Category Archives: KMFA on the road

Reflections on “Austin Goes Classical”

– posted by Dianne Donovan, KMFA midday announcer

“Austin Goes Classical” (June 22-29th, 2010) was billed as “Austin’s Greatest Collaborative Classical Event Ever,” and had been in the works for over two years. I’m pleased to say that the Festival did not disappoint.

The Festival was spearheaded by Dr. Matthew Hinsley, Executive Director of The Austin Classical Guitar Society. The A.C.G.S. was awarded the Guitar Foundation of America’s 2010 International Convention and Competition, and the Festival was built around that event. This was unprecedented in the G.F.A.’s history. There were 60 events in six days. All the action took place at the Long Center for the Performing Arts. There were workshops for guitarists young and old and preliminary competitions that ran in the daytime, followed by major performances in the evening.

I had to pace myself with the “headline concerts” and attended four of the six evening shows. Though I would have loved to have seen and heard all the them, at least for yours truly, like the kid in the candy store, it is possible to overdo it.

Day 1’s main event was Pepe Romero’s (rare) solo performance. KMFA was proud to broadcast this performance, and I was fortunate to have co-hosted it with Tony Morris, host of Classical Guitar Alive. Pepe Romero’s performance of an all-Spanish music program was inspired. Later in the week, we were treated to world-renown local heroes, Adam Holzman (previous G.F.A. champ) with the Miró Quartet. The word “thrilling” kept coming to mind as these masters played the music of Giuliani, Boccherini, Morel and Castelnuovo-Tedesco. Adam Holzman’s beautiful sound and clean execution are always a delight, and the members of the Miró seem to have their own secret language, so it does take an exceptional musician not just to perform with them but to really be part of the conversation…amazing-edge-of-your-seat-action.

For the Saturday night concert, Pepe Romero returned, as did The Los Angeles Guitar Quartet, to perform with the Austin Symphony Orchestra, under the baton of Maestro Peter Bay. The LAGQ performed “Interchange” by the virtuoso guitarist and composer, Sergio Assad. The shifting colors and moods of the piece were realized through the performer’s attention to subtlety and dynamics.  In the second half of the show, Pepe Romero performed the most famous guitar concerto of all-time, “The Concierto de Aranjuez,” by Joaquin Rodrigo. The performance was preceded by excerpts of a film about the composer and the piece. This was a nice touch that added poignancy to an already poignant second movement. The orchestra was on point and Pepe Romero’s performance of this work, which he has played over a thousand times, was (to my ears)  reverential.

The final night featured the International Concert Artist Competition Finals. Four guitarists vied for the top prize in what has been described as “The Wimbledon of Classical Guitar Competitions.” All the finalists are already on the world stage, but the promise of a 65-city tour and recording project is clearly a great incentive. They all played one piece in common and for the rest of their time, they had their pick of music. I was most surprised to hear the stylistic differences from one guitarist to the next. All were amazing, but in the end only one could win. The big prize went to Johannes Möller of Sweden.

Also, just before the winner was announced, the GFA entered new inductees into their Hall of Fame, among whom was Pepe Romero himself! The audience chuckled and cheered when, in his thanks, Pepe said, “I’m very glad that you didn’t wait for me to die to give me this; that is a great pleasure for me.”

Thanks to all of the musicians, arts-collaborators, sponsors, volunteers, attendees and especially, thanks to Dr. Matthew Hinsley, for his tireless efforts, organizational skills, artistry, and most of all, for his incredible vision. I hope that he’s resting somewhere now, with a cool one.

Dianne Donovan is KMFA’s midday announcer and host/producer of Classical Austin. You can listen to a new episode of Classical Austin every Wednesday at 8pm, on Classical 89.5, KMFA-FM.

“Hats off” to Austin Lyric Opera

~posted by Sara Hessel, KMFA Music Director

Can a story about a neurological condition be engaging, moving and human? Austin Lyric Opera and the Austin Chamber Music Center proved that it certainly can last weekend when they presented a sold-out run of Michael Nyman’s chamber opera The Man Who Mistook His Wife for a Hat.

The opera is based on a case study by Dr. Oliver Sacks. Dr. P. is a professional singer and music teacher who lately has been making strange mistakes. He asks for directions from a parking meter, thinking it’s a person. He can no longer recognize loved ones or familiar objects. He and his wife visit the neurologist Dr. S. at his clinic, and later Dr. S. visits them at home so that he can observe the patient in his own environment. Dr. S. discovers that Dr. P. cannot process visual information. He can see perfectly well, but his brain can’t make sense of what he sees. Dr. P. uses music to create order in the chaos, and at the end of the opera, Dr. S. prescribes “more music”.

