For the longest time, I thought that tune was an American folk song, like “Shenandoah,” or even “Sweet Betsy from Pike.” Not so. Instead, it is entirely original and at the heart of From the New World, Symphony No. 9 in E minor by Antonin Dvorak. There’s a lot of commentary about how he wrote it. He lived in New York in 1892. A determined visionary, Jeanette Thurber, wanted to create the National Conservatory of Music, a place where students of any gender, race/ethnicity, or economic background could study with the finest musicians. She really did make it happen and brought Dvorak to lead it. He and most of his family came from Bohemia, staying, with only one return to Europe, until 1895. He enjoyed the African-American music he heard, ragtime, and the nearly authentic Native American music he heard at Buffalo Bill Cody’s extravaganzas. And yet, Dvorak was not a researcher. So, how did this great-hearted symphony come to Dvorak? It is true that he said, “I am now satisfied that the future music of this country must be founded upon what are called the African American melodies,” but the symphony, written in 1893,  is definitely his own and written as a European symphony. Dvorak is the de Tocqueville of great music. Just as that young Frenchman came to America and immediately understood what was going on here, Dvorak came to the US and wrote masterpieces which to our ears are our masterpieces expressing a truth about America better than anyone else. It was a truth about who we wish to think we are. On June 1, 2013, The San Francisco Symphony, conducted by Juraj Valcuha, performed it with all the energy, optimism and yearning that propels this great, humane work. Nostalgia for a place that may never have existed, except at the core of our values, entwines with musical invention and insights. Two years later, in 1895, Dvorak wrote Cello Concerto in B minor, Opus 104. The June 1, soloist, Gautier Capucon, played the astonishing concerto with power and understanding. While it is the cello’s piece, the opening movement features a breathtaking horn solo. There is a virtuosic, dancing pace and the introduction of one of Dvorak’s songs which returns near the close. I am sometimes amused and amazed by critics’ commentaries on performances I have attended. One writer in order to praise Capucon mentioned that his playing managed to rise above this old warhorse of the classical repertory. Taking nothing away from Capucon’s masterful performance, one must remember he was performing this particular music, and it is earth shaking music. It opened a magical door to the cello. Allowing us to hear what poetry could come from that instrument, Dvorak pushed the symphonic world into a world of more and different sounds. Hearing it, Brahms said, “Why in the world didn’t I know one could write a cello concerto like this? If I’d only known I’d have done it long ago!” That’s good enough for me. Photos (L to R) G.Capucon, A.Dvorak, J.Valcuha.

If I had been given the chance to choose a Beethoven program to attend, it would not have been this one with Missa Solemnis as the big Beethoven event. It even had another Missa in the first half; this one by Palestrina. Lucky for me that Michael Tilson Thomas is a gifted programmer and also takes his musical educator role so seriously as he does. The concert by the San Francisco Symphony and the SF Symphony Chorus was beautiful, complex, inspiring. I wanted it all to happen again immediately.

The Palestrina work opened the program. In fact, it had the effect of opening the whole symphony building. By its conclusion, it seemed that the roof of the hall had lifted up and opened as the walls expanded infinitely. This is an all choral piece, no accompanying orchestra; the San Francisco Symphony Chorus performed so well that they seemed to disappear, leaving pure sound to occupy the ever expanding space. This was the first SF Symphony performance of Palestrina’s Missa Papae Marcelli (Pope Marcellus Mass) from the late 1550s or early 1560s. The audience, eyes open with surprise, floated to intermission. The word “balance” appeared frequently in the program notes, and balance is the answer to put into earthly terms the sense of perfect peace achieved by this work.

With Beethoven’s Missa Solemnis the SF Symphony, SF Symphony Chorus, soloists Laura Claycomb, soprano, Sasha Cooke, mezzo-soprano, Michael Fabiano, tenor, Shenyang, bass-baritone, Conductor Michael Tilson Thomas led the listeners into a different world. Here the energy, tumult, desperation, exaltation of every breath of life for all time engulfs the audience. As prayers of praise, for forgiveness, and sanctifying blessings pour forth, the voice of the music is sometimes the human lost, sometimes the human awed and humbled, even the human sensing glory.

