Nosferatu with Werner Herzog

Contributed by John Menier

32822“For such an advanced civilization as ours to be without images that are adequate to it is as serious a defect as being without memory.”
― Werner Herzog

The Carsey-Wolf Center at UC Santa Barbara has created a series entitled “Hollywood Berlin,” featuring screenings and discussions of films by five prominent German directors: Werner Herzog, Fritz Lang, Ernst Lubitsch, F.W. Murnau, and Billy Wilder. With the exception of Herzog these artists are representative of the wave of German exiles and immigrants who left Europe in the 1920s and 1930s to work in Hollywood, and counted among their number producers, directors, actors, writers, technicians, and cinematographers. In addition to their professional expertise that generation of émigrés brought European influences to American cinema, as reflected by film noir, increasing sophistication in comedies, and a willingness to address serious social issues.

In the inaugural program of “Hollywood Berlin” celebrated filmmaker Werner Herzog joins Carsey-Wolf Center Director Patrice Petro for a discussion of his film, “Nosferatu the Vampyre,” based on F.W. Murnau’s “Nosferatu, eine Symphonie des Grauens” (“Noserferatu, a Symphony of Horrors”). Upon the release of Herzog’s film in 1979 many critics expressed surprise at his choice of subject matter. Herzog was already well-known as the auteur of idiosyncratic art-house works based on his original screenplays. Pundits assumed that Herzog’s film was simply a remake of Murnau’s 1922 masterpiece, and they were puzzled. As Herzog explains in this program, that assumption was mistaken; his version of “Nosferatu” was intended not as a slavish imitation but as an homage both to Murnau’s film and to a seminal era of German filmmaking. In terms of plot and characters it falls midway between Bram Stoker’s novel “Dracula” and Murnau’s “Nosferatu” (which was an unauthorized version of Stoker’s novel), incorporating elements of both while adding the director’s well-known pictorial sense. Herzog sees his film as providing an explicit link between his generation, the “New German Cinema,” and what he calls “our grandfathers,” those movie-makers whose mass exodus left behind a German film industry that was moribund until the advent of Herzog, Fassbinder, Schlöndorff, Wenders, von Trotta, et al in the late 1960s and 1970s.

Using “Nosferatu” as a jumping-off point for conversation, Herzog elaborates on a variety of topics including his writing process, his relationships with collaborators, the importance of music, and his philosophy concerning the primacy of the image. He also addresses some of the myths and misconceptions (mythconceptions?) that have arisen from his storied career, most of which cast Herzog as an uncompromising artist who undertakes his projects with a humorless, single-minded zeal bordering on madness. While it’s true that the prolific Herzog is passionate about cinema – he once said that “we are starved for images, and it’s my duty to provide them” – he displays a healthy sardonic humor regarding himself and his public image. (“I am not Teutonic. I am Bavarian.”)

Witty, articulate, intellectually rigorous, and disarmingly honest, Werner Herzog is the perfect introduction to a series celebrating the work of German filmmakers past and present.

Watch Nosferatu with Werner Herzog

Simply Fun

Contributed by John Menier

32822In his remarks from the podium, La Jolla Symphony & Chorus Conductor Steven Schick notes that the 2017 edition of the “Young People’s Concert” features music by two composers with differing influences, temperaments, and styles: George Gershwin and Aaron Copland. While acknowledging the contrasts Schick also points out some surprising similarities shared by the two men: both were born to Russian-Jewish parents in Brooklyn, both studied in Paris, both had an interest in jazz and popular music, both experimented with different genres, and both came to prominence in the Jazz Age. First and foremost, Gershwin and Copland were American, with all that implies; as Gershwin put it, “True music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today.”

Perhaps the best expression of what’s been called “the American touch” may be found in two of Gershwin’s most popular scores, “Rhapsody in Blue” and “An American in Paris.” Both pieces reflect Gershwin’s abiding interest in jazz and blues, two indisputably American art forms, and both touch glancingly upon some of the conflicts and contradictions of American life (then and now). Ultimately, though, the most profound and appealing quality shared by the compositions is that, in the words of the Conductor, “they are simply fun.”

By comparison to the high-stepping confidence of the Gershwin tunes, Copland’s “Quiet City,” originally written for a failed play, reflects another, more contemplative aspect of the American character. One reading holds that the longing and unfulfilled aspirations evoked by this piece warn of the consequences of not being true to one’s self, an ever-present danger in a fast-moving, ambitious society. Perhaps. However one interprets “Quiet City” (if it needs any interpretation at all) there’s no denying the work’s beauty, the result of a perfect balance between string orchestra and two soloists on trumpet and oboe.

Throughout his remarks, Steven Schick notes the empathy and intricate interplay between the various sections of the orchestra, by turns tempestuous and serene as required by the score, and the absolute need to serve the music and the composers.

