yours, mine and ours

Several years ago, a colleague from a fellow arts organization and I were meeting to discuss a collaborative project. She had attended a LA Chamber Orchestra concert a few nights earlier, and her sharp observation of the listeners around her has stuck with me ever since: “I’ve never seen such a possessive audience,” she said. In just a few words, she defined the essence of the LACO community and pointed out what makes it so remarkable. When it later became my job to make the pre-concert, “turn off your cell phone” announcements, I took those words to heart and, Vin Scully-style, incorporated the phrase, “your Los Angeles Chamber Orchestra.”

read more →Multiple media platforms have made music more accessible now than ever. You can enjoy LACO performances online, on radio and on disc, but it’s remote access. To be in the room with the Orchestra’s fierce collection of talent is a visceral experience, where a musical energy field connects you to the players – and to your fellow concert-goers. It’s that bond that creates a real sense of ownership, and I don’t just mean figuratively. Almost three-quarters of the funding needed to produce LACO’s world-class performances and engaging community programs is contributed – and 70% of that comes from individuals like you, who donate over and above the price of a concert ticket.

By definition, that makes LACO your Orchestra, and because of your generosity, it belongs to all of Los Angeles and the world.

You can help sustain this indispensable cultural and community resource – and boost your tally of charitable deductions for 2014 – by making a gift before December 31. Donate online or call the LACO office up until 5 pm on New Year’s Eve.

Thanks for making LACO not only your Orchestra, but ours.

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musician spotlight: Patricia Mabee

The 2014-2015 season is in full swing, and we wanted to start highlighting some of the many amazing and talented musicians seen on the LACO stage. First up, Patricia Mabee, who has been LACO’s principal keyboardist for 38 years! You can catch Tisha performing during in LACO’s upcoming Baroque Conversations concert on Thursday, December 11. Tisha took a few minutes out of her busy schedule to answer some fun questions for us, so keep reading to learn more about Tisha’s history with snake bites and the soundtrack to her forbidden adolescent tryst!

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Do you have any pre-concert rituals?  I like to curl up into a ball, or at least close my eyes and listen to my breath for a minute.

What’s your earliest musical memory?  Sitting under the upright piano while my Mom played Bach. I was probably only one or two years old.

What’s a piece of music that triggers a memory that always makes you smile?  It’s “Let’s Spend the Night Together” by the Rolling Stones. Ahhh, forbidden adolescent tryst!

If you could play another instrument other than the one(s) you already play, what would it be and why?  It’d have to be a lute or theorbo, because then I could just jump from harpsichord to play it whenever I felt the music called for it.

If you could play a duet with any living musician, living or dead, who would it be and what would you play?  Herbie Hancock, and we’d play “Chameleon.”

What’s your favorite music-based movie or TV show and why?   “West Side Story.” Pure genius, innovative for its time and it never seems dated.

What’s something about you that no one would know just by attending a LACO concert?  In my late teens I wanted to become a doctor with the Peace Corps. I trained as a nurse and volunteered for 2 summers in rural areas in Guatemala and Colombia treating things like tarantula and snake bites and kwashiorkor, which is malnutrition.

Halloween just passed. What’s your all-time favorite Halloween costume?  Marie Antoinette, of course!

Turkey Day is a couple weeks away. What’s your favorite Thanksgiving side dish, dessert, or entree?  Are mashed potatoes and gravy a side dish? You can have everything else!

In addition to her work with LACO, Tisha is also principal keyboard with the New West Symphony Orchestra. She made her debut at Carnegie Hall in 1982, and has since given recitals on four continents. She has made regular appearances at the Oregon Bach Festival, as well as at the Casals, Chamber Music Northwest, Ojai and Los Angeles Bach festivals. Tisha performs with the Bach’s Circle and is the music director of Ritornello, a period instrument ensemble. Tisha can be heard on many film soundtracks including “Marie Antoinette” and “Master and Commander.” Specializing in Early Music, Tisha received a Master’s degree in keyboard performance from California Institute of the Arts. She is currently on both the CalArts and Colburn School Conservatory of Music faculties.

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what is music?

I had the best time at LACO’s Meet the Music performance on Friday, November 21. Meet the Music is the Orchestra’s education program for 4th and 5th grade students, primarily from LAUSD. These programs are always so much fun to attend – watching the students respond to the music presented, listening to their questions, and hearing their reactions as they leave the auditorium.

