

On Tuesday October 20^th, 2009, upon my return to Rhodes after fall break, I immediately launched back into the Rhodes music scene by attending an early-music concert featuring The City Musick ensemble, directed by William Lyons. They performed “Music of the London Waits” on period instruments such as the sackbut (a precursor to the trombone), cornett (similar to a clarinet), recorder and bagpipes. Between many of the pieces Mr. Lyons would explain the background of the next piece to be played as well as giving informational tidbits about the instruments. Thankfully he also explained what a “Wait” is. The London Waits in particular were town pipers who rivaled the king’s minstrels and every English town worth its salt had a band of Waits. Their music is instrumental and the vocal selections are mostly secular, although there were a few psalms (including the old hundredth) featured in this concert. All of the music on the program was composed between 1550 and 1650. While I had not heard of many of the composers on the program, a few names did stick out: Thomas Morley, Anthony Holborne and John Dowland.

I particularly enjoyed how each performer truly embodied the concept of the “Renaissance Man” because each member of the ensemble played at least two instruments and sang. Their overall sound as vocal ensemble was interesting. I enjoyed the timbre of their singing because it had a folky feel to it. They did not refine vowels and kept their sound very bright and forward.

Currently The City Musick ensemble is concluding a tour through the United States and I assume they will return back to their native UK soon. If you’re ever across the pond and get a chance to hear them perform, seize it! It’s a great opportunity to hear Renaissance music and hear how different their antiquated instruments sound compared to their modern day counterparts!

- Brigid Hannon

George Crumb Retrospective II

On Friday evening, October 2nd, 2009 a friend of mine and I attended the George Crumb Retrospective II concert at University of Memphis. This program featured music by the 21st century composer, George Crumb—a composer best known for his unusual use of traditional instruments. This concert featured Crumb’s application of extended musical techniques on the piano. These techniques included plucking the piano strings from under the lid and applying various “tools” to the piano keys and strings. There were three different pianists who each played three distinctly different pieces.
The first piece, Processional (1983), was my favorite, though I rather enjoyed the whole program. Processional did not employ any extended techniques and consequently sounded the most “normal” of the bunch. In fact the non-functional harmonies and soothing nature of the piece reminded me of music by impressionist composer Claude Debussy . The only “Crumb-ian” thing about the piece was the occasional cacophonous sound of “tone clusters” abruptly banged on the piano by holding down several keys at the same time. Expect the unexpected in works by George Crumb!
The rest of the program was fascinating and much more indicative of the George Crumb style I’m familiar with. The other two works performed were A Little Suite for Christmas, A.D. 1979 and Gnomic Variations (1981). The Christmas suite was cool and eclectic, incorporating original music and occasional quotations of other music by different composers. My only complaint is that it was hard to follow since all the movements flowed into each other. The Gnomic variations sounded like moon music because of the strange timbres elicited from the piano by means of a block applied to a cluster of keys and plucking the piano strings. Both of these pieces used extended techniques to achieve unique timbres, proving that the piano is a much more versatile instrument than most expect.
I really enjoyed this concert and highly encourage any interested in contemporary music to attend the next installment George Crumb Retrospective III on Friday October 16th, 2009 at 7:30 pm. It will be held in the Rudi E. Scheidt Music Building on the University of Memphis campus.

- Brigid Hannon

Mozart and Stravinsky, anyone?

On Friday January 30^th, 2009 I attended the MSO’s performance of selections by W.A. Mozart and Igor Stravinsky. The performance was held at the Buckman Performing Arts Center, located at Saint Mary’s Episcopal School. The venue was much smaller than the Cannon Center and as such, conductor David Loebel took advantage of the smaller, more intimate space and made the concert more personal by giving the audience some background information about Stravinsky’s musical career.

He explained that the unusual combination of Mozart and Stravinsky in that evening’s program was not as strange a combination as one may initially think. He pointed out that the Stravinsky music played in this concert—Eight Instrumental Miniatures for 15 Players and Octet— was from Stravinksy’s neo-classical phase, and therefore more diatonic and more in the style of classical music. Personally, I did not find a very strong connection between Mozart’s Sinfonia Concertante, K. 364 and Symphony No. 33 in B-flat major, K. 319 and the Stravinsky selections.

