A residency to remember

Commitment. That’s what the Borromeo String Quartet exudes along with talent, passion, and spirit.

The first time the Borromeo String Quartet played at Merrill Auditorium in 2006, they were part of PCA’s celebration of seventy-five years of bringing world-class artists to Maine. A small residency with these talented artist-educators was a first for PCA in its efforts to new and different ways to support music education, specifically to support the five strings programs still alive in school districts throughout Maine. The spring concert and residency activities were a triumph! The Borromeo had groupies who followed them from Portland to Presque Isle for concerts later that year.

In 2008, PCA collaborated with the Borromeo String Quartet for another first – a premiere of a PCA-commissioned piece by Maine composer Elliott Schwartz. While rehearsing the new piece, the Quartet also performed, coached, and taught a week-long strings residency that involved patrons of all ages. From Kennebunk to Lewiston, from Gorham to Windham, from Portland to Augusta, to Searsport, Mount Desert Island, and Orono, more than one thousand patrons could hear the Borromeo String Quartet play Beethoven, Mozart, Schumann, and Schwartz. 

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Celebrate with PCA in 2008–09

I am delighted to share with you PCA Great Performances’ seventy-eighth season.

When I think of PCA’s 2008–09 season, the word that springs to mind is “celebration.” Together we’ll celebrate exquisite artistry, singular perspectives, global expressions, our vibrant community and young audiences.

Any discussion of exquisite artistry must recognize world-renowned master of the cello and cultural ambassador, Yo-Yo Ma. In February 2009, PCA celebrates its eighth presentation of Mr. Ma to Maine audiences with a special Endowment Benefit Event. We’ll celebrate the American songbook with works inspired or created by Irving Berlin and Stephen Sondheim. From a singular voice to an unabashedly American dance sensation to an incomparable a cappella singing ensemble, these artists bring to light contemporary perspectives and rich traditions.

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A close call for a precious violin

I have a special morbid fascination for valuable instruments that come to harm – it isn’t schadenfreude (I swear) but rather empathy for the unlucky musician mixed with a horrible fear that I will cause some similar disaster someday.

In that light, I offer you this BBC story with a happier ending than some. Violinist Philippe Quint left a 1723 Stradivarius in a Newark, New Jersey taxicab last month. The cabbie very kindly returned it, and has been rewarded with money, with a private concert by Mr. Quint at the taxicab waiting area of Newark Liberty International Airport, with tickets to Mr. Quint’s upcoming Carnegie Hall performance, and – get this – with the key to the city of Newark. I think I speak for us all when I say that he deserves every bit of it.

Anyone interested, as am I, in historically significant musical instruments will be interested in next week’s James Ehnes performance – Mr. Ehnes plays the 1715 “Ex Marsick” Stradivarius. And this coming Thursday we welcome the Borromeo String Quartet, whose cellist Yeesun Kim plays a remarkably gorgeous instrument crafted by Bresciani Peregrino Zanetto sometime around the year 1575.

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When classical music was not classic

At my advanced age, I consider myself a classic; so does my “tweenage” daughter. I remember when rock and roll was “new” to me and I claimed it as my own.  Now, the Stones, the Beatles, and Elvis are considered the classics of rock music. Funny how your perspective of the word “classic” changes as you age.

I was thinking about classical music as I prepared to write a primer for the Borromeo String Quartet lecture-demonstration during their May residency here with us and one on chamber music in general for PCA Offstage, a companion to the primer on modern dance. Download the primer now.

Was classical music so-called because it was “classic” or because it followed some renowned Greek or Roman form, notation, or defined structure? Did Mozart consider himself a classic? Certainly not. He was just creating music to please himself or others and pay the bills.  He played around with tunes he liked or disliked, written or influenced by someone else. It was after all, just the music of his time. Now it’s considered “classic” just like rock ’n roll from the fifties and sixties! I asked Nick Kitchen, first violinist of the Borromeo String Quartet, and Elliott Schwartz, composer and music professor, about their thoughts on the term “classical music.” You can find their responses right here on the PCA blog.

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The feel of eavesdroppers

The Merrill audience was treated to a marvelous piece of theater last night in the Acting Company’s rendition of Orson Welles’s Moby Dick Rehearsed. Sparse sets, rich lighting, imaginative direction, a brilliant script, and uniformly excellent acting made this a performance devoutly to be remembered.

