Guest post on Emerson String Quartet performance

Today we've got a guest post from Iti Agnihotri, a news producer for our local NPR affiliate, KUAF. Iti attended the Emerson String Quartet performance this past Sunday, and was kind enough to share her thoughts with us on the show. Please, read on and enjoy!

The Emerson String Quartet performance, the first in this year’s 10x10 Arts Series, was, in one word, magnificent. It was also the first ever such experience for me. I’ve trained in north Indian classical vocal music for four years, but am not really familiar with the technicalities of western classical music; hence, was eager to learn more.

Is there a better way to start the program than with a piece by Haydn, “the father of string quartets?” I think not. The Emerson String Quartet opened with Haydn op.77 #2. After hearing so much about it at the Countdown Conversation two weeks ago, I looked forward to the piece and thought it was brilliant (as a matter of fact, I’m still listening to it). The music soared and descended, sometimes dramatically. The artists were having fun which, in turn, helped us enjoy the piece more. A fellow audience member appropriately called the performance a game of “musical” musical chairs.

Some fun facts:

*All these pieces are the composers’ last (in Haydn and Beethoven’s case) or latest (in Pierre Jalbert’s case) pieces.

*Beethoven was nearly deaf when he composed his five late quartets (including Beethoven op. 135).

*Beethoven was Haydn’s pupil.

How do I know this? Laura Goodwin of Walton Arts Center and University of Arkansas musicologist Dr. Martin Nedbal discussed all this and much more during the Countdown Conversation. They also said another interesting observation to make during the concert would be the exchange between the members of the quartet, and how the quartet draws the audience into this exchange. Although, all three pieces involved conversation, my favorite was the Jalbert composition, written exclusively for the Emerson String Quartet. You could tell it had an immediate effect on the audience.

I don’t think anyone quite expected the Jalbert piece to be all that it was. Sinister sounding, it was unusual, otherworldly even. Every ebb and flow was highly anticipated. The artists egged each other on and the performance looked physically demanding. No wonder violinist Eugene Drucker, in the pre-show creative conversation with Walton Arts Center CEO Peter Lane, said the piece makes him “break out in a sweat” prior to every single performance.

The eagerly awaited Beethoven op. 135 was the most layered, complex quartet of all. Beethoven teases, exhilarates, and mystifies – all at the same time. After all, he IS Beethoven. A great end to a great concert! The artists received a well-deserved standing ovation.

Yesterday’s concert made me feel how little I know about the world and how much there really is left to explore. I look forward to many more such experiences at the 10x10 Arts Series this year.

Thank you Iti for sharing your wonderful insight and unique perspective on the Emerson String Quartet performance!

Bringing the past into the present

The Martha Graham Dance Company was in our hall last night, and what a beautiful performance they put on.

It was a unique program that included video, pictures and narration by the Artistic Director, Janet Eilber. For someone who was not well-versed in Martha Graham's history, or dance in general, having Janet on-stage discussing Graham's life, her work and her impact was a wealth of resource and knowledge. Eilber made the show that much better. It was fascinating to have film and pictures from Graham's career, dating back to the early 1920's, played during the performance.

The New York Times published an article on another dance legend, ballet great Mikhail Baryshnikov, and how he recently donated a large collection of film, pictures and other memorabilia to the New York Public Library. Baryshnikov has worked with many of the great choreographers of our time, including Martha Graham. There is actually a film in his donated collection of a time he performed for Graham. It will be interesting to see how Baryshnikov's collected works might be put to use in the future, as Graham's are - being used to facilitate the performance and enlighten a whole new generation.

Read the complete New York Times article here.

TheatreSquared receives 2011 National Theatre Co Award

Northwest Arkansas just got one more reason to be proud of our area. Our regional professional theatre company, TheatreSquared, (based in Fayetteville) received the 2011 National Theatre Company Award from the American Theatre Wing, which is the founder of the Tony Awards. For more information on what this means, read the entire press release on TheatreSquared's website.