All three members of the cast were marvelous singers and actors: soprano Cara Johnston brought wonderful warmth to her role as Mrs. P., and we felt her fear, rage and powerlessness in the face of her husband’s bizarre ailment right along with her. Tenor Brian Joyce was impressive in his ability to bring forth the mixture of clinical detachment, compassion, and scientific sleuthing necessary for the portrayal of Dr. S.

To my mind and ears, however, bass Matthew Treviño stole the show as Dr. P. His rich voice and embodiment of the character drew me in and didn’t let go.  In final scene, Dr. P. stands alone on stage, humming softly to himself, making sense of the world in his way. The lights dimmed gradually, and one by one, the musicians finished playing and departed, until at last only the piano remained. The music stopped, as it always must, leaving Dr. P in the dark, in every sense of the word. It was a superb moment — moving and chilling.

Pianist Michelle Schumann and her gallant band of players from the Austin Chamber Music Center did Nyman’s music proud with their nuanced performance. After the opera I left St. Martin’s Lutheran Church with Dr. S’s words ringing in my ears (with a small addendum): more music like this!

Sara Hessel is KMFA’s Music Director, as well as producer and host of Ancient Voices. Tune in on Sundays, 9am and 4pm, to enjoy Ancient Voices, right here on KMFA, 89.5.

Round Top, Texas: a Pastoral and Cultural Delight

~ posted by Renee Beale, KMFA announcer

We stumbled upon Round Top quite by accident the first few months we moved to Austin. Who knew just a few miles east of the Music Capital of the World, sits a charming diminutive Garden of Urbanity? With just 77 residents, it’s surrounded by nature’s unsparing splashes and variant hues of viridian and burnt sienna as its backdrop.  When there, I feel as though I could be standing inside the Rubens’ painting, Landscape with the Chateau Steen.

What is absolutely astounding to me is that, while Round Top may be small, it more than makes up for it with its copious appetite for culture.  Sure there are a few shops and art galleries to enjoy, the Henkel Square Museum Village, Royers Round Top Café, the Stone Cellar and plenty of antiques, but this isn’t the reason we keep going back.  We go there for the idyllic Elizabethan playhouse experience at Shakespeare in the park in Winedale and Festival Hill.  The Shakespeare productions are performed in a barn and the surroundings are magnificent.  The Shakespeare program is part of the UT English Department and the students live there on the grounds at Winedale for about six weeks during the rehearsals and performance schedule.

This brings me to Festival Hill.  It’s a beautiful structure that rivals anything I’ve seen.  It’s hard to imagine this architectural masterpiece was just recently finished in 1997.  The craftsmanship of this commanding design belies its date of construction. There are no words for the beauty of the theatre.  Every time we take a drive to Round Top, we make a point to stop at Festival Hill, if nothing more than to gawk. This Saturday, July 3rd was no exception.  We were able to catch a rehearsal of that night’s performance by the young musicians making up the Festival Hill Music Festival.

As I stood there watching these young performers, I wondered if they realized just how stunning the institute’s surroundings are, and if they fully grasp the awe-inspiring radiance of the concert hall?  I’m amazed each time I enter the concert hall, admiring its handcrafted woodwork, hardwood flooring, and exclusively designed custom seating.  The institute brings talented young artists from around the world along with accomplished faculty and conductors, and the results have been stunning.  The Round Top Festival Institute alumni perform in symphony orchestras, teach at conservatories and universities, and collaborate with other distinguished musicians on six continents.  All happening right in our very own back yard!

“Keep it alive.  Introduce a child to the arts.”

~ posted by Renee Beal, KMFA announcer

Introducing Children to the Arts

~posted by Renee Beale, KMFA announcer

We were out last night to see the performance of Fame at TexARTS, a theatre academy here in Austin, whose mission is to bring theatre, music, dance, and visual arts training to Austin’s youth. As an acting coach myself, I am always pleased to see showcases of new talent cropping up, but what struck me the most was how important it is. In today’s distracting (and dare I say insular) world of emailing, iPods, texting, facebook, twitter, television, video games and more, the list at times seems endless and overwhelming; I was not only watching a performance of Fame, I was watching young people interacting with each other physically, live and in person, making contact and making a connection; a healthy dose of synergistic energies between audience and performer. What a concept! I was also watching young people tap into their creativity using the fourth wall; that imaginary place where the audience resides that actors bring to life on stage. The youth on that stage, aged 14 through 17, are the future of the cultural arts. And even though some of them might never grace the stage of the Long Center, or Broadway or even off-Broadway, they will go on to grace the audience seats in myriad cultural venues here and throughout cities across the United States.