As part of PCA’s marketing staff, I have been reading and writing about the show for a year now, so I knew what I was getting: Welles’s take on the many parallels between King Lear and Moby Dick. But the parallels were both more plentiful and less blatant than I expected, and I found myself never quite sure whether they were being drawn by Welles, or by Melville, or by the talented cast and director.

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On working with the Borromeo

I had a wonderful time at the March 21 meeting with the Borromeo String Quartet – not only going through various passages with them, discussing questions of articulation and the like, but also taking part in the public open rehearsal at USM that followed. As the composer of For Louise and Aaron, I’ve been “hearing” the new piece in my imagination for months – but not in the real acoustic world until the quartet members and I got together in Gorham. Of course I’ve played my new piece at the piano – passage by passage, chord by chord, while I was writing it. But piano sounds don’t really translate into the sonority of four string players – and certainly not these four string players, who are so remarkably gifted, flexible, and capable of great nuance in their phrasing and textural balance. Hearing the piece played in its proper string context – and by the fabulous Borromeos – and in front of an audience – was a remarkable experience!

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In Ron Brown’s dance, the telling takes us home

It’s confession time: although I’ve become an increasingly passionate devotee of contemporary dance, I still have a decided penchant for narrative dance as opposed to more abstract work that celebrates the human form in movement for movement’s sake. In last evening’s PCA-presented Ronald K. Brown/Evidence dance performance at Merrill, we were treated to three works that ranged in succession from the obtuse and oft-challenging “One Shot” to the riveting, transcendent storytelling of “Order My Steps” and “High Life,” replete with the narrative brilliance that is the hallmark of choreographer Brown’s best work.

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Making new Ugandan friends

Rajab Bosaga, age 14, from Nakisenyi, Iganga, Uganda and Maria Moreau, age 11½, a sixth grader at NYA.

I went in to Spirit of Uganda not knowing what to expect, and left wanting to dance and sing forever. The performance sent a sort energy around the whole auditorium, transfixing everybody with beautiful native songs and dancing from Uganda. The loud melodic sound of the drums and other native Ugandan instruments made everything even more lovely. It is definitely something I would like to see again and again.

Then came the community supper.  I had waited about three weeks in suspense to meet the kids from Spirit of Uganda. But as soon as their bus came in sight, I was all nervous and scared. As they filed neatly from the bus and I shook some of their hands, I was suddenly struck by how nice, polite, and dignified they were. 

The community supper was fabulous! The food was a amazing and talking to the Spirit of Uganda troupe was awesome. Daniel, Rajab, and Peter were just a few of the members I talked to while eating. I also met David Katende who lives in Maine but is from Uganda. They were kind and very open to make new friends. It was very nice.

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Catching the spirit

Sunday afternoon’s Merrill Auditorium performance by Spirit of Uganda was a joyous celebration of life, an affirmation of community both regionally and internationally, and, in these deeply troubled times, an invigorating reminder of the noblest of human ideals and of the universal bonds that tie us together in a common humanity.

Themes of family and community, longing and loss, nature and nurture, love, celebration, empowerment, spirituality, and self– and cultural identity were woven eloquently throughout the ninety-minute performance by the young dancers, singers, and drummers. Artistic Director Peter Kasule’s witty yet insightful narration between pieces helped connect us viscerally with the sounds, sights, and cultures of east Africa, captured heartwarmingly and with such extraordinary vigor by the young men and women of Spirit of Uganda. The matinée performance – and the community supper and reception for the artists that followed with representatives of Maine’s African immigrant, faith, and arts communities – was a very personal reminder for me of why we do what we do at PCA Great Performances, contributing in however modest a way to build community and celebrate the loftiest aspects of the human condition through the power of the performing arts.

We invite you to share your reactions to the show using the comments feature below. And enjoy some of these pictures from last night’s community supper, held at the East End Elementary School.

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Sing us a song, you’re the piano men

Often when you hear of a last-minute cast substitution for an upcoming performance, it gives rise to concern. Who will take over the role? Will it still be magical? Can they fill the shoes (or piano seat, as it were)?