Neither of the Stravinsky pieces was nearly as lyric, melodious or as diatonic as the Mozart. In fact, the Octet reminded me more of “Rite of Spring” than anything ever composed by Mozart. The octet was an unusual assembly of instrumentalists, comprised of a bassoonist, two clarinetists, two trumpet players, a flutist and two trombones. The bassoon was given many complex motives to play in quick succession and while it was impressive, it was not as catchy nor as predictable as the Mozart pieces. The unusual scoring, coupled with the various motives being introduced and sporadic nature of their entrances in the music are what reminded me most of Rite of Spring.

The highlight of this concert was definitely Mozart’s Sinfonia Concertante, K. 364. It featured a standard orchestra and soloists Susanna Perry Gilmore on violin and Jennifer Puckett on viola. The ornamented melodies and long, running phrases were impeccably played. I especially enjoyed when one would play a melodic phrase and the other would repeat it, in a slightly different fashion, as Mozart notated. They handled their respective instruments deftly and gracefully. It was such a treat to watch as they would physically lean into phrases and really feel the music they were playing.

On the whole it was a good concert and interesting to see how the orchestra members interact in a smaller environment. I especially enjoyed that Loebel addressed the audience, marking this occasion as distinctly different from other symphony performances, perhaps somehow more special.

- Brigid Hannon

MSO Does Mozart, Strauss and Dvorak

On Saturday January 17th, 2009 I attended the Memphis Symphony Orchestra’s (MSO) performance of selections by Mozart, Strauss and Dvorak. The program began with the familiar melodies from the overture to Mozart’s opera, Don Giovanni, proceeding then to my favorite piece of the evening, Don Juan, Opus 20, by Richard Strauss. It required a full orchestra and then some! I liked the rich sound and the passion and yearning it inspired. I think the violins really made the performance what it was because they created tension by means of various motives played quickly, even urgently, in a minor key. Strauss’ Burleske in D minor was next on the menu for our aural palate and it was quite impressive in a rather different way from Don Juan. While Don Juan employed a large orchestra, focusing on the strings for most of the dramatic effect, the Burleske had something else to offer: a prodigious Irishman (Barry Douglas) at the grand Steinway piano. His skills were top notch. I particularly enjoyed the instance when he rapidly played a sequence of chromatic scales…all the way down the piano!! It was definitely a treat to see him perform! The Dvorak was lovely but not quite as impressive as the other pieces on the program. I particularly enjoyed the dance-like third movement…in fact, I liked it even more than the fourth movement (even though the fourth movement is generally supposed to be the most impressive and dazzling of the four).
As always, I encourage more Rhodes students to take advantage of the student rates and the coda tickets offered by Rhodes, and see go to the Symphony!! Tickets start as low as $5 through coda, and $10 at the MSO box office (located in the Cannon Center). The next performance is Saturday February 7th at 8 pm at the Cannon Center, located down town. It features Scott Moore on the trumpet. I hope to see you there!-Brigid Hannon

Dr. Harter’s Recital

On Thursday October 23rd, 2008 I joined countless others in Tuthill Auditorium of Hassell Hall to hear Dr. Harter’s oboe recital: Music and Letters from the Nineteenth Century. Most of the music faculty perform annually and I was excited to see how Dr. Harter’s would compare to last year (in which she performed selections by Prokofiev—a composer near and dear to her!). This year’s concert was a complete departure from last year’s—but just as delightful! Her program featured the music works and letters of Robert and Clara Schumann, Johannes Brahms and Heinrich von herzogenberg. I was particularly excited about this music and these letters because they came straight out of the German romantic era—a movement that swept the arts and permeated society itself in Germany during the 1800s. They took their romantic notions very seriously! As such, the music and letters explore many emotions, bringing one to tears with or joyous laughter. They did this by means of particular intervals in the music that create tension or a particular term of endearment in a letter.