As I write, Darci Kistler is making her final performance on the stage of the New York City Ballet. She is the last student of George Balanchine and her retirement marks the end of an era. As a former New Yorker, I am very grateful for all the wonderful artistic mediums offered here in Austin, but opera, ballet, theatre, and symphonies across the country are struggling to find new audiences and in a down economy, new challenges lie ahead. As I sat there and watched the play last night, I couldn’t help but think those challenges were being met.

“Keep it alive. Introduce a child to the arts.”

~ posted by Renee Beale, KMFA announcer

Renee with Matt, who starred as Jack in "Fame"

KMFA on the Road: Gilbert and Sullivan’s “Yeoman of the Guard”

~posted by Carmel O’Donovan, KMFA announcer

If you have not yet had a chance to enjoy the current production of the Gilbert and Sullivan Society of Austin, I suggest that you make all haste to do so!

Their current production is “Yeoman of the Guard,” and it runs until  this Sunday June 20th at Travis High School Performing Arts Center.  Jules Brandon (my fellow KMFA announcer) and I had a wonderful evening at the show and were given a warm welcome by the performers — we were even allowed backstage to take photographs!

As a relatively recent emigre from London, I confess I was curious and perhaps (dare I admit it — a foreigner in Texas like me?) a little suspicious of any production, from the truly British stable of Gilbert and Sullivan, outside of those fair islands. In fact the evening is a complete joy from start to finish. The facility at Travis High School is wonderful — comfortable seats, great acoustics, not too big, not too small — the perfect ambiance. The orchestra set the standard and it was high … of particular note for me was the wonderful percussionist. She played with panache and enthusiasm and made me yearn for the sense of rhythm so sadly lacking from my own makeup. The curtain rose: the set was wonderful. Simple but impressive. The performance checked all of my boxes: great voices and acting, authentic costumes, engaging and intriguing story line with humor and pathos closely mixed.

The “deal breaker” for me was of course going to be those English Accents  (don’t get me wrong… while I still love Mary Poppins and indeed Dick Van Dyke, I have never really recovered from his Cockney accent). Truthfully, whether in spoken word or in song they were great! My favorite has to be the “Head Jailer and Assistant Tormentor” — so wonderfully accurate in his West Country accent and just so funny!

From start to finish this is a high-quality production with a mix of intrigue, wit and the archetypal dodgy British puns. It is wonderful! I can’t wait for the next one!

~posted by Carmel O’Donovan, KMFA announcer

Duruflé’s shimmering, evanescent Requiem

Last week, Dianne got a chance to see a performance of the Conspirare Symphonic Choir, with Victoria Bach Festival Chorus , June 5, 2010.  “Dynamic Convergence” — including Duruflé’s  Requiem, Cantos Sagrados (Sacred Songs) by James MacMillan, and Brahms’ Geistliches Lied.

Featuring Craig Hella Johnson and Company of Voices, with Judith and Gerre Hancock (organists), Keely Rhodes (mezzo soprano), and David Farwig (baritone)


~posted by Dianne Donovan, KMFA announcer and host of Classical Austin

I’m always thrilled to listen to the Conspirare choir perform, and it was especially exciting to have the opportunity to hear The Conspirare Symphonic Choir joined by The Victoria Bach Festival Chorus sing Maurice Duruflé’s shimmering, evanescent Requiem.  Accompanied by Judith and Gerre Hancock, and led by Craig Hella Johnson, the large ensemble combined precision and artistry in executing Duruflé’s rich harmonies and ethereal textures. The Brahms piece was equally lovely.

I was not familiar with the MacMillan piece and it came as a lovely surprise (in the first half of the program). The contemporary Scottish composer’s “Sacred Songs” were inspired by poems about political repression in Latin America, the first of which, MacMillan set in a strikingly dark and agitated manner. Although the texts for all three songs contain a stark realism, MacMillan changes the textures in each song, sometimes layering the latin text with English, and creating beautiful sonorities with overlapping voices, eventually elevating the listener to a state of grace even in these stories of horrific turmoil. This is a challenging, emotional work and the ensemble delivered it beautifully.

If you missed this concert, the good news is that Conspirare has one more concert in Austin this season. They will be performing Johann Sebastian Bach’s masterpiece, Mass in B minor, this Sunday, June 13th, at the Long Center for the Performing Arts. (Click here for more information.)

Dianne Donovan is KMFA’s midday announcer and host/producer of Classical Austin. You can listen to a new episode of Classical Austin every Wednesday at 8pm, on Classical 89.5, KMFA-FM.

TCC event honors nature and springtime

~posted by Carmel O’Donovan, KMFA relief announcer
  
 

Last Saturday I had the honor of introducing Texas Choral Consort’s springtime concert: “Songs of Nature.” It took place at First Presbyterian Church on Mesa Drive, a beautiful airy church with wonderful acoustics, a soaring ceiling and an entire wall of stunning stained glass. An unexpected bonus for me was the discovery that KMFA’s technical genius, Phil Pollack, is a member of the group!