Last week, Portland was treated to a rare treat when the Wednesday night performance of the Tony-winning Movin’ Out featured one of the original Broadway cast members, Wade Preston, in the role of the piano man. And on Tuesday and Thursday nights, the role was filled by Matthew Friedman, who played at Billy Joel’s wedding not so long ago. (Mr. Preston was especially taken by the Kotzschmar Organ; he raved after being given the dime tour of the organ’s insides that he’d never seen such an impressive specimen and he insisted on returning for some FOKO performances this summer.)

This role is wonderfully conceived. It is not so much about “being” Billy Joel, as being a thoughtful interpreter of his music with the cast members’ own personality and skill shining through. For those of you who did not notice the dynamic Piano Men, you were probably too busy watching Twyla Tharp’s choreography and the absolutely, amazing dancing cast. All who were there over those three nights shared a “Portland State of Mind….”

Share your thoughts on the show using the comments feature below.

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On learning Schwartz’s String Quartet No 2

There is a moment which just might be my favorite moment in musical working: it is the moment when a set of pitches which you have become familiar with stop just being a sequence and become music.

With pieces we have heard for many years we never experience this transformation. We are already familiar with some musical journey from our listening. We make choices about how much to repeat what we have already experienced and how much to re-invent it, but we are always starting from an act of repetition.

But with a piece of music that has just come from a pen of a composer, we have the experience of sounding out the notes without any familiarity. We sound them, we correct them, we sound them, we correct them. And then the moment comes, a character forms within the notes. We start to feel that we are conversing with something that has a life of its own. This is where I feel fresh the human ability to take a sequence and with it create music. It is a kind of miracle, really.

Well, on Friday, March 21, as we worked with Elliott Schwartz at USM in Gorham, I had the experience of many breakthroughs as I have just described. First of all, I find some composers exert a commentary just by being there. There were a few things we had not been sure how to do in the score, and a number of them just seemed obvious once Elliott was sitting with us.

Then a few things were made clear through direct commentary from Elliott. [Editor’s note: watch some video clips of Elliott after the jump.]

But then another invaluable part of the learning process had an important chance to be activated. In the open rehearsal we played through the piece for the people attending the class. At that moment it is not just a piece of music but a message going from us the performers to the audience. There is a little higher tension, a little bit of nerves, and most importantly a fresh instinctive impression of how audience relates to what they are hearing.

All of these experiences boded well for the piece. Soon we will get to try to bring it successfully to the audience at Merrill.

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What a Blast!

What a great treat to have Blast! come to Maine! Everyone in the opening night audience was in awe of the talented cast’s ability to play a multitude of drums and horns while executing precision choreography.

The opening number was breathtaking. The sound of a snare’s cadence and a sea of silver horns performing Ravel’s majestic Bolero pulled the audience in for a fantastic ride. 

My fiancée loved it. I glanced over during the finale to see her on the edge of her seat, eyes wide with an enormous smile. One of our favorite scenes was the drummer face-off in which two insanely gifted drummers challenge each other duel-style. We also enjoyed being literally surrounded by the horns as they left the stage and journeyed into every pocket of audience seating for one number. 

I can think of few things more difficult than to describe this wonderful show to others. Words simply fail. 

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Share your reactions to Pink Martini

The great American treasure, Duke Ellington, once suggested that there were only two kinds of music – good and bad. I have very eclectic tastes and I’ve always been drawn to artists who transcend the narrowly defined confines of genre to create music that is engaging, eye-opening, mind-expanding, and supremely well-played. Imagine, if you will, Béla Bartók and Celia Cruz rendezvousing with Sergio Leone, Art Tatum, Herb Alpert, and Edith Piaf en route to Tom Waits’ house to compose the soundtrack for a long-lost Fellini film. The resulting musical stew – melding jazz, world-beat, classical, Latin, art song, pop, film music elements, and more – might give you some approximation of the globe-trotting sound of Pink Martini.

The brilliant ensemble from “the other Portland” put on what I expect may well be the PCA Great Performance of the year last evening in Merrill Auditorium. Bandleader Thomas Lauderdale is a masterful pianist, skillful arranger, and film geek extraordinaire, mining a deep vein of American and European film music dating back to the 1930s and the heyday of Carmen Miranda to stir Pink Martini’s volatile musical mix. Lead singer China Forbes delivers sultry, oh-so-tasty vocals in a veritable United Nations of languages with a delightful theatricality that is alternately charming and compelling, and never campy or mannered. Pink Martini violinist Nicholas Corosa, guitarist Dan Faehnle, and trumpet master Gavin Bondy also wowed me and my fellow concert-goers.