The letters gave critical insight into the thought-processes of the composers and how they made their living, as well the effect of their music on themselves and their audience. These letters also provided intimate glimpses of how these people interacted and how their music reflects not only their ideas and notions, but the ideas and notions of society. Dr. Harter drew an apt and interesting parallel between the art of writing a letter and the art of music itself. In her own words: “all of the little things make a letter personal and unique: salutations, endearments, inquiries about health and happiness…after you drop your work into the mailbox, there is a physical sensation of accomplishment, followed by that anticipation that you might get a reply from someone else in the world that also practices this lovely art”. Just as the minutiae of a letter make it unique and whole, so too in music do the smaller things, like motives, cadences and key changes, distinguish the piece from others as well as making it a completed work. The sense of accomplishment in finishing a letter or completing a musical compositions are similar—one must wait to see how his/her masterful creation is received and hope that somebody else in the world understands the underlying message of their creation.

I hope to see even more people at her recital next year! It’s an event not to be missed!

Interview: Questions by Laura McLain. Conducted by Laura McLain and Brigid Hannon.

1)How long have you been playing the oboe and why did you choose to focus on the oboe over other instruments?
I started in 3rd grade – it was one of those “meet the band instrument” days in music class. Everyone I knew played the flute or clarinet, and the oboe sounded kind of neat. I tried it out on that day and actually got a sound, and had some lung capacity, so they pushed for me to try it. When I went home that night and told my parents I wanted to play the oboe, they had to open up the encyclopedia to find out what it was.
Knowing what I know now, I would probably pick the cello or French horn – great instruments, great expressive qualities, great ranges, and no reeds!

2)How do you feel about your recital?
It was fine. (Nothing’s ever perfect…)

3)If you had to choose only three composers to listen to for the rest of your life, who would they be?
I think you helped me pick these: Antonín Dvořák (Czech, 1841-1904), Francis Poulenc (French, 1899-1963), Astor Piazzola (Argentine, 1921-1992) – all three have great variety in their writings, a lot of folk influences, lots of different genres.

4)Best musical event you have ever attended or participated in?
The best $10 I ever made: I joined the “Jazz Chamber Music” course during my senior year of undergrad. Of course, my friends told me that I was in the wrong room that first day. I told them I was taking sand paper to my “square” (or “classical”) corners. The director taught me a lot about reading chord changes and how to improvise (“no such thing as a wrong note, just wrong resolutions” was his motto), but I always impressed the jazzers with my sight reading skills. Late in the semester, a cold December night in Pittsburgh, the group went to a jazz club downtown – the performing space was in the basement, and cold and dank. But we had a blast performing everything. The instructor’s sister was a jazz vocalist, so she came and sat in while the group of us made up little riffs to back her up. It was a great evening – and we each made $10! (I think I spent mine all on hot chocolate that night!)

5)What advice would you give to music students who do not know which career path to follow?
The best advice, make sure to enjoy what you’re doing, no matter what. It’s great to be personally invested in all of your work, but find time to be yourself on your own time too. Balance is important, and I’m still working on that myself.

6)How did you end up at Rhodes?
A little luck. I feel like I was in the right place at the right time. I had finished my comprehensive exams at the University of Connecticut and was teaching at the Oberlin Conservatory when I had the interview here at Rhodes. I had two one-year contracts when I was teaching mostly music courses for the general liberal arts student including a course entitled “Paris at the Turn of the Twentieth Century.” I then went to Georgia State University for a year while I finished defending my dissertation. I came back to Rhodes on a one-year contract and then won the tenure track job. I feel very fortunate to be in a place where I can continue to learn too – and also to model the ideals I feel are important – a musician, an educator, and a scholar.


7)How do you spend your free time? Favorite Memphis activity?
Free time?! What’s that?! Grading…practicing…sleeping…
Really, I schedule time to play badminton a few times a week – I’ve been playing since high school and there are few places in town to play, including the navy base in Millington. I love to go hear live music on Beale Street, and now that the new smoking laws are in effect, the weeknights are pretty breathable!

