Dead White Guys #3 - 7/15/12

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Although I didn't play a lot of tracks for this show, I had a lot of fun with what I played. I retrospectively played a lot of vocal music, but I never apologize for that, and I can only hope that you enjoy it. I don't think there was a boring moment for me, and it felt really good to play the full set of 'Das Buch der Hängende Gärten', as well as the entire 'Also Sprach Zarathustra'.

I think I had a really good mix today, and I'm glad that I allowed myself to play longer tracks, which is kind of a self-experiment that I've been trying lately, like with the latest Sounds of the Subcontinent episode I did. I also have been thinking a lot about the way that I actually play the music. It's a hotly debated topic amongst DJs about whether we should talk over music, or whether we shouldn't. There's no wrong way to do it, but DJs can be passionate about what they think is a good way to do it. Personally, as you can hear, I like to speak over music. I think it adds something to the way that I speak, and just feel more comfortable having something underneath me, and makes it sonically more interesting. That said though, I often get very uncomfortable speaking over classical music on a classical show, because I've heard from some listeners that they REALLY hate when I talk over music that they might want to experience as a whole, from start to finish. I can completely understand that, but it is definitely a different way of doing radio than I'm used to.

What do you think? Do you mind when a DJ talks over music? I want to know!

[Artist: Song - Album]

1. Pierre Charial: Capriccio No. 1 - György Ligeti: Mechanical Music
2. London Philharmonic Orchestra: Cantus - 'Song of the Odyssey' - Karl Jenkins: Adiemus 2 Cantata Mundi
3. Emanuel Ax: Variations on "Là ci darem la mano," Op. 2 for Piano and Orchestra (Largo) - Chopin: Piano Concerto No. 1 in E Minor, etc.
4. London Chamber Singers & Chamber Orchestra: The Indian Queen Acts III, IV, & V - Purcell: The Indian Queen
5. Angela Hewitt: La Verneüille (from Dix-huitième Ordre) - Couperin: Le Grand
6. Jennifer Lane: Das Buch der Hängende Gärten (complete) - Schoenberg: Das Buch der Hängende Gärten
7. L'Orchestre de la Suisse Romande: La Valse - Ravel: Ravel's Head
8. Staatsoper Berlin Chorus and Orchestra: Overture & Act I, Scene 1 - Wagner: Der Fliegende Holländer (The Flying Dutchman)
9. L'ensemble Diabolus in Musica: Introït, Kyrie, and Gloria - Dufay: Missa se la face ay pale
10. Vienna Philharmonic: Also Sprach Zarathustra - Strauss: Also Sprach Zarathustra

Angelus:

1. Schoenberg: I could definitely listen to this all day, and I have no idea way. I really like atonal music, and the Sprechstimme (unpitched speak-sing thing) is so interesting to me as a performer, as well as a listener. I really, really hope you enjoyed this set. I also encourage you to check out the translations/text for it!
2. Strauss: I never get sick of Strauss, and I hadn't heard this piece before. I didn't realize how epic this was, or that this was where that theme that's right at the beginning came from that sometimes you'll hear in commercials/movies I think. 

Diabolus:

1. I wasn't really unhappy with anything, to be honest. I thought this was a great show. Maybe sometimes I'm awkward on the mic, but that's about it!

Enjoy!

Concert Review: Sahar Nouri Recital

Iranian pianist, Sahar Nouri, recently graduated from the University of Michigan School of Music with a specialist degree, after studying collaborative piano with the esteemed Martin Katz. She received her master's degree from Arizona State University, and has played at prestigious summer programs such as SongFest, Aspen Music Festival, and The Music Academy of The West in Santa Barbara. She will be joining Utah Opera in the 2012-2013 season as a young artist pianist coach.

Sahar Nouri, recently performed her final recital at the University of Michigan School of Music on April 7th at 2pm in Britton Recital Hall in the Moore Building, and I was privileged enough, not only to watch it streaming on Ustream (which you can watch here), but also to obtain a beautiful recording of it, which I fully intend to leave at WCBN for everyone to share for our listeners.

