Memories, Found and Lost

In his Conductor’s Note for La Jolla Symphony & Chorus’s Celebrating Tradition concert, Music Director Steven Schick observes that “memory flows down two related streams,” the personal and the communal. In this concert’s program communal memory is strongly evoked by Handel’s Messiah, Part 1, drawing as it does upon a story heard around the world for over two millennia. Since its Dublin premiere in 1742 Messiah has become such an integral and cherished part of Christmas tradition that virtually everyone who hears it anew may reflexively summon recollections of prior performances; those recollections are in turn echoes of past cultures that experienced Handel’s music.

Qingqing Wang’s new piece, Between Clouds and Streams (a world premiere), explores the sources and formation of memories in its evocation of the natural world set against the most modern of musical techniques. At times Wang’s observations are arranged as in a musical garden, serene and contemplative, while at other points in the composition she conveys the sense of memory struggling to the surface, as half-remembered and sometimes fragmentary images intrude on the composer’s (and listener’s) thoughts. The overall effect is one of connections drawn and new pathways forged from the old.

Memory can also be a fragile, capricious thing, as evidenced by the inexplicable and undeserved obscurity of Florence Price. Price’s Symphony No. 1 in E Minor, performed in 1932 by the Chicago Symphony Orchestra at the Chicago World’s Fair, was the first work by an African-American woman to be performed by a major American orchestra. The Chicago Symphony continued to champion Price’s music through the Forties and Fifties, and singer Marian Anderson recorded several of her songs. All together Price composed over 300 works in a variety of forms and was performed widely in America and Europe, yet shortly after her death in 1953 her work fell into obscurity, possibly as a result of changing musical tastes that were not hospitable towards her conservative style. It was only by accident that her vibrant Violin Concerto No. 2 was discovered in an abandoned house, and the La Jolla Symphony’s performance of this nearly-forgotten work serves as an excellent introduction to a remarkable and unjustly neglected composer.

Watch Celebrating Tradition – La Jolla Symphony & Chorus

The Persistence of Memory

For La Jolla Symphony & Chorus’ 2018-2019 season, Music Director Steven Schick has chosen an encompassing theme entitled “Lineage: A Memory Project.” As Schick explains,

A critical component to living an ethical life is how we remember, how we create lineage. It answers important questions: Who are we? To what echoes of our history do we resonate and how do we memorialize them? And, most importantly, what do we need to do today so that, in the future, we will be remembered by someone who will recognize herself in her memories of us; who will examine her lineage through our lives and be grateful?

This concept guided Schick when programming the season’s concerts, as he sought to highlight linkages between seemingly disparate composers and styles. The inaugural concert, also titled “Lineage,” is a case in point, as it unites three composers widely separated by era, location, upbringing, native culture, and modality.

The first offering, “Lineage,” is by young Canadian composer Zosha di Castri. According to di Castri the piece was inspired by the memories her Italian immigrant grandparents shared with her as a little girl in Alberta, against which she contrasts the noises and rhythms of her contemporary life. Di Castri invites the listener to dive under the work’s modernist surface to discover the echoes of a vanished era; some effort is required to sift through the shifting textures and impermanent rhythms to reach memory’s deep core, but the rewards are great.

Like di Castri’s composition, Tan Dun’s innovative “Concerto for Water Percussion and Orchestra” evokes the past, in this case the composer’s childhood in rural China. Tan Dun considers the sound of water to be universal and fundamental, even primal, to the human experience; after all, the aqueous environment of the womb is the first sound we hear, and a connection to the Earth’s oceans and waterways is hardwired into mankind’s DNA. Accompanying the sounds of water, as played by three featured percussionists, are the metallic sounds of spiritual rituals and the suggestion of chants conveyed by voice-like effects in the orchestra. All combine to portray a culture that is at once ancient and contemporary, but always rooted in immutable truths.

Composed for Diaghilev’s Ballets Russes, Igor Stravinsky’s beloved “Petrushka” draws upon memories of Stravinsky’s youth, in particular the Shrovetide Fairs popular in rural Russia and the Ukraine. The music tells the story of three puppets whose tangled love affairs and jealousies result in tragedy. Mixed with this narrative are the sounds of festival barkers and fair-goers and traces of Russian folk melodies, all melded together in a style that pointed the way for composers who followed.

Taken together, these three pieces make a strong case that music in all its forms is a most effective means for recognizing and celebrating our diverse lineages.

Watch Lineage – La Jolla Symphony & Chorus

Young People’s Concert

“My music is best understood by children and animals.”
– Igor Stravinsky

Each year the La Jolla Symphony & Chorus inaugurates its new season with a presentation for San Diego-area students. The Young People’s Concert, sponsored by the Kiwanis Club of La Jolla and hosted by Music Director/Conductor Steven Schick, aims to introduce students to the symphony and encourage an active interest in music. Schick guides the audience through the intricacies of the orchestra by means of excerpts from two works appearing on the full concert program, Tan Dun’s “Concerto for Water Percussion and Orchestra” (also known simply as the “Water Concerto”) and Igor Stravinsky’s “Petrushka.”