I left Merrill last evening wearing such a broad smile that my face is still sore this morning. Pink Martini was that intoxicating.

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Share your reactions to ‘La Traviata’

La Traviata last night was the first opera experience for our “tweenage” daughter Maria. I wasn’t sure about bringing her to this opera, because it isn’t Pirates of Penzance or something light. Great music but not a lot of stage action unless you include the beautiful dancing segments.

Maria attended the pre-curtain lecture with Dr. McClure and learned a bit about conducting a pit orchestra for an opera. We also learned Verdi didn’t give La Traviata an overture and the opera is the second most frequently performed. There are recitatives (musical talking), arias, and time for the audience to clap. We also learned about text painting and the way in which the music moves to show action, foreshadowing, or the emotional state of a character.

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The Limón masterclass

As a professional dancer, teacher, choreographer and arts administrator for Portland Ballet, I was delighted when I learned that the José Limón Dance Company was going to be performing in Portland. Almost immediately, I sent an e-mail to Carla Maxwell, the company’s artistic director. Having worked for the Limón Foundation as their office manager back in the mid ’90s, it had been a long time since I had been in contact or even seen the company perform. I told her how delighted I was that they were coming to Portland, and asked if there was to be a masterclass for students. She informed me that she herself would be teaching it, and I knew without a doubt that I wanted the Portland Ballet pre-professional students to attend.

Well, it was a wonderful class, and I found it difficult to sit and observe, instead of joining in! All the students did a great job and Carla imparted so much wisdom, not only about the Limón technique, but also on what makes a truly great dancer.  It was such an inspiration to have this master of the art form teaching the next generation.

The next day, after having the honor of introducing the pre-show film on the life of Jose Limón, I saw the performance, which was magical! Such strength and passion, humanity and intensity – an incredible evening of dance if ever there was one. I spoke with Carla after the show and she was so happy with the audience response – she thought we really were appreciative of the evening’s works. Thank you to PCA for bringing this true American treasure to Portland!

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Share your reactions to Limón Dance Company

The Limón Dance Company’s visit to Portland this week exceeded my expectations. It is a company rich with history yet timeless. Mr. Limón’s perspective as an enduring artist was clearly evident. The dancing was superb. The company’s artistic director, Carla Maxwell, and the exquisite dancers were warm, generous and articulate. They are true ambassadors for dance.

I am incredibly encouraged and buoyed by our community’s enthusiastic response to our expanded dance season! From the passionate audiences to the full masterclasses and other PCA Offstage events (there were more than seventy people last night at the pre-performance screening of the documentary Limón: A Life Beyond Words) to the community’s informed and critical response to the performances thus far, it is clear that Portland is a dance city.

Were you at the show? Use the comments feature of below to share your thoughts and reactions with us and with the community. Oh, and in case you want another look at it, we’ve put a PDF of the program insert online.

We look forward to seeing you at Movin’ Out and Ronald K. Brown / Evidence. Dance on....

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Join the dance with PCA’s new primer

“Will you, won’t you, will you join the dance?” – The Lobster Quadrille, Alice in Wonderland

I am a klutz. Totally uncoordinated. Dance class for me was painful. Whether I was dragged to tap, ballet, ballroom dance classes or those icky “folk dances” in gym class, I hated them all. 

But as a young person, one thing I really loved was watching ballet – the Boston Ballet’s Nutcracker. I was just transported by the music, the costumes, the set, and oh, yes, the dancers. Over the years, I’ve expanded my exposure and appreciation to other dance forms somewhat. I like to watch dance on television: PBS’ Dance Competition, Dancing with the Stars, So You Think You Can Dance?, Dance Wars and dance movies Center Stage, Flashdance, Footloose, Fame!. I still love going to the annual Nutcracker ballet in Portland. I’m very lucky that my work at PCA has given me the opportunity to experience more of the world of dance. (Momix was awesome! I’m looking forward to Limon, Movin’ Out, and Ronald K. Brown.)

For many people like me who feel as if they are “wallflowers” when it comes to dance, we’ve compiled a modern dance primer. It is a collaborative effort among many reference sources and a key Maine dance resource, Nancy Salmon. Download and share the PDF today.