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On Friday, the program, which included musicians from LACO, musicians from wild Up and conductor Christopher Rountree particularly spoke to me. At the concerts, Christopher asked students “What is music?” The concert explored the difference between music and sound – could sounds be music? Are they the same? In further exploration of this concept, Chris answered, “Music is all around you.”

For those of you who have attended recent LACO concerts, you know we have been asking concertgoers the same question – what is music to you? We also got lots of great answers, and put together this fantastic video:

Watch the video, and read what other music lovers had to say in response to this question.

Join in the conversation! Tell us what music is to you via Facebook or Twitter and tag it with #musicIs.

As 2014 is coming to a close – consider making a gift to the Los Angeles Chamber Orchestra to help keep music thriving in Los Angeles.

Thank you for your support! I look forward to seeing you I the audience soon!

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the pulitzer prize in music

Choosing composition as your life’s work means a challenging career ahead. Hundreds of years ago, job security meant finding a patron who would feed and house you and expect you to produce a pretty constant stream of music for their court orchestra. If you were lucky and well-connected, you might also have a thriving career writing opera for the public or publishing piano music for students and music-lovers. But the percentage of composers who can make a living just from composition has always been relatively small, and it is still true today. One of the most successful composers out there right now is Aaron Jay Kernis, and LACO will be performing one of his works in their upcoming concert. Kernis’ Viola Concerto will make its Los Angeles debut with Paul Neubauer as soloist. It’s sure to be a wonderful experience.

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Aaron Jay Kernis has had a very productive career thus far; he’s been recognized by the professional organizations ASCAP and BMI, and he has won a number of very prestigious awards in his field. He’s also received grants from the National Endowment for the Arts and the Guggenheim Foundation. He won the Rome Prize in 1984, which allows for a year of writing and study at the American Academy in Rome. Previous winners include Roger Sessions, Samuel Barber, Aaron Copland, and Lukas Foss. Kernis’ work Colored Field received the University of Louisville Grawemeyer Award for Music Composition in 2002. Kernis continues to collect accolades, and he’s sharing his particular ideas and talents with thriving university programs. He is composer in residence at Northwestern University (made possible by the Nemmers Prize) and he is also in residence at New York’s Mannes College.

One of the jewels in the crown of this already amazing career is Kernis’ 1998 Pulitzer Prize for Music, which he won for the String Quartet No. 2. At the age of 28 at the time, Kernis was the youngest recipient of the Pulitzer in Music. I only learned there was such an award in the late 90s, when my former theory professor, Melinda Wagner, won for her Concerto for Flute, Strings, and Percussion. Since then, I’ve wondered about the origin of the Pulitzer Prize in Music.

The Pulitzer Prize was set up by Hungarian-born newspaper publisher Joseph Pulitzer. His papers, New York World and St-Louis Post Dispatch favored high quality writing and investigative journalism. Pulitzer was incredibly supportive of the idea of a school of journalism, which would properly train writers at the university level to create content for newspapers and other publications.

In his will drawn up in 1904 (he died in 1911), he left money to Columbia University with the stipulation that they begin a school of journalism (it was founded in 1912) and award the Pulitzer Prize celebrating excellence in various fields. Pulitzer named a few awards: four in journalism, four in letters and drama, and one in education. There were also scholarships for travel. Among the letters awards were ones for an American novel and an American play (which had been performed in New York). The first set of prizes was awarded in 1917. There is both a certificate and a cash award for each prize. Pulitzer understood that times would change, so he was not overly rigid in his stipulations. In fact, he established a board that would oversee and advise the awards, so that they could replace subjects or add subjects, and respond to the changing times. Currently, the Pulitzer foundation gives out awards in twenty-one categories. In the 1990s, the Plan of Award committee responded to the proliferation of online content by expanding the definition of entries. This change was amended further in 2006.

The Pulitzer Prize for Music was added in 1943. At first, only art music entries were considered, but again, Pulitzer’s understanding that times would change allowed for a broadening of the category. In 1998, the definition of eligible music became more inclusive towards more mainstream musical styles. Things seemed to be moving in that direction already; in 1997, Wynton Marsalis’ “Blood on the Fields,” which displayed strong jazz influences, took the prize. So once the Plan of Award committee made the change officially, other composers who had been overlooked received some late recognition. In 1998, George Gershwin was honored on his hundredth birthday, as was Duke Ellington in 1999. In 2007, Ornette Coleman’s live jazz recording Sound Grammar won the award, the first to take such an honor, and it was validation of the progress towards an acceptance of the diversity of American styles.