Though very different in form and style, these pieces are each reflective of the overall theme Schick has chosen for the 2018/19 season: Lineage. Tan Dun drew inspiration for the “Water Concerto” from his childhood in rural China, noting the paramount importance of water in everyday life and, indeed, as the source of life itself. In that sense water becomes a truly universal instrument, one instantly familiar to audiences of all ages and backgrounds. Set half a world away, Stravinsky’s “Petrushka” evokes childhood memories of Russian Shrovetide fairs, and in particular the puppet theater that was a popular feature of those festivals. Originally written as a ballet for Sergei Diaghilev’s Ballets Russes, “Petrushka” went on to become a concert staple and one of Stravinsky’s most beloved scores.

Between excerpts Schick and orchestra musicians answer questions from the audience, such as “Why does the harp have different color strings?” (an excellent question) and “How long have the violinists been playing?” This interactivity, sadly uncommon in orchestral music circles, de-mystifies symphonic practice for the uninitiated and helps the students to gain an appreciation for the process of rehearsing and performing as a unified ensemble. Throughout, Steven Schick emphasizes the joy to be found both in collaboration and in active listening.

Watch Young People’s Concert 2018 – La Jolla Symphony & Chorus

The Trees are the Instruments

“I’m profoundly influenced by the natural world and a strong sense of place…I hope to explore the territory of sonic geography–that region between place and culture…between environment and imagination.”
– John Luther Adams

John Luther Adams has been hailed by the New Yorker as “one of the most original musical thinkers of the new century.” After studying at the California Institute of the Arts, Adams embarked on a prolific career encompassing a variety of genres and media, including television, film, children’s theater, voice, acoustic instruments, orchestra, and electronics. His Pulitzer Prize and Grammy Award-winning orchestral composition, Become Ocean, has become one of the most popular concert pieces in the modern repertoire.

Much of John Luther Adams’ work as a composer and, increasingly, a conceptual artist is rooted in his love of nature combined with what he calls the “resonances” of a particular environment. For the Wind Garden, his installation commissioned by the Stuart Collection at UC San Diego, that environment is a eucalyptus grove located in the campus Theater District. Based on a carefully determined site plot, 32 accelerometers were attached to the highest branches, measuring the movements of the trees in the wind. As the velocity of the wind changes so, too, does the amplitude of the sound. Tonal variations and harmonic colors are provided by two virtual “choirs,” a Day Choir tuned to the natural harmonic series, and a Night Choir tuned to the sub-harmonic series. The results are broadcast by 32 small loudspeakers hidden among the trees. Both volume and pitch change in real time throughout the day and with the sun’s movement over the course of the seasons.

Because the composition is driven entirely by wind and the sun’s light, it never repeats itself. The listener is surrounded by sounds that vaguely recall bells, voices, strings, and other acoustic instruments, but it’s impossible to describe them in just those familiar terms or to know their exact source. Like some of Adams’ other recent pieces, the Wind Garden has been described as “indeterminate,” but the composer argues that it’s more accurate to call it “self-determining,” not reliant on musicians or conventional instruments. Rather, Adams notes that “the trees are the instruments” while acknowledging the sophisticated technology employed to “give voice” to the trees.

Adams hopes that each unique encounter with the Wind Garden and its rich, ever-shifting harmonic palette will encourage both “deep listening” and an enhanced appreciation of the natural environment.

Watch The Wind Garden by John Luther Adams – Stuart Collection at UC San Diego

Jazz – Discipline and Spontaneity

“Most of us would say that inventing meaning while letting loose is the essence and promise of jazz.”
– Robert Christgau

From its origins in the African-American community of New Orleans in the late 19th century jazz has evolved into the premiere all-American art form, and has been labeled “America’s classical music.” By the 1920’s the genre had been embraced by the mainstream to such an extent that the Twenties and Thirties were declared “the Jazz Age” by author F. Scott Fitzgerald, and European composers including Stravinsky and Ravel incorporated jazz elements into their work.

Developing from roots in country blues, ragtime, field hollers, and spirituals, jazz music is notoriously difficult to define as it embraces many subgenres, among them Dixieland, swing, bebop, hard bop, cool jazz, free jazz, Afro-Cuban, modal jazz, jazz fusion, post-bop, and Latin jazz. However varied these styles, they do share some commonalities, chief among them an emphasis on live performance and on improvisation. Classical music performance is judged by fidelity to the written score and the composer’s intentions; by contrast jazz is more often characterized by interaction and collaboration in the moment. Less value is placed on the composer’s contribution and more on the individual musician’s interpretations of melodies, harmonies, and time signatures. Whereas classical music recordings strive to capture a definitive performance of a given work, jazz recordings document just one interpretation of a piece at a particular moment in time. Because of its improvisational nature no two jazz interpretations are alike, and there are no absolutes. It’s an art form that finds its purest expression in live performance, such as in the UC San Diego Jazz Camp’s Finale Concert.

UC San Diego Jazz Camp is an annual week-long intensive workshop for students aged 14 and older. Attendees are mentored by a distinguished faculty of music professionals and educators in a variety of jazz-related topics, including theory, composition, improvisation, critical listening, technology, performance practice, and ensemble performance. Students are grouped into ensembles under the tutelage of a faculty member, and rehearse standards and original compositions for the Camp’s Finale Concert before an audience of family, friends, and jazz aficionados. In the process student musicians are introduced to that combination of group interplay and individual expression, of discipline and spontaneity, that is unique to jazz.

Watch Finale Concert Highlights – UC San Diego Jazz Camp 2018