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A broken heart for a broken Stradivarius

My heart breaks for David Garrett.

The twenty-six–year-old violin virtuoso, one of Britain’s foremost young concert performers, has been hailed the “David Beckham of classical music” by the British press. But now the ordinarily august Independent is calling him “Mr. Bean” and “the lad with the broken Strad.”

Earlier this week, it was reported that Mr. Garrett fell down a flight of stairs and landed on his violin case, which held a priceless masterpiece created by Antonio Stradivari in 1710, during the famous craftsman’s “golden period” – one of fewer than one hundred similar such instruments left in the world. The violinist wasn’t badly hurt, but his instrument, called the “San Lorenzo” Stradivarius, was not so lucky; upon opening the case, he found the violin in pieces, cracked side to side.

There are still fine craftsmen who can repair it (with eight months and £60,000, anyway), so all is not lost – but some question whether the instrument will ever sound the same.

This incident highlights just how lucky we are to look forward to James Ehnes’ May 14 concert. Mr. Ehnes, another young virtuoso, will play his priceless 1715 “Ex Marsick” Stradivarius. It is a rare opportunity to hear such a gifted performer on such a rare instrument – an opportunity that’s getting rarer all the time, as David Garrett’s unfortunate experience illustrates.

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Share your reactions to Ingrid Fliter

I enjoyed Ingrid Fliter’s performance much more than I expected. Until last night, aside from winning the Gilmore award (PCA, by the way, has brought two past winners: Piotr Anderszewski and Leif Ove Andsnes), she was, for me, one of many young pianists making the rounds.

On February 6, however, she certainly demonstrated her talents. Her Chopin proved beyond doubt her pleasure in playing. She didn’t mind a wrong note (one or two?) or a hesitancy in order to play with feeling.The Beethoven was more cautious and did not build to the grandeur that other, sometimes older, pianists can give to it. The two Schubert pieces had life, and she certainly enjoyed the technicality of the second impromptu.

You could see with her two encores that the rapid style of her music gives her great pleasure and results in genuine beauty – like an ice skater enjoying a complicated jump for the first time.

The Portland audience continues to impress me with the quality of its attention and respect for good artists. With such support of artists such as Fliter, how I wish each member in the audience last night would bring friends next time to introduce them to these events. Let’s all try to do something about this.

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Join in on a whale’s tale of a collaboration

Call me “Wash-ashore.” Some time ago, twenty-two years exactly, having exhausted professional opportunities in my Cape Cod birthplace, I thought I’d move off that little arm that sticks out into the ocean and try a more metropolitan locale for a seaside lifestyle. And so, I landed in Portland-town, seduced by its breezes and beauty, burned into my soul by Schooner Fare’s shanties.

Humor me, please…the preceding is my parody of the first chapter of Moby Dick, one of my all-time favorite novels. When I was an English teacher in a former life, I used to ask my eleventh-grade English students to write a parody of the beginnings of “Loomings.” For those of you groaning about the mere mention of the tome, let me assuage your fears – I’m not asking you to read it.

But for those who love the idea of a great whale story and its influence on Melville and many other artists of all genres—but who may not want to wade into the waters and tackle the beast – let me suggest that you attend PCA’s presentation of The Acting Company in Moby Dick Rehearsed in Merrill Auditorium on Wednesday, April 16, 2008 at 7:30 pm. Theater doesn’t get much better than a work performed by Julliard graduates. It’s a two-act wonder, the only play written by Orson Welles. Welles, an isolato himself not unlike Ahab or Lear, was drawn to Melville’s work in all its enigmatic and psychological complexities. We have compiled a wealth of material about Moby Dick Rehearsed and Moby Dick on the “Learn More” portion of our MDR page. 

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Share your reactions to Momix

Two of my childhood fascinations were always space travel and PBS nature documentaries. I didn’t realize I had outgrown neither fixation until last night’s Lunar Sea performance by Momix combined them into one thing.