Although the Pulitzer Prize is not without controversy or detractors, Aaron Jay Kernis’ inclusion in the pantheon of winners is ultimately a coveted honor. To receive such a prize so early in one’s career,  it must have felt to Kernis incredibly encouraging. And Kernis has made good on the promise he showed. Not content to sit idly after winning an award (or many awards!), Kernis has shown that each new honor just encourages him to write more, add nuance to the development of his style, and contribute to the rich diversity of the American music tradition.

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musician spotlight: Kristy Morrell

Horn player Kristy Morrell has been gracing the LACO stage since 1997 – 17 years! What a perfect candidate for our new Musician Spotlight feature! Come see Kristy in action this weekend, when she’ll be performing during “Beethoven Piano Concerto No. 3,” LACO’s concert on November 15 & 16 (buy your tickets now!). Kristy kindly answered some fun questions for us, so check out which beverage inspired her favorite Halloween costume, as well as which classical music piece caught her ear at the tender age of four.

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Do you have any pre-concert rituals?I usually take a 20 minute “princess nap.”

What’s your earliest musical memory?My grandpa played Dvorak’s New World Symphony for me when I was 4. It fascinated me and I begged him to play the record endlessly. Finally, he let me take the record home and I literally wore it out.

If you could play another instrument other than the one(s) you already play, what would it be and why?  I sing a lot in church choir and I always wish I had a better voice.

What’s your favorite music-based movie or TV show and why? I LOVE Mr. Holland’s Opus. As an educator, it validates my passion for sharing music with everyone.

What’s your favorite topping on ice cream? Pizza? Salad?  I love anchovy on pizza. (A lot.)

What’s your favorite sandwich?  Reuben with extra sauerkraut.

What’s something about you that no one would know just by attending a LACO concert?  I raise chickens in my backyard. Penelope, Peony, and Violet are their names.

Halloween was a couple weeks ago… What’s your favorite or most memorable Halloween costume?  When my husband Steve and I were students at Eastman, we dressed up as a 6-pack of Genesee Beer. (Our favorite libation due to its economy, not flavor!)

In addition to her work with LACO, Kristy Morrell is a faculty member at USC’s Thornton School of Music and The Colburn School of Performing Arts. She performs frequently with the Los Angeles Philharmonic, Los Angeles Master Chorale, LA Opera, and Pasadena and Pacific symphonies. A respected recording artist, she has performed on numerous motion picture and television soundtracks and records. Kristy has a Doctor of Musical Arts degree from USC, where she also received her Master of Music, and a Bachelor of Music and Performer’s Certificate from the Eastman School of Music.

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genesis of the viola concerto

Viola Concerto (2013-2014)
I. Braid
II. Romance
III. A Song My Mother Taught Me

This new concerto for Viola is inspired essentially by its extraordinary soloist, Paul Neubauer, whose playing I’ve known over many years. Paul and I first worked together in 1993 when American Public Radio commissioned my Still Movement with Hymn for piano quartet which he premiered on air and toured. In some ways this new concerto follows up on the tone of that piece. I have always been drawn to the soulful character of the viola, and have been excited to write this work from the moment Paul asked for it.

read more →Knowing of Paul Neubauer’s interest in folk music, after our very first meeting I decided to base this movement on the well-known Yiddish song, Tumbalalaika, which I had known since my early childhood. I had always felt this song has very penetrating words and a sad melody, and was later surprised to hear it sung in many ways – as a romantic wedding song, wildly gyrating dance tune, and even in an ironic, comedic rendition. It can withstand so many interpretations! The words to the song (included below) are very soulful and deep. They are both light and dark in tone, playful yet very serious in intent. In the song a young man questions a girl who might become his bride, and she answer his simple questions with surprisingly deep answers. The relationship between them that these words hint at are at the center of the entire concerto. The melody of Tumbalalaika is used as the basis of the entire third movement (A Song My Mother Taught Me), and it is varied and presented in many different emotional contexts throughout its nearly 20 minute length. This movement is the longest and most substantial in the piece.

