A Deeply Moving Experience...
A Deeply Moving Recital
Months ago, I had the extreme fortune to collaborate with a wonderful soprano brought in to give a recital in San Angelo, Texas. She is a graduate of Westminster Choir College, and is a friend of a colleague of mine, the former director of music at First United Methodist Church.
I know what you're thinking - what makes this recital different than any other recital? To be honest, I was not expecting to be moved so profoundly. Here's a little bit of background before the explanation.
I was asked to accompany Natalie about a month before the recital, and I agreed. However, for whatever reason, I didn't get the music for the recital until a handful of days before. Needless to say, a standard 16 piece recital with only a handful of days to learn was a bit daunting, and I was stressed, not to mention that I had juries and accompanying for about 25 other students in those few days, leaving me almost no time to practice.
Specifically, if you're familiar with William Bolcom, you probably know that his music can be very rhythmic, dissonant, and altogether difficult. These were the worst worries, but with all of the music in the previous month, I was very worried about tempi, accuracy, and musicality.
When the rehearsals started, it was clear that Natalie had a fantastic voice, probably more of a mezzo quality in my opinion, but don't tell her that! The music selection was that of an Americana recital, incorporating some jazz songs as well as art music. Altogether, the recital was carefully constructed to represent an evolution from life to death. The repertoire - so dynamic, diverse - seemed to magically fit within itself. Musically, each number provided contrast and a flow throughout the recital, and thematically, was brilliantly constructed.
As our rehearsals continued, I began to feel the nuance of all text paintings, vocal techniques, texture, and emotion within this glorious music. My one regret is that I did not have more time to perfect the music to the degree that she held supreme mastery.
The repertoire selection really moved me. There were the "feel good" songs where I wanted to clap along, sing from the rooftops, and wear a goofy grin on my face. Just when the listener gets into the groove, a poignant reminiscent melody begins, softly. Suddenly, that inner burst of passionate joy begins to weep in nostalgia for those things in life that should have been, or will never be. It has been a long time since a musical performance made me feel so complete...so alive...
What's even more significant, I think, is this memory, became something of an obsession. I constantly found myself listening to this music, carrying the notebook with me for my own self gratification. I suddenly had new favorite rep, which is very unlike me. It takes awhile for a work to make its way into my favorites, this music shoved its way in ahead of its time. And yet, it was always a recurring motive in my memory.
Last week I obtained a recording of the recital. While the recording sucked (through no fault of the performers), I tweaked it to make it slightly more acceptable. Within these recordings are the musical passions that have engulfed my mind these past few months. I'd like to share these recordings with you. If you have the time, listen to the recital in its entirety - there's certainly an element that would be lost otherwise. If the link does not work, please let me know. I hope you enjoy our output, because I was moved by the experience of performance, a rare occasion these days.
Part One: Growing Up
"Summertime", from Porgy and Bess - Gershwin
"A Route to the Sky" from Paper Wings - Heggie
"Over the Rainbow" from The Wizard of Oz - Arlen
"Laurie's Song" from The Tender Land - Copland
Part Two: Finding Love
"Someone to Watch Over Me" from Oh Kay! - Gershwin
"What Good Would the Moon Be?" from Steet Scene - Weill
"P.S. I Love You" from For the Boys - Jenkins
"Orange Colored Sky" - Delugg/Stein
Part Three: Getting Lost
Music from: Cabaret Songs - Music by William Bolcom
"Amor"
"Toothbrush Time"
"Oh Close the Curtain"
"Waitin"
Part Four: Getting Found
"Amazing Grace" - Adam Torres, piano - adapted from arr. by Michael Schneider (not featured in playlist)
"Give Me Jesus" - arr. Hogan
"At The River" from Old American Songs - Copland
"He's Got the Whole World in His Hands" - arr. Hogan
Natalie Megules, soprano and Adam Torres, piano
Months ago, I had the extreme fortune to collaborate with a wonderful soprano brought in to give a recital in San Angelo, Texas. She is a graduate of Westminster Choir College, and is a friend of a colleague of mine, the former director of music at First United Methodist Church.
I know what you're thinking - what makes this recital different than any other recital? To be honest, I was not expecting to be moved so profoundly. Here's a little bit of background before the explanation.
I was asked to accompany Natalie about a month before the recital, and I agreed. However, for whatever reason, I didn't get the music for the recital until a handful of days before. Needless to say, a standard 16 piece recital with only a handful of days to learn was a bit daunting, and I was stressed, not to mention that I had juries and accompanying for about 25 other students in those few days, leaving me almost no time to practice.
Specifically, if you're familiar with William Bolcom, you probably know that his music can be very rhythmic, dissonant, and altogether difficult. These were the worst worries, but with all of the music in the previous month, I was very worried about tempi, accuracy, and musicality.
When the rehearsals started, it was clear that Natalie had a fantastic voice, probably more of a mezzo quality in my opinion, but don't tell her that! The music selection was that of an Americana recital, incorporating some jazz songs as well as art music. Altogether, the recital was carefully constructed to represent an evolution from life to death. The repertoire - so dynamic, diverse - seemed to magically fit within itself. Musically, each number provided contrast and a flow throughout the recital, and thematically, was brilliantly constructed.
As our rehearsals continued, I began to feel the nuance of all text paintings, vocal techniques, texture, and emotion within this glorious music. My one regret is that I did not have more time to perfect the music to the degree that she held supreme mastery.
The repertoire selection really moved me. There were the "feel good" songs where I wanted to clap along, sing from the rooftops, and wear a goofy grin on my face. Just when the listener gets into the groove, a poignant reminiscent melody begins, softly. Suddenly, that inner burst of passionate joy begins to weep in nostalgia for those things in life that should have been, or will never be. It has been a long time since a musical performance made me feel so complete...so alive...
What's even more significant, I think, is this memory, became something of an obsession. I constantly found myself listening to this music, carrying the notebook with me for my own self gratification. I suddenly had new favorite rep, which is very unlike me. It takes awhile for a work to make its way into my favorites, this music shoved its way in ahead of its time. And yet, it was always a recurring motive in my memory.
Last week I obtained a recording of the recital. While the recording sucked (through no fault of the performers), I tweaked it to make it slightly more acceptable. Within these recordings are the musical passions that have engulfed my mind these past few months. I'd like to share these recordings with you. If you have the time, listen to the recital in its entirety - there's certainly an element that would be lost otherwise. If the link does not work, please let me know. I hope you enjoy our output, because I was moved by the experience of performance, a rare occasion these days.
Part One: Growing Up
"Summertime", from Porgy and Bess - Gershwin
"A Route to the Sky" from Paper Wings - Heggie
"Over the Rainbow" from The Wizard of Oz - Arlen
"Laurie's Song" from The Tender Land - Copland
Part Two: Finding Love
"Someone to Watch Over Me" from Oh Kay! - Gershwin
"What Good Would the Moon Be?" from Steet Scene - Weill
"P.S. I Love You" from For the Boys - Jenkins
"Orange Colored Sky" - Delugg/Stein
Part Three: Getting Lost
Music from: Cabaret Songs - Music by William Bolcom
"Amor"
"Toothbrush Time"
"Oh Close the Curtain"
"Waitin"
Part Four: Getting Found
"Amazing Grace" - Adam Torres, piano - adapted from arr. by Michael Schneider (not featured in playlist)
"Give Me Jesus" - arr. Hogan
"At The River" from Old American Songs - Copland
"He's Got the Whole World in His Hands" - arr. Hogan
Natalie Megules, soprano and Adam Torres, piano