The black-lit dancers seemed to give us a tour of an alien landscape, populated with creatures recognizable as life but distinctly unfamiliar. I felt like I was watching extraterrestrial nature on all scales – tidepool critters at one moment, bounding forest fauna at another, and later, shimmering, vibrating diatoms. Once, green-lit dancers seemed to show us a languid afternoon in some lunar palace; later, creatures like feather-lipped clams (or maybe sunflowers?) arranged themselves into something resembling DNA. And at one particularly dazzling moment, as the dancers sent waves through glowing cables stretched across the stage, string theory came to my mind. There was an intimacy and an honesty of movement, despite the distance suggested by the scrim between the dancers and the audience; as though these creatures knew we were there watching them but weren’t really interested in us.

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A New York travelogue

I’m back from NYC!  It was quite a week, which I had the very good fortune to share with one of our board members, Jane Wellehan. Together, we traipsed about the city by taxi, subway, bus, and foot.

We hit the streets running with a day at the Under the Radar festival and four performances at the Public Theater. The New York Times recently featured the festival and many of the performances we saw on the cover of the “Arts” section, still available online if you missed it.

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Fly to the moon with Momix

I love my job. I have the opportunity “to bravely go where no one has gone before” when I am thinking about education and outreach activities for PCA Great Performances.

When I was reading up on Moses Pendleton, founder and artistic director of Momix, and his piece Lunar Sea, I wanted to know more. I wondered if his inspiration for choosing the moon as the setting for the piece had something to do with his being influenced by the emerging USA space program when he was a child or watching Star Trek. Then I thought maybe he just liked gazing up at the moon and the stars while he was on his family’s farm in Vermont, or that he majored in astronomy at Dartmouth College.  Those ponderings led me to ask the director of USM’s Southworth Planetarium, physics professor Dr. Jerry LaSala, about the moon and its seas.  I wondered if there might be some correlation between the way scientists look at the moon and the way artists perceive it as an inspiration.

The result of all these ponderings and my incessant questions to both Dr. LaSala and Moses Pendleton is a collaboration between the USM Southworth Planetarium and PCA Great Performances. (You can hear Moses’ responses to questions about Lunar Sea on our Momix page.) “Journey to the Moon’s Lunar Seas,” the pre-curtain lecture for Lunar Sea, will be held at an unusual location and time: at USM Southworth Planetarium, on Tuesday, January 22 from 7:30–8:30 pm (rather than in Merrill Auditorium immediately preceding the performance, as usual). The Momix dance company believes this is the first time any arts presenter has collaborated with a planetarium on behalf of Lunar Sea.

If you are a “lunatic” or someone who just loves gazing at the moon and wonders what dancing on the moon might be like, come journey with us to the Lunar Sea on Tuesday at Southworth Planetarium and on Thursday at Merrill Auditorium with Momix. Take a walk on the moon with PCA.

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A New York state of mind

While we ready ourselves to launch the new PCA blog, I am finalizing my schedule for the annual, national conference of the Association of Performing Arts Presenters. This conference brings more than four thousand delegates from around the world to New York City for a long weekend of showcases, full-length performances, festivals, seminars, workshops, and meetings with agents, artists and colleagues. It’s a heady and wonderfully exhausting experience!

With numerous showcases programmed for the conference and the cultural mecca of NYC as the setting, it’s an unparalled opportunity to see work that PCA might one day bring to Portland. While there I will get to see some of the events under discussion for 2008–09, preview a number of the early considerations for 2009–10, and discuss projects that are brewing for 2010 and beyond.

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Unique Momix show requires special seating

The unique nature of the upcoming PCA performance of Lunar Sea by dancer-illusionists Momix has necessitated special seating requirements for the Merrill Auditorium show on Thursday, January 24.

Momix’s “eye-popping and mind-boggling” (New York Times) new work Lunar Sea makes extensive use of black light to create extraordinary, surrealistic special effects as the dancers move about the Merrill stage. Because too much light in the theater could compromise these black-lit segments of the performance, PCA has arranged to have the theater’s aisle lights, which normally remain on during performances, extinguished for the full Momix show. As a consequence, audience members will be asked to remain seated for their own safety throughout the entire Lunar Sea performance, which will last 90 minutes with no intermission.

Concerned about spending an hour and a half in your seat while you take in the full, mind-blowing Momix experience? Fear not! Having previewed this stunning new work, I promise you’ll be both riveted to your seat and transported to other worlds, captivated by the spellbinding interplay of light, music, and motion that is Lunar Sea. Enjoy!

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