The use of the Yiddish tune is formed like a theme and series of variations, but the ten linked variations proceed backwards toward the tune, starting at their most fragmented and least melodic. The tune has been pulverized, made wildly improvisatory, and at times, very harsh and bitter. The melody is never heard in its original form, but there is late in the movement more of it is exposed against a background of strumming strings that suggest the sound of a balalaika orchestra. The shape of this movement could be construed to be variations in search of their melody.

Another important influence on the concerto was the music of Robert and Clara Schumann. I was drawn to this incredible music and unique relationship once again by Paul Neubauer’s splendid CD of transcriptions of Robert’s works for viola and piano. After hearing this disc I found further inspiration from Robert’s Opus 34 Fughetta and Clara’s Romance (both for piano), out of which grew my own Romance, this concerto’s second movement. My Romance is a lyrical, romantic intermezzo, which grows out of breathing, fluid gestures and harmonies that link to the Brahms/early Schoenberg tradition as well. This was the first movement I completed of the concerto, and hope with it was to fit Paul’s gorgeous singing sound like a glove.

So the entire work is steeped in personal relationships in one way or another, direct indirect and abstracted. Probably most abstract (but still lyrical in tone) is the opening movement, Braid, which I imagined as a constantly shifting and transforming relationship between the viola and orchestra. The fast moving line that opens in the vibraphone weaves around a singing melody that the viola introduces, building, redefining through a thickening gauze of colors that leads, at its peak, to a chaotic frenzy, winding down suddenly as the opening music returns.

I am so delighted that LACO is a partner in this commission. It has been many years since we’d worked together in person, when in 1998 my jazzy Double Concerto for Violin and Guitar was presented with Jeff Kahane conducting. (I was not able to attend last season’s performances of Musica Celestis). I so look forward to returning to Los Angeles and LACO after a long hiatus.


Transliteration of Yiddish Lyrics
Shteyt a bokher, un er trakht
Trakht un trakht a gantse nakht
Vemen tzu nemen un nisht farshemen
Vemen tzu nemen un nisht farshemen

Tumbala, Tumbala, Tumbalalaika
Tumbala, Tumbala, Tumbalalaika
Tumbalalaika, shpil balalaika
Tumbalalaika,freylekh zol zaynMeydl, meydl, kh’vil bay dir fregn,
Vos ken vaksn, vaksn on regn?
Vos ken brenen un nit oyfhern?
Vos ken benken, veynen on trern?


Narisher bokher, vos darfstu fregn?
A shteyn ken vaksn, vaksn on regn.
Libe ken brenen un nit oyfhern.
A harts ken benken, veynen on trern.


Vos iz hekher fun a hoyz?
Vos iz flinker fun a moyz?
Vos iz tifer fun a kval?
Vos iz biter, biterer vi gal?


A koymen iz hekher fun a hoyz.
A kats iz flinker fun a moyz.
Di toyre iz tifer fun a kval.
Der toyt iz biter, biterer vi gal.


A young lad stands, and he thinks
Thinks and thinks the whole night through
Whom to take and not to shame
Whom to take and not to shame

Tumbala, Tumbala, Tumbalalaika
Tumbala, Tumbala, Tumbalalaika
Tumbalalaika, strum balalaika
Tumbalalaika, may we be happyGirl, girl, I want to ask of you
What can grow, grow without rain?
What can burn and never end?
What can yearn, cry without tears?


Foolish lad, why do you have to ask?
A stone can grow, grow without rain
Love can burn and never end
A heart can yearn, cry without tears


What is higher than a house?
What is swifter than a mouse?
What is deeper than a well?
What is bitter, more bitter than gall?


A chimney is higher than a house
A cat is swifter than a mouse
The Torah is deeper than a well
Death is bitter, more bitter than gall

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celebrate…with music, of course!

I haven’t seen a wedding band play in years. I’ve attended my share of weddings, but in the last couple of decades, I’ve noticed that the popularity of wedding bands has waned in favor of the lone DJ, who plays the hits just as you remember them. I’ve also been to weddings where the couple compiled an epic playlist beforehand and left an iPod to play their choices while the rest of us danced and ate. But think back to a time when recordings were not an option. Think back to Europe in the eighteenth century, a time when music had to be played live by skilled musicians. If you liked to listen to music back then, your choices were somewhat limited. I came across an interesting tidbit the other day when looking up some information about Antonio Salieri. In the 1700s, Salieri went to Vienna and found work in a chamber orchestra run by Emperor Joseph II. Joseph was such an enthusiastic music lover that he employed a group of musicians to play for him while he ate dinner. And not just once in a while either; these musicians played for him every evening. Such a thing would only be possible if money were no object.

read more →For most people, then, daily music-making fell to individuals. In the eighteenth and nineteenth century, piano lessons were very popular. The piano was a focal point of many homes. There were also public concerts to attend, if one had the time, inclination, and resources. (Location was also important.) Although not strictly for entertainment value, churches provided music, and indeed, some of the most talented composers and musicians worked at the churches in Europe. Opera was the most popular musical entertainment of the day, of course, and a composer’s career could be made or broken in the opera house. Another place to hear music was at special events like weddings.