In case you haven't been to one of TheatreSquared's perfomances, here are some key points on what makes them unique:

- They are a professional theatre. This means that everyone that works on their productions - actors, directors, designers, crew - are all paid on a national scale. This also means the actors are professionals, are trained & have devoted their careers to theatre.

- Auditions for TheatreSquared are held nationally in Chicago, New York and Northwest Arkansas.

- Productions are conceived and produced here in Northwest Arkansas. All the design, direction and rehearsals are done in Fayetteville.

- Arts-in-education is a big part of TheatreSquared's mission. In 2010, more than 5,000 students and teachers benefited from T2's outreach programs.

- TheatreSquared is one of only two professional companies in the state of Arkansas, and are currently the only ones producing theatre year-round.

Northwest Arkansas is fortunate to have this theatre company as part of our arts landscape. If you have not had a chance to check out one of their performances - take a look at their schedule and find one that tickles your fancy. You won't be disappointed!

Getting to know Emerson String Quartet

We are a little over a week away from the kick-off of our 10x10 Arts Series. Emerson String Quartet is our first performance of the series, and their concert is Sunday, October 9 at 3:00pm. 

Emerson is comprised of violinists Eugene Drucker and Philip Setzer who alternate in the first chair position, and by violist Lawrence Dutton and cellist David Finckel. In order to better understand some of the faces behind the Quartet, we recently sent them a series of questions to answer. 

From Phil Setzer:

1. Any musical collaborations from the past or visions of a collaboration that we might be surprised to hear about?

We performed “Yesterday” and “Lady Madonna” with Paul McCartney at a benefit concert a couple of years ago for Paul Newman’s Hole in the Wall camps. It was fun to meet Sir Paul and actually perform with him and it was great to do this for our friend Paul Newman who sadly left us soon after.

2. How has classical music evolved over your career and how has that affected the quartet?

Classical music will always exist. There is much written about how classical music is dying, but we have travelled recently to Asia and South America where we were literally mobbed by young music students who, if not all the professional musicians of tomorrow, will certainly be a big percentage of the audience!

3. What are the last 3 songs you listened to on your Ipod?

-Schubert’s “Du bist die ruh” with Dietrich Fischer-Dieskau and Gerald Moore 

- Ives songs with with Jan Degaetini and Gil Kalish

- Beatles “Ticket to Ride”

From Eugene Drucker:

1. What part of the performance are you most excited to shared with audience members? Why?

It's hard to pick just one part of the performance as my favorite. I'm excited to share Haydn's last complete quartet, Op. 77 #2, with the audience. It's full of vitality in the outer movements and in the minuet, though there is a much more placid middle section in that second movement (minuet). The third movement is an ingenious set of variations.   

It's also exciting for us to see an audience's reaction to a new piece. The Jalbert was written for us and premiered in Houston a few months ago; since then, we've played a handful of performances. Audiences will respond to the wistful atmosphere of the first and third movements, as well as the propulsive energy of the second and fourth. Here, as in the Haydn, the third movement is a set of variations, this one on a theme based on an old Huguenot melody.  

The Beethoven quartet is the culmination of the groundbreaking explorations that the composer, by now profoundly deaf, made in his five late quartets. This is the last multi-movement work in any genre that he completed. In the first movement, Beethoven seems to bring us back into the sound world and gestural landscape of Haydn and Mozart, but the scherzo is a wild ride; the slow movement -- once again, a set of variations -- is, like the slow movements of the other late quartets, one of the deepest utterances in our quartet literature, and the finale contrasts a brooding slow introduction with a joyous and assertive fast movement.

2. All this touring…what’s your least favorite form of transportation/traveling?

I don't love all the time spent in airports and on often crowded airplanes. Sometimes I will opt to drive a distance of 4 or 5 hours rather than fly 1 hour, because the time spent traveling door-to-door, with all the waiting time before the flight, is almost as long. This is especially true if the only reliable flight between two cities leaves early in the morning; I would prefer to set my own schedule whenever possible.