8) Do you watch tv? what shows? What is the last movie you saw in theaters?
I watch way too much television and I don’t even have cable! Numbers – because it’s about a college professor who works with the FBI, and I have a thing for numbers. NCIS – I have a few navy connections anyway, and Mark Harmon is good eye candy! Then I have my collections of tv on DVD: Frasier, M*A*S*H, Chuck, Star Trek Next Generation, Home Improvement, etc.
The last movie – well, does the Metropolitan (NY) Opera productions in the movie theatres count?! (http://www.metoperafamily.org/metopera/broadcast/hd_events_next.aspx)

I saw the last James Bond movie, and I’m looking forward to this upcoming one.

9) Is there a person or event that has shaped your life significantly?
This took a while to think about, but I don’t know why. One of my oboe teachers in undergrad (I had three…) made a huge impact on how I do things here at Rhodes. He also coached my wind quintet and a number of other performing classes. Once, the quintet had been booked for a lunchtime concert at the PPG building downtown Pittsburgh where business people were to bring a brown bag lunch. My teacher showed up with his own brown bag lunch “to make sure there was someone in the audience.” He was our cheerleader (who also then critiqued our performances at the next coaching time…) but he was always there to make sure we had an audience. I try to do that here – I always try to make events that I have students involved with, including sporting events. It’s nice to have a friendly face in the audience.


- Brigid Hannon, Laura McLain

Review of Professor Bryant’s Recital: An Evening in Old Vienna

On Monday November 10th, 2008, as I entered Tuthill Auditorium in Hassell Hall, I came in expecting a great piano performance and some interesting music—what I got was much, much more. After Professor Bryant’s opening remarks about the content of the program, I knew I was in for a treat! He organized a concert of purely Schubert music, and not only for piano, either. The program featured a couple of piano solos, a collection of art songs for voice (Sandra Franks) and piano, and a piano trio with cello (Iren Zombor) and violin (Wen-Yih Yu). Professor Bryant transitioned from his solo pieces to the arts songs and from art songs to the trio by sharing tidbits about Schubert’s personal life, musical style and also his own personal experiences in Vienna with some of the music on the program. This touch made the performance very personal and educational. I especially enjoyed how special the piano trio was to Professor Bryant. He was asked to sight read it when he was in Vienna! His deep connection not only with this piece, but several others on the program made the aural experience simply phenomenal! I particularly enjoyed the Schubert art songs, both for their inherent lyricism and the distinctive motives in the piano accompaniment. Each piece had a specific motive and key that fit in exactly with the subject matter of the song—this was especially noticeable in Auf Dem Wasser Zu Singen (“To be sung on the water”) because the arpeggiated chords in the accompaniment sounded like rippling water. I highly encourage all students to attend faculty music concerts; they’re a great way to hear beautiful music and learn something, too!

Interview with Professor Bryant about his recital on Monday Nov 10th, 2008: Questions by Brigid Hannon. Conducted by Brigid Hannon.

1) How do you feel about your performance on Monday Nov 10th?

“I was really ecstatic about it! I was thrilled with the audience’s reaction, especially at the end of the recital, at the end of the trio—how well it was received. I just feel really good about it! Actually, when I think about other recitals some I haven’t felt as good about as I did this particular one.”

2) How did you go about preparing for this concert?

“One of the solo pieces, the impromptu, I’ve known forever…since 1981 when I was in Vienna! The very first piece, Moments Musicaux was brand new to me. I’ve taught it to students but this is the first time I’ve learned it and performed it. I learned it about a month before the fall semester began. The soprano and I decided which songs to perform, 4 of the 5 I already knew.”

3) Favorite Piece?

“I believe my absolute favorite of the whole thing was my second solo piece and that’s the impromptu in G-flat Major. That was one piece I learned over in Vienna, 27 years ago, so its been a part of me that long! The trio is my absolute favorite piece of chamber music for the reasons that I explained during that recital about the personal meaning it had to me.”