One of the pieces on LACO’s upcoming concert is a Serenade by Mozart that was composed for a wedding celebration. A Serenade is a piece for orchestra, usually in many movements (more than the typical four movements of a symphony), reserved for some light entertainment. The instrumentation for a serenade is chosen with two practical concerns in mind: the music had to be heard wherever the musicians were placed, which was sometimes outside; the musicians were sometimes called upon to stand and play their instruments. (Cellists were always exempt from this for obvious reasons.) The “Haffner” Serenade by Mozart—so named because it was composed for the occasion of the wedding between Elisabeth Haffner and Franz Xavier Spaeth—is scored for instruments that would do well both in the outdoors and with standing instrumentalists. There are strings, pairs of oboes, bassoons, horns, and trumpets.

The music for a wedding celebration, or any serenade or divertimento from the Classical period is light and airy, but not without substance. Mozart had a knack for making such carefree music interesting. For those who were socializing and eating while the music was going on, they would have enjoyed pleasing background music, but for those who cared to listen more closely, they would have been treated to some charming and clever pieces. Mozart used dance forms, which was a common practice when writing such light entertainments. Often lively and catchy, dance forms have the advantage of seeming familiar, even if they are quite new. Hearing the “Haffner” Serenade and its accompanying march—which would likely have played while the bride and groom made their entrance, or while guests were arriving—in a concert setting allows one to really appreciate the nuances of Mozart’s composition. And best of all, the orchestra will likely be seated as well. (I’m sure they appreciate that!) The couple for whom this piece was composed married in 1776. That makes this year their 238th anniversary!

If celebrating a two-century-old wedding wasn’t cause enough for jollity, LACO’s upcoming concert also features a piece that was thought lost to history. Haydn’s Cello Concerto was for years misattributed to Anton Kraft, the cellist for whom the piece was written. The work was there, in plain sight, just with the wrong composer’s name on it. Some suspected that Kraft’s Cello Concerto might have been the missing concerto that Haydn included on a list of all of his works. The proof didn’t come until the mid-twentieth century when an autograph score of this piece was finally found, confirming Haydn’s authorship of the Cello Concerto. Better late than never, I suppose.

LACO’s upcoming concert will have the upbeat mood of a celebration, which is a wonderful and fitting thing. Every time we get to support this music and orchestras like LACO, it is a celebration. We have the privilege of experiencing live music played by skilled musicians, which means we have something in common with those music-lovers from the eighteenth century. Sure, we have streaming music, YouTube, radio, television, and recordings, but there is simply no substitute for being there, in the theater, watching and listening to the magic of live music. ↑ less ↑

california adventures

I am very much looking forward to returning to the Los Angeles Chamber Orchestra for my second visit. My first was many years ago – more years ago than I care to admit. I was playing the other Haydn concerto – in C major – with the orchestra under the direction of its then artistic leader, the late, much-missed Iona Brown. I’m afraid that my dominant memory of that evening is one of fear, panic and despair. Iona had very kindly put me on in the second half of the programme, which is always nice; but in this case, I just had not got over the jet-lag, and I felt that my brain was closing down for the night well before I went onstage. I went out into the night as the orchestra played the symphony in the first half, and breathed in copious amounts of smog, hoping that it would wake me up. It didn’t. I walked onstage in a state of frozen dread, sure that I would forget the music and have to walk off-stage midway, to a cacophony of cat-calls and hisses. Thank goodness, that didn’t happen; I got through it, and people even seemed to enjoy it! At the dinner afterwards (no matter how exhausted a musician may be, we still have to eat after concerts – an absolute necessity!) Iona turned to me. ‘That’s amazing, Steven – I’ve never seen anyone look so relaxed coming on stage!’ If she had but known…