3. You’re in music as a career, clearly you love sound…what’s your favorite sound?  

I love the sound of a great singing voice, either operatic and/or that of a great Lieder singer. We string players try to emulate great singers when possible and appropriate. I also love the sound of a great orchestra in symphonies of Beethoven, Brahms or Mahler, to name just a few of the orchestral composers whose music has thrilled me.

We loved reading their responses and hope you will as well.  If you would like to find out more about the Emerson String Quartet, head over to their website and check them out. They are a fascinating group that have been making music together for three decades. Walton Arts Center is excited to bring this world-renowned quartet to Northwest Arkansas! 

So, you love {insert something art-sy here} but you need money

The university has been back in session for a few weeks now, and as we pass the students walking up and down the street outside our offices we often wonder what they're majoring in. We all know that someone that absolutely loves to paint, draw, play music, etc, and refuses to give that up for a job in the 'real world,' so they go forth and pursue that fine arts degree much to their parents chagrin.

We want to take this opportunity to APPLAUD you!! And, to let you know that you can get a job in the 'real world', while continuing to do something you are passionate about, by...getting a job at an arts center!!  At Walton Arts Center, we've got employees with degrees in art history, music, dance, acting and many more.

Working at an arts center is a great way to keep a finger on the pulse of everything arts & culture.  There are different departments, such as programming (deciding which shows come through), development (raising awareness and funds), learning and engagement (working with the community to ensure the arts reach our students and teachers), facilities (working on the stage crew, building sets, lighting) and communication (marketing, public relations, design).  That is just a few of the areas that we have here at Walton Arts Center.  There is sure to be something that peaks your interest. 

So, as you're wondering how you're ever gonna get a job on Broadway, become a museum curator or be the next Picasso, we encourage you to think of the arts as a broader scope.  Working at an arts center is a great way to still be a part of an area you love (arts), and to be able to move out of your parent's basement (make money!).

'Diner' coming to Broadway

In preparation for Rock of Ages in November, we are all living in an '80s state of mind over here at Walton Arts Center.  So, when we saw this article from The New York Times we were totally bummed.  NOT!!!! (Sorry, couldn't resist!)  To say the least, we were psyched and were this close to have a spontaneous dance party down our hallways.

The 1982 coming-of-age comedy, "Diner" by Barry Levinson is coming to Broadway!  "Diner" helped bring some well-known stars into the spotlight, including Kevin Bacon, Tim Daly and Steve Guttenberg.  Levinson will write the book for the "Diner" musical and Sheryl Crow will write the music.  There's no way this is going to be anything less than totally tubular. (Sorry, again, couldn't resist!) 

SoNA live blog

11:24 - Oooh...the first notes of the Pathetique come from the bassoon.  Definitely sets the mood. 

I have to confess that I usually prefer the big, loud portions of symphonic music, but there is something amazing about when everyone is playing quietly; like the music wants to burst out, but the musicians are holding it in by sheer force of will. 

11:27 - oh yeah, there's that big sound.  Bring it!

11:30 - the strings are in the lead, and the lilting melody has me thinking of mountains.  This is a pretty cinematic portion of the piece. 

11:36 - Mastro Haas is such fun to watch; lots of energy and passion. Whoa - the trombones are in charge at the moment.  Look out.

11:41 - Movement over - we were gently sent out by the horns, woodwinds and tympony (sp?). Oh man, I really want to stay, but I've got to get back to work.  The bottom line - this group of musicians sounds fantastic, and they seem to be enjoying each other and in good spirits.  If you are not a "classical music person" (whatever that means) I still think this concert would be fun for you - this is big, impactful, emotional music that doesn't require much other than an open ear and imagination to enjoy.

