06 September 2007

Luciano Pavarotti, Dead at Age 71

According to various news sources, Luciano Pavarotti died today, 06 September 2007, at the age of 71. While I am not familiar with much of Maestro Pavarotti's work, I do know that his rendition of the literature can impress even the strongest opponent of opera.

Let us conclude this entry by quoting one of Pavarotti's signature work's, Nessun Dorma from Puccini's Turandot.



Dilegua, o notte! Tramontate, stelle!
Tramontate, stelle! All'alba vincerĂ²!
Vincerò! Vincerò!
Vanish, o night! Set, stars!
Set, stars! At dawn, I will win!
I will win! I will win!

Only through your legacy of recordings will we ever hear your magic again, Maestro. We will watch the stars that tremble with love, and with hope.

05 September 2007

Remembering Sir Georg Solti

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Today is the tenth anniversary of Sir Georg Solti's death. Solti was the Music Director of the Chicago Symphony Orchestra from 1969 to 1991. Following his retirement from the CSO as Music Director, Maestro Solti was made the first and only Music Director Laureate in that orchestra's history.

In reflection of the many wonderful years of devotion to music, I chose to visit the his bust, which was originally placed near the Lincoln Park Conservatory in Chicago, Illinois on his 75th birthday in 1987. The bust was moved, in 2006, to Grant Park (as pictured above), just across from Orchestra Hall. Surely the Maestro would be more happy with this location, for it means he would spend less time commuting and more time working!

The last concert which I saw with Maestro Solti conducting was sometime in the mid-1990s while I was ushering at Orchestra Hall. On this concert were the Mussorgsky Songs of Death (arr. Shostakovich) and Shostakovich's Symphony No. 15 in A Major. These concerts contained some of the most phenomenal playing I have ever heard, and the "Solti Touch" was alive, and well, several years after his departure from his position as full time director. With his signature whip of the baton, or only a small gesture of the hand, an amazing sound would emanate from the ensemble. At the conclusion of each piece, a gracious bow was always followed by a quick shuffle, off stage. Age never appeared to have much effect on the vitality and energy of the Maestro's spirit.

Just before his death, Sir Georg was also the focus of a video documentary (published by Image Entertainment) titled Sir Georg Solti - The Making of a Maestro. In this documentary, Maestro Solti covers the early years of his life, his progression from the Liszt Music Academy in Budapest, Hungary, to a career in music, his evolution into several positions as Music Director in various famous opera houses, and much more. Two poignant quotes were made by the Maestro in the documentary.

"I don't think that music will achieve political immunity...I don't think so. But it may be help easing the hate; easing the non-conformity between nations. It will help heal the wounds."

"Today I am what I am. I'm no Hungarian anymore; [I am] not English. a so-called "cosmopolitan", which is an awful word. Yet what I am, a musician. A musician with a family that I love. That's my life."

While Sir Georg Solti may no longer be with us, his legacy and spirit will live on in the memories of those who experienced his talent, and through the many recordings were are fortunate to have from his lengthy career.

To the Maestro: köszönöm szépen!

Floor Toms: Trying My Patience

What is it with floor toms? Why must they always be so difficult, compared to other drums in a drum set? Last night I had a rehearsal that called for my playing a rhythmic drum solo on the floor tom in a "Gene Krupa style" (quoted directly from the score). Ok, I can do that. Dah-dah-zah-dah doo-dah-dah-zah-dah, etc. In the midst of playing this small little solo, the legs of the floor time conveniently gave out. Nice. Now the orchestra thinks I can't keep a decent beat going for more than five bars.

Weeks ago I played a concert with DuPage Symphony titled Sounds of the Sixties. As you can imagine, there were a lot of rock tunes that required some filling in. I like to use the floor tom, probably more than most people, but (as last night) my sexy silver Yamaha floor tom's legs didn't hold up to much either. Maybe I need to fashion something to keep the legs from slipping. Of course, this makes tear-down more difficult, but when have percussionists ever had it easy?

Given this life-long battle against the engineering mistake called the "legs" of a floor tom (...hey you, the person that developed the whole mistake idea...apologize!), I am afraid to move to a rim mounted system; I have no desire to feel a large, heavy ride cymbal falling into my body.