The emotional sweep through which Sahar led the audience sparked my imagination again and again during the concert. I could hear the plinking of rain, the burbling streams, the howling winds, and the hooves of racing horses so clearly, without needing her to explain a thing. Listening to Sahar play, I was impressed by the simultaneous control of the music, and the openness expressed through her playing. The subtlety with which Sahar controlled the balance and followed the singers was so comforting; as an educated audience member, I never had to worry about what I was hearing, and could truly relax, which is a rarer occurrence than you would think. And, I admit, sometimes my mind has drifted during concerts, but during Sahar's recital I felt completely enthralled every moment.

Although I wasn't able to attend the concert in-person, the live-stream made it totally accessible, and it is something that I encourage any classical musician to do for their recital or performance. 

Sahar's program was very well-planned, and I was absolutely delighted to see the singers with whom she collaborated. Here's the program:

1. Felix Mendelssohn (1809-1847)
1. Auf Flügeln des Gesanges
2. Allnächtlich im Traume seh' ich dich
3. Die Liebende schreibt
4. Neue Liebe
2. Robert Schumann (1810-1856)
• Dicterliebe
1. Im wunderschönen Monat Mai
2. Aus meinen Tränen sprießen
3. Die Rose, die Lilie, die Taube, die Sonne
4. Wenn ich in deine Augen seh'
5. Ich will meine Seele tauchen
6. Im Rhein, im heiligen Strome
7. Ich grolle nicht
8. Und wüßten's die Blumen, die kleinen
9. Das ist ein Flöten und Geigen
10. Hör' ich das Liedchen klingen
11. Ein Jüngling liebt ein Mädchen
12. Am leuchtenden Sommermorgen
13. Ich hab' im Traum geweinet
14. Allnächtlich im Traume seh' ich dich
15. Aus alten Märchen winkt es
16. Die alten, bösen Lieder
3. Franz Schubert (1797-1828)
1. Der Wanderer an den Mond
2. Die Taubenpost
3. Wandrers Nachtlied
4. Auf der Bruck
4. Igor Stravinsky (1882-1971)
1. No word from Tom...Quietly, Night (from The Rake's Progress)
5. William Bolcom (b. 1938)
1. Toothbrush Time
2. Amor
3. Waitin
4. George

The set by Felix Mendelssohn, performed with soprano Amy Petrongelli, was very new to me, and really set the tone of intimacy for the entire recital. After talking to Sahar, I found out that above all else, she wanted to start with "Auf Flügeln des Gesanges," because the entire idea of her recital was to "take the audience away on wings of song."

If I had a choose a favorite set (which oh my goodness is really hard), I'd have to say that hearing the entirety of the Dichterliebe played with such sensitivity, and such nuance in regards to baritone Jean Bernard Cerin was a very special experience, and not something that a lot people are willing to commit the time and emotional energy to.

The Schubert set, sung by baritone Jonathon Lasch, was the first from which I had heard most of the songs, and "Auf der Bruck" especially was positively explosive. The amount of sensitivity to articulation that Sahar achieved, even within a single run of notes, was mind-blowing.

The aria from The Rake's Progress, sung by soprano Anne Jennifer Nash, popped out the texture brilliantly, and it was evident that Sahar had the piece firmly in her body as she played it. Over the winter semester, Sahar was the coach and pianist for the University's production of 'The Rake's Progress'.

The Bolcom set that Sahar played with mezzo-soprano Sarah Davis, was not only fun to listen to, but fun to watch. Both the singer and pianist seemed to simply be having fun up on stage, and they were able to engage the audience completely.

If I could say one thing about this concert, it would be about how tangible the energy of the performance was, both via the internet, and in the audio recording. Sahar and each singer created a beautiful sense of intimacy with the audience, very much like how I imagine Schumann and his band of friends would have when the Dichterliebe would have been performed. I never felt like she and the singers were performing for themselves, but they were truly performing for their audience, to share something special with the audience, and to give an absolutely professional recital. I can't wait to share this recording with others.

Very soon you will get a complete transcript/audio of an interview that I conducted with Sahar, as well, where we really get down to what it means to collaborate, and what the most important aspects of being a performer really are. Watch for more concert reviews and interviews on my own show, and "Dead White Guys" as well. Stay tuned!

Heidi Madagame, mezzo-soprano, BM Performance from University of Michigan School of Music, Theatre and Dance

Dead White Guys #2 - 3/25/12

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Stephen Eddy as Shadow (L),
Jonas Hacker as Tom Rakewell (R)

It's been awhile since I've done the classical show, so it feels good to be back! Had Dead White Guys' founder, Peter Grella, here for this show, and I had a lot of fun chatting with him! 