One last reminder: tickets can be found at www.waltonartscenter.org or at 479-443-5600.  The show is tonight, Monday the 19th, at 7:30 pm.  There's a Creative Conversation with Music Director Paul Haas and WAC President/CEO Peter Lane at 6:45pm in Starr Theater. 

Thanks!  See you tonight.

SoNA Live blog: part 2

In completely unrelated news, did you know today is International Talk Like a Pirate Day?  So, ahoy, me maties, I'm back for the 2nd half of rehearsals.  Considering that I do have an actual job to do (answering emails and holidng meetings and the like), I'm only going to stay through the first few moments.  I also confess that I want to have some suprises tonight when I'm sitting in the audience. 

So, let's talk about Tchaikovsky's final symphony, #6, the "Pathetique".  Did you know that Tchaikovsky conducted it's premiere in St. Petersburg only 8 days before his death?   There's some speculation about what the composer intended with the piece; was it autobiographical or a commentary on life and death?  In the end, no one really knows, which adds a lovely layer of mystery to the piece.  Also, one language thing to note - the title of this work is the French "pathetique", not the English "pathetic".  Pathetiquie means "touching the emotions."  So we're in for a highly emotional ride tonight, I think.  Bring it on.  :)

11:20 - It's total cacaphony in the hall right now as the musicians are getting back from break.  And then, just like that, there's silence, followed by the controlled cacaphony of tuning.  Here we go. 

SoNA live blog: recap

It's break time, and the stage empties except for a few string players who want to perfect one section of the Elgar.  I'm always amazed at how musicians can just summon the emotion of a piece immediately, no matter where they are in the music.

Here are all of the posts for the first half of the rehearsal, in chronological order.

Hey all - here I am I at the SoNA dress rehearsal - thought we'd try a little live blogging experiment.  I'm not going to give anything away (even though I am on the prowl to hear one of those vaunted "secrets" that Maestro Paul Haas is always teasing us about). 

So we've begun, and the WAC tech crew is working to make the show look good, so there was some discussion about lights (the stage looks amazing), and now we begin.

Did you know that a dress rehearsal for an orchestra actually entails everone being in concert dress? For some reason, I never knew this, even though it would make sense.  The Maestro is in tails, the orchestra in dress blacks.

Ah, those first chords of the Marriage of Figaro - how can you not grin when you hear them?  I tend to hear them most with the rocking sounds of a full band behind them (I'm a huge East Village Opera fan - don't judge), but hearing it without electric guitars is a neat experience.

Maestro Haas is enjoying the fun of this piece, you can tell - he's got a big smile on his face. So do I.  :)

10:21 am - Much shifting of chairs and people is ensuing as they get ready for the next piece.  The crew is moving some equipment as the violas work on a few notes with Maestro Haas.

Sebastian, the cello soloist, just appeared and the orchestra, who's hands are full with their instruments, did that whole "stomping of feet = applause" thing.  I love that.

10:25 - tuning begins, and I'm about to hear the Elgar piece for the first time.  I love cello. I can't wait.

If you're wondering what I'm talking about - here's a link to SoNA's website - where you can download the program notes for tonight's show.  2nd link from the top on the right.

10:28 - wow, this piece is amazing.  I almost want to leave so i can be surprised tonight, but I'll suffer through.  :)  I think (and please keep in mind that I'm a classical music novice with no training in musicology) that the cello is the most human sounding of the string instruments - I always hear emotion in it.  And then you add the huge, swelling sound of a full orchestra behind it...just...wow.

10:36 - Sorry, I got distracted there for a moment by the music.  I'm not going to give away anything because I want you to see the show, but I can say that the Elgar piece is full of changing emotions and dynamics.  Sebastian is pretty incredible to my ear.

10:39 - I always like to see what the tech crew does with the stage - and at the moment, I'm seeing warm fall colors and some gorgeous flowers in reds and oranges.  In the spring, the flowers were green and purple, but they definitely have a fall feeling to them.