read more →However, I’ve now been here in California for some ten days, so hopefully the lag will have past before I tread the boards for these concerts. And I’m definitely succumbing to the magic of LA: having begun my trip at one of my favorite houses in the world, the home of my friends Aaron Mendelssohn and Marcia Adelstein, who run the Maestro Foundation (for whom I gave a recital a few days after I arrived, with Ya-Fei Chuang) and then given a class at the impressive Colburn School of Music, I went to San Francisco (a little-known, rather sun-deprived city on the north of California – you may not have heard of it) for concerts with the Philharmonia Baroque Orchestra under Nic McGegan. (It seems to be my time for playing with Scottish conductors – both Nic and Douglas Boyd are old friends, as well as being wonderful musicians.) Now, as I write these immortal words, I am preparing to come back to LA, where I hope to do many things, apart from the little matter of playing one of the most challenging of all cello concertos. I plan to see many friends (including the daughter and son-in-law of my grandfather’s favourite piano pupil in Vienna from the 1930s); and my girlfriend Joanna (who is coming over for the week) and I are going to visit Bill Marx, the son of my hero of heroes, Harpo – that will be a thrill. I hope also to examine the Piatigorsky archive at the Colburn School. In fact, if fate hadn’t intervened, I would have been living in LA for a few years in my late teens (ie at least two years ago). I was all set to come to study with Piatigorsky, when, alas, the great man died. At least I got to meet him several times, and fell completely under the spell of his irresistible charisma.

But I shall also be practicing Haydn! Papa Haydn demands a lot of attention – all of which is fully rewarded when we start playing those glorious, life-affirming melodies. What a composer! I’m sure that he and Harpo would have been firm friends – perhaps now they are? ↑ less ↑

9 things you never knew about the cello

The program for LACO’s upcoming Mozart Serenade (October 18 and 19, buy your tickets now!) features a George Benjamin piece and (spoiler alert!) a Mozart Serenade. But since the concert will also feature Haydn’s Cello Concerto in D major, featuring guest cellist Steven Isserlis, it’s the perfect time to bone up on cello trivia. Whet your appetite with these 9 Things You Never Knew About the Cello! 

read more →The Cello’s Full Name. Cello is actually an abbreviated word. The full name name for the instrument is violoncello, which translates to “little violone.” The violone, which was larger, is the direct ancestor of the double bass.

A Workout For Your Calves. The wood or metal spike at the base of the cello that allows the cellist to rest their instrument on the floor is called an endpin. Even though the cello dates back to the 16th century, endpins weren’t commonly used until the beginning of the 20th century. The first to attach an endpin to their cello was Belgian composer and cellist Adrien-François Servais, who did so around 1845. He must have been tired of holding his cello between his calves, which was the standard practice for hundreds of years.

Pluralize It! There are two acceptable ways to pluralize the word “cello”: cellos and celli.

You Sound Like a Cello. Many musicians and experts have claimed that, of all the instruments that make up an orchestra, the cello is the one that most closely sounds like the human voice. Tod Machover, a composer and Professor of Music and Media at MIT, explained why: “The cello range is identical to the human voice – that is, the male and female voice combined. The lowest cello note is at the bottom range of a basso profundo, and although the cello can scream higher than any singer, it has a more normal top range that competes with a diva coloratura.” (from Machover’s essay “My Cello,” included in the book “Evocative Objects: Things We Think With”)

Expensive…and Broken! In 2012, a Stradivarius cello thought to be worth $20 million dollars was broken when it fell off a table during a photo shoot at the Spanish Royal Palace in Madrid. It’s part of a set of instruments known as ‘The Quartet’ that were acquired by King Philip V of Spain during the 1700s. 

Spruced Up. The top plate of a cello is commonly made of spruce, a softwood that’s known for having good sound radiating qualities. Spruce is popular among manufacturers of many stringed instruments, including violins and guitars, because of its high stiffness-to-weight ratio.

High Fashion Cello. What’s famed cellist Yo-Yo Ma’s connection to luxury fashion icon Louis Vuitton? The Louis Vuitton Foundation has loaned Ma the Davidov cello, which was made by Stradivarius in 1712. It’s one of many cellos that Ma uses during performances, and one that he frequently performs Baroque music on. The Louis Vuitton Foundation has at least three other instruments that they loan out to musicians: two violins (the Zahn and the Reynier), and a cello (the Vaslin).