I meant to have this update up waaaay sooner, but c'est la vie de une studiente de musique. The majority of the show today was composed of "The Rake's Progress," which was put on by the University of Michigan as an official production. I went to the show twice--Saturday and Sunday, to see both casts--and I was really pleased with what I saw and heard. 

[Artist: Song - Album]

1. Cleveland Orchestra: O Fortuna - Orff: Carmina Burana
2. John Adams: American Berserk - Road Movies
3. L.A. Phil: Petrushka pt. 1 - Stravinsky: Petrushka/Circus Polka
4. John Adams: Short Ride in a Fast Machine - John Adams
5. Stravinsky: Agon
6. Stravinsky: Pucinella Overture - Rite of Spring/Pucinella
7. Vienna State Opera: The Rake's Progress - Stravinsky
8. The Buthershop Quartet: The Rite of Spring - The Rite of Spring
9. Vladimir Horowitz: Faure: Nocturne No. 13, Op. 119 - The Horowitz Concerts 1977/1978
10. Lou Harrison: Threnody for Carlos Chávez - Chamber and Gamelon Works
11. Arthur Robinstein and Guarneri Quartet: Brahms: Piano Quintet in F minor, Op. 34 - Dvorak Brahms Piano Quintets
12. Henry Cowell: Three Anti-Modernist Songs - Instrumental, Chamber and Vocal Music 1
13. Salome Kammer: Berstein: I hate music - I Hate Music
14. Christopher Adler: The Wind Blows Inside - Epilogue For A Dark Day
15. Morton Feldman: Vertical Thoughts 5 - Only
16. Matthew Adkins: Ambient Instrumental - [60]Project
17. University of Michigan Opera Theatre: Act I - Armide

Good:

1. Rake's Progress: 'nuff said. 
2. Armide: Damn! It was nice to hear this again after singing it sophomore year. Thanks to the listener that suggested playing someone done by the University! 
3. Frieeeeends: It was awesome to have someone to talk to on the show for more than a few minutes. 

Bad:

1. Rake's Progress in Italian: Um, ew. That was atrocious. I'm still happy I played it, but...wow. 
2. Levels: I didn't realize how quiet the music was. With headphones on it comes through really clearly, but when I was listening back to it, you could barely hear the music. I'll remember that. 
3. Less talking?: Although I really enjoyed talking to Peter, I wonder if it was too much talking. Is that something you want on a Sunday morning, or would you rather have straight music?

More updates to come! Thanks for sticking with me!

Subshow #11 - 1/1/12

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Willkommen, Leute! Ich habe classische Musik gespielt. Ich hoffe es klingt gut für euch. 

I thought that it would be a simple matter to put classical music together for a 3-hour show, but oddly enough, it wasn't. Despite being a classical music major, and despite being able to play music easily in freeform style, classical music seemed to elude me this day. It was an interesting challenge, and one that I hope to repeat in the future. It requires such a great knowledge of classical music to do a show like this, and I really respect Peter for doing it every week, and I think that WCBN is truly lucky to have someone like him with us. 

I played a lot of opera, a lot of choral works, and a lot of lieder on this show, and I'm not sorry. I'm glad that I could share it with you, and I really hope that you enjoy it, because this is the music that I love. 

[Artist: Song - Album]

