Mozart in reverse, KC Symphony, Berlioz, the Musician, and Bach in new ways

I finished my Mozart listening project. After listening to his symphonies in order, 1-41, I decided to listen to them in descending order 41-1. Why? No real reason. But it was a fun listening exercise. As much music as I listen to, there were many Mozart's symphonies I had never heard before. Some points to share....many of his symphonies are very short...7-10 minutes in length. We all know Mozart was a genius, but it struck me that even though many of his symphonies were written when he was a child (he was eight when he wrote his first symphony) they are still very good. It really is incredible what he accomplished at an age when most of us were still eating boogers. Certainly by the time he was composing his final three symphonies, he was in his prime as a composer and operating at a much higher creative level. I would say Symphonies 24 and 29 stood out for me as the most enjoyable. I'm still not a Mozart expert, but I feel like I accomplished something pretty cool. Mozart behaved in deplorable ways during his short life. It is hard to reconcile his disgusting behaviors with the incomparable music he composed, but I am not trying to. I am content just to appreciate the beauty of his music.

Sunday was the final concert of the 2017-18 season for the Kansas City Symphony. I had great anticipation for this concert, partly because it was the close of a great season, but also for the program itself. I had made up my mind just to go and enjoy the music...I was not going to take notes or write about it. But afterwards, I knew I needed to say something because there was so much going on. First, the music. We were treated to Leonard Bernstein's The Age of Anxiety featuring pianist Ran Dank. I had never heard this piece, and I intentionally didn't listen to it prior to the concert. I wanted my first impression to come from this performance. I'd say this worked out very well. I loved the piece and will certainly listen to it again in the weeks to come. Dank plays beautifully, and his encore, a shimmering cover of George Gershwin's Embraceable You put a smile on everyone's face. The other work on the program was the one and only Symphonie Fantastique by Hector Berlioz. This is a piece I know very well (I wrote about it last year) and will probably never get tired of hearing. It is a seminal work. I love this quote from Charles Gounod about Berlioz; "His Symphonie Fantastique (an episode in the life of an artist) was a veritable event in music, the importance of which was testified to alike by the fanatical admiration of some, and the violent opposition of others. However open to discussion such a work might be, it reveals, so far as the youth who produced it is concerned, faculties of invention absolutely superior, and the powerful poetic sentiment which is met with all his works. Berlioz introduced into the musical world very many important effects and orchestral combinations unknown before his time, of which several illustrious composers have made use; he revolutionized the domain of instrumentation, and in this subject, at least, he may be said to have founded a "school."
The KCS was on their game today. Maestro Stern needed no score, and the musicians gave a performance that felt incredibly energetic...almost frenetic at times, yet never in jeopardy of crashing...or so it seemed. It was breathtaking. I've gotta say, the French Horns sounded incredible...they are developing a unique sound reminiscent of the Chicago Symphony Orchestra in it's heyday, which is not small praise, and staking a claim as our best section (IMO).
It is a time of change for this, my favorite orchestra in the world. Our concertmaster Noah Geller is leaving to join the Seattle Symphony. I wish him well. Violinists Justine Lamb-Budge and Philip Marten are also leaving. And three long-time members of this ensemble are retiring; Marita Abner (bassoon), Steven Seward (tuba) and Kenneth Lawrence (Oboe-English Horn). But take heart Kansas City...do not worry. There is no shortage of very talented and hungry musicians in the world. My buddy Yoichi Udagawa, a conductor himself in the Boston area, tells me this all the time. And he reassured me that we will have no problem finding new musicians to fill these vacancies. And once they are here, Maestro Stern, Frank Byrne, Executive Director, and the other musicians will bring them into this musical family and create new magic for all of us to enjoy. Kansas City is not a minor league affiliate for Seattle, Pittsburgh, New York etc....We are a big league team, and even if other orchestras can afford to pay more than KC, we have reached the plateau of excellence with these other orchestras as a musical force.
I am a musician. I think, eat and breath music. I play music. I did not make it to the level of the Kansas City Symphony, but I am still a musician. I appreciate musicians and what they have to go through to make a living. Maestro Stern's respect, admiration and love for his musicians is undeniable. He took time to acknowledge, hug, and cheer for his team on Sunday afternoon. Well done sir. If I were at your baton, I would follow you to the edge.

A great story about musicians, told by another great conductor who loves musicians... Zubin Mehta. He was a student of the great conductor, Bruno Walter. According to Mehta, "He (Walter) wanted so much to record this symphony (the Mahler 9th) that he accepted all the conditions of Columbia Records. I don't know about financial conditions, maybe he did it for nothing. But they had 12 first violins and 4 basses. In other words, Columbia Records told him "we will do it...of course it will never sell...so if you want to do it, we will do it for you, but we cannot afford more musicians. Not only that... these musicians were all members of the Los Angeles Philharmonic... they also didn't know the Mahler 9th, so they were sight reading (prima vista) and recording at the same time. They were good musicians and he was very patient with them. When you read the reviews of this recording later, "this is the definitive (performance)...and nobody can play it like that"...they were sight reading." Freakin' amazing. Gives me goosebumps.

Cheryl and I went to see Oceans 8 Sunday evening. The other "Oceans" movies have been fun, so this seemed like a safe bet. Sure enough, I thought it was a lot of fun. But what grabbed me most was one particular tune in the soundtrack....Bach. His Fugue in D minor. Mixed into a very eclectic soundtrack was this 300+ year-old standard with electric bass, drums, and organ. WOW! I was hooked and when we got home I checked YouTube and found it. Daniel Pemberton wrote the soundtrack for Oceans 8. And this is credited to J.S. Bach. Check it out:

But not so fast Daniel Pemberton....and I am willing to reserve judgment should someone be able to offer up proof....but a comment made in this video refers to an progressive English rock band called Egg who also did version of the Fugue in D Minor in 1970. I looked it up, and sure enough....

Hmmmm...I'd say it's a no-doubter...Egg came first and Mr. Pemberton has some explaining to do and a credit to acknowledge. I searched Google and YouTube for any interview or comment from Pemberton to see if he gives credit to Egg for this Bach cover-masterpiece. So far, no luck.
But I love BOTH arrangements. It is Bach after all.