The evening comprised a truly stunning mix of melodies, effortlessly spanning centuries and styles. The music was tightly harmonic and beautifully delivered. The performance was rendered even more special since it featured the world premier of a new piece of music: at the request of TCC’s energetic and inspirational Artistic Director, Brent Baldwin, Austin composer Graham Reynolds composed a wonderful haunting tune to the words of a poem by Alfred Lord Tennyson entitled “Crossing the Bar.” The evening whizzed by in a heart beat and after a little audience participation in the iconic Simon and Garfunkel piece “Bridge over Troubled Water,” the audience slipped off into the night, richer and wiser than they had been only 90 minutes earlier!

TCC will be concluding their season in August with a show entitled “Nature in Harmony.” I urge you not to miss it. See you there!

 

   ~ Carmel O’Donovan is a relief announcer on KMFA 89.5; you can read more about Carmel and all our Music Hosts on our website.

Photos from the 2010 KMFA Young Musicians Competition

KMFA recently hosted its annual Young Musicians Competition. This year, 15 young violinists, cellists, bassists and viola players from 7 Austin-area schools participated in this special performance competition, performing three short musical selections for a panel of esteemed competition judges who graciously donated their time and expertise for this event. For more information about this wonderful collaboration of young Austin musicians with local classical-music educators and professionals, you can visit the KMFA Young Musicians Competition page on our website.
Here are some fun photos from the competition:

~posted by Alison @ KMFA 🙂

Texas Early Music Project welcomes Spring

 

The Sweet and Merry Month of May

~posted by Sara Hessel, KMFA Music Director

“In the spring a young man’s fancy lightly turns to thoughts of love.” Alfred Lord Tennyson wrote that in the 19th century, but it was hardly news then, as Texas Early Music Project reminded us in their delightful concert “Spring Rites: The Lark in the Morning.”

T.E.M.P. drew a capacity crowd to First English Lutheran Church to hear songs of love lost, love found, love made and love despaired of. Artistic Director Daniel Johnson’s lively and varied program also included English madrigals, French folk songs and some fun surprises, such as an anonymous 16th century song called O Lusty May that morphed into Lusty Month of May from Camelot, sung very saucily by soprano Kathlene Ritch. (Early music all sober chant sung by monks in robes? Not a bit of it!)

Other personal favorites included Landini’s rousing welcome to spring Ecco la primavera, a tenderly melancholic troubadour song by Bernart de Ventadorn, performed by Daniel Johnson, a riotous French drinking song called Amis, buvons! and recorder pyrotechnics by Jacob van Eyck, brought to life by soloist Victor Eijkhout.

The ‘orchestra’ was in great form — we were treated to excellent violin and vielle playing by Laurie Young Stevens, along with other fine performances by John Walters (viol), Elaine Barber (harp) and James Brown (bass viol). The band had their chance to shine in an instrumental rendering of the Scottish song The Day it Dawes.

Sadly, this was the last concert in T.E.M.P.’s season, and we have to wait until September for more. But it will be worth the wait! In the first concert of the new season, the group revisits one of its greatest hits: Convivencia: The Three Worlds of Renaissance Spain, September 24-26, with special guest artists Tom Zajac (historical winds and percussion), Annette Bauer (recorders) and Kamran Hooshmand (santur and ud). At least we’ll have fond memories of fresh and springy early music to get us through the long, hot summer.

~Sara Hessel is KMFA’s Music Director, as well as producer and host of Ancient Voices. You can hear Ancient Voices on KMFA 89.5,  Sundays at 9am and 4pm.

KMFA visits KLRU’s ACL set at UT

  

~ posted by Jules Brandon, host of KMFA’s Sunday Matinee.

Recently, a group of us at KMFA had the opportunity to be part of the audience at the KLRU-TV taping of Anton Nel and Bion Tsang’s performance in the Austin City Limits sound stage (they were taping a segment for KLRU’s show, In Context). They played a few pieces from their new CD, eponymously titled “Bion Tsang and Anton Nel Live in Concert.” Both performers are instructors at the UT Butler School of music, so this is their “home turf.”

The experience we had was so special! Music like this is always moving, regardless of where you are when you hear it. But to be in such close proximity to the artists was wonderful. It felt like a private concert in a friend’s living room. We witnessed exactly how they bring music to life, as well as the nuances of their interactions with each other as partners who have performed together more times than you can count. All of this added a level of intensity to the experience that was nothing short of breathtaking. I’m looking forward to hearing the CD! And thanks, KLRU, for inviting us to be a part of this “Classically Austin” event.  🙂