1. Robert Shaw: O Fortuna - Orff: Carmina Burana
2. Boston Baroque: Music for the Royal Fireworks, HWV 351 - Handel: Music for the Royal Fireworks and Water Music
3. Manuel Cardoso: Lamentations for Maundy Thursday: Feria Quinta in Coena Domini: Lectio II - Masterpieces of Portuguese Polyphony vol. 2
4. London Symphony Orchestra: Tchaikovsky: The Nutcracker Overture - The Nutcracker, op. 71
5. The New York Electric String Ensemble: Purcell: Presto from a Sonata in D Major - Tapestry
6. David Russel: Sonata in C Major, K. 501 - Plays Baroque Music
7. Sarah Connolly: Korngold: Fünf Lieder, Op. 38, Glückwunsch - Sonnett Für Wien
8. Philadelphia Orchestra: Tchaikovsky: "Waltz" from Act I of Sleeping Beauty, Op. 66 - Russian Music & Revolution
9. Kodály Quartet: Haydn: Quartet No. 34 in B Flat Major, Op. 33, No. 4, Allegro moderato - "Russian Quartets" Op. 33, Nos. 3, 4 and 6
10. Joyce DiDonato: Things Change, Jo - Adamo: Little Women
11. Houston Grand Opera: Socks! - Adamo: Little Women
12. Rudolf Kempe: Grossmachtige Prinzessin - Ariadne auf Naxos
13. Leopold Stokowski and the London Symphony Orchestra: Bach: Ein' Feste Burg - Stokowsky Conducts Bach
14. The Dartington Piano Trio: Clara Schumann: Piano Trio in G Minor, Op. 17, Allegro - Fanny Mendelssohn and Clara Schumann Piano Trios
15. Michel Legrand: 2nd mvt Sonatine Bureaucratique, 3éme Gymnopedie, and Caresse - Erik Satie
16. Coeur des Moines de L'Abbaye Saint-Benoit-Du-Lac: Orgue: Verset Sur L'Hymne "Iste Confessor" etc. - Chant grégorien: Messe de Saint Martin
17. Ruth Ziesak: Mignon (Kennst du das Land), D321 - Schubert: Goethe Lieder, vol. 2
18. Der Hamburger Sinfonien: Symphony No. 1 in D - C.P.E. Bach: English Chamber Orchestra
19. L.A. Philharmonic: IV. Von der Schönheit - Mahler: Das Lied Von Der Erde
20. Kiri Te Kanawa, Anne Sophie von Otter, Barbara Hendricks: Ist ein Traum, kann nicht wirklich sein... - Strauss: Der Rosenkavalier
21. Palatinate Philharmonic Orchestra: Kyrie - Beethoven: Missa Solemnis
22. Houston Grand Opera: Kennst du das Land and Do you know the land? - Adamo: Little Women
23. Orchestra of the Metropolitan Opera: La Forza del Destino Overture - Verdi: Ballet Music and Overtures
24. The Tallis Scholars: Sancte Deus - Tallis: Spem in alium
25. Otto Klemperer: Overture to 'The Abduction from the Seraglio' - Mozart Overtures
26. Pro Cantione Antiqua: Dufay: Motetten - Motetten
27. NBC Symphony Orchestra conducted by Toscanini: Poncielli: La Gioconda: Act III; Dance of the Hours - Toscanini Plays Your Favorites
28. Jeanne Lamon: Vivaldi: Sinfonia for strings in G major - Scarlatti, Vivaldi, Avison

Fortuna:

1. Rainer Maria Rilke: Someday I will read something other than Rainer Maria Rilke, but this was a request from one of my favorite listeners, and I'm so glad that I stuck with it. Later in the night I had an older German man call in--I think he said he was a professor in the German department here at the university--and said that he was brushing his teeth and absolutely loved hearing the poetry I read so early in the morning!
2. Der Rosenkavalier: This is a great recording of the final scene/trio, with three really amazing singers. I'm so happy to be able to play it for you, and I highly suggest that you look up the opera to watch sometime. 
3. Nutcracker Suite: I love this. I don't care if you've heard it a million times this holiday season. I'm not sorry I played it again.

Non Fortuna: 

1. Too much Little Women: Ugggh sorry about that. I really didn't realize I had played so much Little Women until I got to the last Little Women track I played. I will be more conscientious of that in the future.
2. Silence between tracks: Right at the beginning I played Handel's Royal Fireworks, but it was on a CD, and the space between tracks was just too much. In the future I will check how much space is in between tracks, or try to cover it up with some layering. 
3. Checking sets of tracks: So apparently on some classical CDs, they will list a piece, and then something like "1-3" which I have now learned means "tracks 1-3 are this piece." But before I realized that, I played the 2nd movement of Sonatine Bureaucratique. 
4. EDIT: Facebook sounds! It's no secret to my friends that I will chat on Facebook about what I'm playing, and take requests the same way, but this time I forgot to close Facebook before I played a song off of the computer! Oops. 

Thanks for listening to my all classical show, and I hope that you get to hear another classical show in the future!