10:40 - oh, more music.  I'm not sure what movement they are on (I missed hearing it), but this is the aching, soulful portion of the programming.  There's some yearning and memory in this music.  Sigh.  :)

Ok, a quick search and read of the program notes indicates we're into the Adagio movement (Adagio from the Italian meaning "at ease"), the slow movement.  In the notes, it's described as 'soulful' and 'a private lament."  Very true.

10:49 - it occurs to me that I ought to make a shameless plug for ticket sales to tonight's show, though I'd really rather just focus on the music.  But anyway - here it is: tickets can be bought at www.waltonartscenter.org or by calling 479-443-5600.

Ok, back to the music - we're into the 4th movement of the Elgar.  This movement is a long one, almost as long as the previous three, and it's beginning with a big sounds, passionate and upbeat, lots of tossing of the melody back and forth between the soloist and the different sections.

But then, as promised, you start to hear hints of lament coming back.  It's like the composer doesn't want to let you get too excited.

I just read that this piece is really hard for the soloist.  Sebastian seems to be up to the job, and then some.

Whew. Piece complete.  I just let out a huge breath.  Applause from the musicians and the few of us in the house.  :)

SoNA live blog

10:49 - it occurs to me that I ought to make a shameless plug for ticket sales to tonight's show, though I'd really rather just focus on the music.  But anyway - here it is: tickets can be bought at www.waltonartscenter.org or by calling 479-443-5600.

Ok, back to the music - we're into the 4th movement of the Elgar.  This movement is a long one, almost as long as the previous three, and it's beginning with a big sounds, passionate and upbeat, lots of tossing of the melody back and forth between the soloist and the different sections.

But then, as promised, you start to hear hints of lament coming back.  It's like the composer doesn't want to let you get too excited.

I just read that this piece is really hard for the soloist.  Sebastian seems to be up to the job, and then some.

Whew. Piece complete.  I just let out a huge breath.  Applause from the musicians and the few of us in the house.  :)

SoNA live blog

10:36 - Sorry, I got distracted there for a moment by the music.  I'm not going to give away anything because I want you to see the show, but I can say that the Elgar piece is full of changing emotions and dynamics.  Sebastian is pretty incredible to my ear.

10:39 - I always like to see what the tech crew does with the stage - and at the moment, I'm seeing warm fall colors and some gorgeous flowers in reds and oranges.  In the spring, the flowers were green and purple, but they definitely have a fall feeling to them.

10:40 - oh, more music.  I'm not sure what movement they are on (I missed hearing it), but this is the aching, soulful portion of the programming.  There's some yearning and memory in this music.  Sigh.  :)

Ok, a quick search and read of the program notes indicates we're into the Adagio movement (Adagio from the Italian meaning "at ease"), the slow movement.  In the notes, it's described as 'soulful' and 'a private lament."  Very true.

SoNA live blog

10:21 am - Much shifting of chairs and people is ensuing as they get ready for the next piece.  The crew is moving some equipment as the violas work on a few notes with Maestro Haas.

Sebastian, the cello soloist, just appeared and the orchestra, who's hands are full with their instruments, did that whole "stomping of feet = applause" thing.  I love that.

10:25 - tuning begins, and I'm about to hear the Elgar piece for the first time.  I love cello. I can't wait.

If you're wondering what I'm talking about - here's a link to SoNA's website - where you can download the program notes for tonight's show.  2nd link from the top on the right.

10:28 - wow, this piece is amazing.  I almost want to leave so i can be surprised tonight, but I'll suffer through.  :)  I think (and please keep in mind that I'm a classical music novice with no training in musicology) that the cello is the most human sounding of the string instruments - I always hear emotion in it.  And then you add the huge, swelling sound of a full orchestra behind it...just...wow.