4) Practicing techniques or memorization tips?

“It depends on the style and the actual piece of music it is. I always catch my self with every lesson where someone’s memorizing something, saying ‘One time with the music one time without the music. Even if you have to break it down phrase by phrase.’ Drilling it over and over with the music so that you get that visual reinforcement and then trying it by memory.”

5) How did you get interested in Piano?

“I was reared in a small town, a small town in North Georgia and we were a family of five. There were three of us boys, I was the youngest of the three. To be completely honest with you, Brigid, each of us took piano and started either when we were in kindergarten or first grade. A lot of it was a competitive thing. It did work out that my older brothers one by one dropped off around fifth or sixth grade. By that time I was with a teacher and she realized that I had some stuff. That I had some extra gifts and that of the three guys I was a natural at it.

6) Favorite composers to play music of?

“What I did the other night is certainly a favorite. Most of that is because of my year in Vienna and the experiences I had there. So Schubert is one of the first ones that comes to mind. Also Rachmaninoff and late Beethoven. He [Beethoven] spent the later period of his life in Vienna and I got to walk on some of the streets where he walked and visit parks where he did some of his composing.

7) What is the most exciting or memorable experience in your life?

“Well if I think of everything in my life I think it would just hands down have to be the birth of my children. That moment when the child is born is just one of the few times where my jaw just has dropped and I found myself speechless. That’s just something that can’t be put into words just how wonderful that was. When I got to hug my son for the first time was one of life’s greatest moments. I can still remember that electric moment when I could first hug him.

8) What do you do in your free time?

Most of it is spent playing with my son—that’s anything from soccer to baseball, a little bit of football. But his favorites are soccer, baseball, jump rope and anything having to do with High School Musical. He’s the only one at home now that my daughters are both in college, that way the spare time is spent mostly with him.

- Brigid Hannon

Chamber Music Concert

On Thursday November 13^th, 2008 I braved the blustery winds and made my way over to Hassell Hall to attend the Rhodes Chamber Music Concert. All of the performers were current Rhodes students and I was impressed with the wide array of instruments and diverse repertoire. Each ensemble was comprised of a different group of instruments, and the ensembles ranged from a string trio performing selections by Antonin Dvorak, to a guitar ensemble imitating the sounds of rain in Leo Brouwer’s Cuban Landscape with Rain, to a quintet including bassoon, oboe, French horn, clarinet and piano playing Beethoven—and everything in between! I love watching how expressive the instrumentalists are while playing the music. Violinists are particularly fascinating to watch because of their arm movements, and the way they tend to lean into phrases and relish sustained notes. There were a number of talented violinists at the chamber music concert that evening, all of whom engaged with the music in different ways. Another instrument and instrumentalist I enjoy hearing and watching is the flute. The only noise I can coax out of a flute is a shrill high note, so hearing beautiful legato phrases and high notes that don’t induce head-aches is a real treat! My favorite piece of the program (aside from the Geographical Fugue) was “upbeat” from Springsongs, by Gary Schocker. Nicole Baker played flute and Tyler Turner accompanied on piano. The duet was riveting and beautiful. It required quite a deal of breath support and control as there were several runs up to the higher notes in the flute’s register—but Nicole managed it with lovely musicality and grace. In fact, it sounded like something out of a movie soundtrack from a 1960s or 70s classic!

Of course, no chamber music concert is quite complete without the rhythmically demanding, spoken word piece called “Geographical Fugue” by Ernst Toch. The entire Music Theory 206 class clambered on stage to show off their skills! I walked out of the theater that night thinking about “Trinidad! And the big Mississippi…”.

I think more students should attend chamber music concerts. It’s a great way to hear new music and support your friends! It was so fun to cheer on my friends and it’s always a comfort to the performer to see a familiar, smiling face in the audience! The next Rhodes student performance is the Wind Ensemble performance on Thursday December 4^th at 7:30 in the BCLC ballroom. I hope to see you there!!

- Brigid Hannon