Medical Testing. The oldest surviving cello, called the ‘King’ and made by 16th-century luthier Andrea Amati, recently entered a hospital for testing. In 2013, researchers at the National Music Museum in Vermillion, South Dakota, used a CAT scanner to examine the condition of the ‘King,’ and to try to identify the originality of the materials used during construction.

24 Hours of Cello. There’s one cello-centric Guinness World Record, and it’s for Longest Cello Marathon. The current record was set in 2005 by Shamita Achenbach-König, who played the cello for 24 continuous hours on November 5th and 6th, 2005. Her day-long concert included pieces by many of the biggest names in music, including Bach, Chopin, and Dvorak, as well as folk songs and spirituals. The record was set at the Impossibility Challenger Games in Munich, which celebrates the limits of the human spirit and body. Achenbach-König’s record wasn’t the only one set during the Games: a Swiss bodybuilder tore a 960-page phone book in half in under 3 seconds, a Slovakian man juggled three 20-pound balls for 25.66 seconds, and Jennifer Davies from Canada set two Guinness World Records for whistling the highest and lowest notes ever whistled in history. ↑ less ↑

shaky snakes / THE INTIMIDATOR!

Welcome back to a new season of the Los Angeles Chamber Orchestra and thus a new season of my “Newbie Blog”. Although I’ve been doing this for three years now, I’d still say I’m a classical newbie. Maybe I’ve learned enough to be called “Somewhat Seasoned-ie” but that doesn’t sound great so we’ll just stick with newbie.

read more →Opening night began with a new piece commissioned by LACO called “Lines of the Southern Cross” and conductor Jeffery Kahane explained that the piece was about Australia and would feature a bit of aboriginal influence. He also mentioned that aboriginal Australians are the oldest living culture in the world which I didn’t know. Classic newbie move. Anyways, “Lines of the Southern Cross” like most modern compositions had it’s fair share of dark, foreboding parts. These parts were broken up in cool unexpected ways thanks to the use of a number of unusual instruments some of which I don’t know the names of so I made up some new ones. The first I’m going to call “shaky snakes”. “Shaky snakes” are quite similar to rain sticks (long hollow sticks partially filled with beans that make a rain like sound when you flip it upside down) but more slithery and shifty sounding…like a snake. I could be wrong but I think I heard three distinct types of “shaky snakes” used during the performance. Or perhaps one can adjust a “shaky snake” to three different settings. The other mystery instrument were “wheat sticks”. “Wheat sticks” look like a big old piece of wheat and unsurprisingly make the sound of foliage moving ever so slightly. I have to commend the “shaky snake”/”wheat stick” players Wade Culbreath and Kenneth McGrath who had to also play a ton of other instruments including chimes, a drip sound (I have no idea what they used to make this sound), xylophone, AND my favorite instrument the triangle. These guys have to be the most stressed players in all of LACO. Having to switch between multiple strange instruments at just the right time would probably be the end of me. I could only handle triangle at best.

Next up was Camille Saint Saëns’ Piano Concerto #5 op 103 in F Major aka “The Egyptian”. A bit of a tangent but I must say that I absolutely love it when complicatedly named pieces get a cool nickname like “The Egyptian”. In fact, I’m going to think of a cool one for Beethoven’s 5th by the next paragraph. I had never heard of Saint Saëns before but I absolutely loved “The Egyptian”. The piece was at times light, dreamy, airy and never held the completely serious / somber weight that some classical pieces do. It felt accessible and adventurous. Like something that could be enjoyed at a bar (in the 1890s) or concert hall: a little fancy yet still approachable. According to the program notes Saint Saëns loved to travel and that vibe really came through in the piano performance by soloist Juho Pohjonen. Pohjonen did an excellent job and looked like he was having a lot of fun playing this lovely piece.

After a break, it was time for the big event of the night: Beethoven’s Symphony No. 5 in C minor Op. 67 or as I will now call it “The Intimidator”. “The Intimidator” storms right in with the iconic DUN DUN DUN DUH then slowly subsides only to come back again fiercely hence it’s new nickname ala Saëns. The thing I enjoyed most about hearing “The Intimidator” live was the surround sound feeling. By that I mean one side of the orchestra with the violins would be playing and then suddenly the other side with the cellos would respond making it the feel like the sound was darting back and fourth around the room. Like Audio table tennis. In conclusion, here are two excellent paintings of Beethoven by great friend of the blog Dr. Taghi Tirgari.

Beethoven IMG_2098

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