SoNA live blog: 10:14am

Did you know that a dress rehearsal for an orchestra actually entails everone being in concert dress? For some reason, I never knew this, even though it would make sense.  The Maestro is in tails, the orchestra in dress blacks.

Ah, those first chords of the Marriage of Figaro - how can you not grin when you hear them?  I tend to hear them most with the rocking sounds of a full band behind them (I'm a huge East Village Opera fan - don't judge), but hearing it without electric guitars is a neat experience.

Maestro Haas is enjoying the fun of this piece, you can tell - he's got a big smile on his face. So do I.  :)

Live blogging from the SoNA dress rehearsal

Hey all - here I am I at the SoNA dress rehearsal - thought we'd try a little live blogging experiment.  I'm not going to give anything away (even though I am on the prowl to hear one of those vaunted "secrets" that Maestro Paul Haas is always teasing us about). 

So we've begun, and the WAC tech crew is working to make the show look good, so there was some discussion about lights (the stage looks amazing), and now we begin.

StARTing to Heal

A story on NPR caught our eye a couple of weeks ago.  They were talking about artists that were collecting debris from the May 22, 2011 Joplin tornado, and turning it into sculptures and paintings for an auction.  What a great way to turn something so devastating into something beautiful.  It almost seems to have a rejuvenating quality to it.  Proceeds from the auction went to benefit Joplin artists in the rebuilding of their studios, and to art therapy classes to help continue the healing from the destruction.

You can find the detailed article on the NPR website. 

The Symphony - What exactly does a conductor DO?

This is a question that Paul Haas, music director of the Symphony of Northwest Arkansas (SoNA), has encountered many times over the course of his career.  He gives us an answer, in layman's terms, over on his blog - Paul Haas.  He's a very witty, entertaining writer, and you will enjoy reading his explanation to this oft-asked question. 

"So invariably, this happens. I’m at a party or gathering of some sort, and just as I’ve stuffed my mouth full of the ubiquitous cocktail peanuts, someone who’s found out that I’m a conductor will approach me and ask, 'So, no offense, but what does a conductor do? I mean, it doesn’t even look like the musicians are watching the conductor!' At which point, I point to my mouth to indicate that I am somewhat indisposed." 

Click here to hop over to Paul's blog for the rest of the story.

Stickworks

Artosphere, Arkansas' Arts & Nature Festival, was a great success last year, and we have already been busy planning what to do this season.  One of our main features will be an installation piece done by Patrick Dougherty. 

Combining his carpentry skills with his love of nature, Patrick Dougherty began to learn about primitive techniques of building and to experiment with tree saplings as construction material. Beginning about 1980 with small works, fashioned in his backyard, he quickly moved from single pieces on conventional pedestals to monumental site-specific installations that require sticks by the truckload. To date he has built over two hundred such massive sculptures all over the world.

One of the most fascinating things about Dougherty is the fact that he gathers all the sticks and saplings for each piece on-site.  Check out this article by Beth Goodwin, Walton Arts Center PR Manager, over at The Ozark Echo to learn more about Patrick and his installations.

Patrick was in Fayetteville a couple of weeks ago to scope out space and materials for his installation piece.  While he was here he stopped by KUAF to talk with Kyle Kellams about his designs.  You can listen to the interview here.

He also spoke with Becca Bacon Martin of NWA Media and was featured in her "What's Up!" article.

We are very excited about bringing Patrick and his work to Northwest Arkansas this spring during our 2012 Artosphere Festival.  You can stay up to date about the festival and the events surrounding it by visiting our Artosphere homepage. 

Welcome!

Walton Arts Center believes that music, art and live performances have the power to change lives. Serving as a catalyst for public dialogue, the arts bring people together through shared experiences. As a non-profit supported by people that value arts and culture, we feel it is our responsibility to share the impact we see every day. The purpose of this blog is not to promote events or sell tickets—instead, we want to provide an interactive place for creative brainstorming, inspiring stories, industry news and resources.