Watch Young People’s Concert 2017 – La Jolla Symphony & Chorus

La Jolla Symphony & Chorus: The Lovers

8232When Dr. David Chase assumed leadership of the La Jolla Symphony Chorus in 1973, it consisted of 60 members. Over the succeeding years, Dr. Chase grew the chorus to 130 voices while expanding the group’s repertoire to include contemporary works as well as proven classics.

To mark his retirement after 44 years as Choral Director in June 2017, Dr. Chase assembled and conducted an eclectic program inspired by love and passion under the appropriate title, “The Lovers.” The first piece, the charming “Overture to Beatrice and Benedict,” is a concert staple from Hector Berlioz’s opera comique based on Shakespeare’s “Much Ado About Nothing.” Next on the bill is Arnold Schoenberg’s tone poem “Verklärte Nacht” (“Transfigured Night”), the composer’s interpretation of a German romantic poem. It is widely considered one of this modernist composer’s most accessible works. In the program’s final piece, “The Lovers,” American neo-Romantic composer Samuel Barber sets a cycle of poems by celebrated Chilean poet Pablo Neruda for baritone, mixed chorus, and full orchestra.

Taken as a whole the three pieces form a compelling examination of both the complexities of love and music’s ability to speak directly to the heart. Not coincidentally, the program also reflects David Chase’s passion for music and lifelong devotion to popularizing lesser-known works and is a fitting culmination to his tenure with La Jolla Symphony & Chorus. Dr. Chase will be ably succeeded, but he can never be replaced.

Watch La Jolla Symphony & Chorus: The Lovers

Verdi’s Requiem

8232George Bernard Shaw once remarked that “the English take a creepy sort of pleasure in requiems.” I can’t speak to the truth of this statement, but there’s no denying that requiems are among the most popular works in the orchestral/choral repertoire, in England and elsewhere. Composers as diverse as Haydn, Brahms, Berlioz, Dvořák, Saint-Saëns, Fauré, and Britten have assayed the form, each bringing their own unique sensibilities to the challenge of interpreting a liturgical service in musical terms.

Arguably, the two best-known examples of the requiem are those written by Wolfgang Amadeus Mozart (considered by many to be the template for the genre) and Giuseppe Verdi. Verdi’s Messa da Requiem, which premiered in Milan in 1874, is based on the Roman Catholic funeral mass and scored for four soloists, double (sometimes triple) choir, and orchestra. Verdi composed the piece in memory of poet and novelist Alessandro Manzoni, whom he greatly admired. It consists of seven major sections, within which are several sub-sections of varying and often contrasting moods. In order to heighten the inherent drama and poignancy of the liturgical mass Verdi brought to bear the skills and devices he’d mastered as a composer of operas: expressive orchestration, assertive rhythms, beautiful melodies, vocal pyrotechnics, and dramatic contrasts over an exceptionally wide dynamic range. Indeed, following the Requiem’s premiere many traditionalist critics complained that the music was far too “operatic” in style and not appropriate for the solemn subject matter. Fortunately for us, that view has not prevailed.

Undertaking performance of such a mammoth work, involving 300+ performers on stage, requires both abundant skill and a degree of intrepidity, traits which La Jolla Symphony & Chorus have amply demonstrated in their programming choices. Under the baton of conductor Steven Schick the musicians and vocal soloists render the complexities and subtleties of the piece with both confidence and sensitivity, and if it’s not sacrilegious to say so, the result is thrilling.

Contributed by arts and humanities producer John Menier

Watch Verdi’s Requiem.

La Jolla Symphony and Chorus Brings the Magic of Classical Music to a Young Audience

8232“One of the things I love most about music is how it helps us remember our lives.” – Conductor, Steven Schick

So begins the second annual Young People’s Concert as Schick guides an audience of children and their families through a presentation of selections from Gustav Mahler’s celebrated Fifth Symphony.

“Gustav Mahler’s symphony number five is a piece about memory,” explains Schick. “Let’s do this, let’s close our eyes… I want you to imagine a person at the end of his life…”

With eyes shut and imaginations open, the young audience is taken on a journey of Mahler’s life, which is the inspiration for his symphony. Schick introduces featured instruments and melodic themes, emphasizes the unique connections both composer and listener draw from musical expression and personal experience, and fields questions from the audience.

In addition to piquing the students’ interest and enriching their musical knowledge, La Jolla Symphony and Chorus hope that the program will, in Schick’s words, “encourage our future Symphony members to pursue their musical education.”

As funding for the arts in San Diego area schools continues to languish, outreach by arts presenters has become a vital component in public education and awareness. It is in this spirit that the community-based La Jolla Symphony and Chorus inaugurated their Young People’s Concert.

Don’t miss this fun and inspiring concert. Watch the Young People’s Concert, Featuring Gustav Mahler.