In the Gloria (Glory be to God on high, and on earth/peace to men of good will.) the rhythm goes from walking steps to a levitation into air. In Sanctus (Holy, holy, holy) at the line Benedictus qui venit in nomine Domine (Blessed is he that comes in the name of the Lord) a single violin comes between soloists and chorus in a piercingly beautiful line that sounds like sweetness and truth if they had a sound.

This is the work that Beethoven devoted the most time to create. It has the richness of his understanding of life and complex devotion. It reminds me that music is a physical thing that changes the air it moves through and so might change the heart that hears it. pictures:(L) SFS Beethoven Project logo (Rt)SFS Music Director Michael Tilson Thomas

There is still time to view this fascinating exhibition at the Legion of Honor Museum, San Francisco.  It closes June 23, 2013. The exhibition gathers art that grew from the Olympic ideal and from the Olympics themselves, both the ancient Olympics which happened every fourth year for 1000 years and the modern Olympics, revived in 1896. While you are there, remember to pick up the beautiful keepsake brochure that is offered (free!) on a rack in the gallery. It is illustrated with pictures of the rare, Greek coins, sculpture, golden laurel wreath and other art that tell the dramatic story. Written by curator Dr. Renee Dreyfus, it also offers amusing, historic, and inspiring commentary taken from ancient admirers of the athletes. The ancients started out with the religious belief that both art and athletics were gifts from the gods. Over time, the religious connection faded but admiration for the marvelous human body did not fade. Men in motion, yes, mostly men, motivated artists and philosophers to create tributes to specific athletes and particular sports. The coins show chariot races, foot races, wrestling, the discus. Fans of Olympic achievements will find so much to enjoy in this exhibition. They will also see how events changed over time. Wrestling in ancient times was done standing up. The winner was the one who threw his competitor to the ground three times. There were ancient competitions for women, commemorated in coins. They were not in the Olympic Games but in their own festival dedicated to the goddess Hera. The virgin competitors ran in separate categories according to their ages. Photos and posters of modern athletes and memorable Olympics such as the one in 1936 when Jesse Owens upset Hitler’s propaganda and 1972 when terrorists murdered Israeli athletes. Enthusiasm for the athletes is expressed by Lucian, 2nd century AD: “if you were seated among the spectators feasting your eyes on the prowess and stamina of the athletes, the beauty and power of their bodies, their incredible dexterity and skill, their invincible strength, their courage, ambition, endurance, and tenacity. You would never stop…applauding them.”Pictures:(Left)Curator Renee Dreyfus (Right) Red-figure kylix showing two athletes, Greek, Athens, 440-430 BC.

This year would be the 100th birthday of English composer, Benjamin Britten. One great way to celebrate is to listen to violinist Livia Sohn’s recording Britten’s Violin Concerto, Op. 15. She performs this challenging work with clarity and strength. It’s music that deserves to be heard; Ms Sohn’s recording invites you to listen again. She performs it with the Orchestra del Teatro Marrucino, conducted by Luigi Piovano, on the Eloquentia label. The concerto is restless music that throws the listener off guard. Just when one’s ear anticipates the usual next sound, something upsets the rhythm or jars the tone. Britten was 22 years old when he wrote it. The world was coming apart. It was 1938-39; the Nazis were devouring Europe, and Civil War was defeating democratic Spain. While there is nothing overtly political in the music, the sense of balance is shattered. The music is angry, provoking anxiety and fear. Britten offers no peace in the end, just more marches, a strange dance, and questions. Also on the cd is Jiyeh, by American composer Jonathan Berger. This music was inspired by the multiple tragedies of 2006 when Israel responded to attacks by Hezbollah. Berger was in Jerusalem at the time and learned that a rocket hit a power station in Jiyeh, a town on Lebanon’s coast. More than 20,000 tons of oil spilled into the Mediterranean. Jiyeh is a work inspired by this ecological disaster; the plight of Jiyeh’s mostly Maronite population which had suffered decades of attacks by Muslim fighters; the senselessness of war. In addition, the composer studied satellite images of the oil spill. That physical representation led to music based on the visual images of the oil. Ms. Sohn is on the music faculty at Stanford where she coaches violinists and chamber groups. She says she enjoys working with the students who are very bright with great abilities to do many things. Originally from Connecticut and educated at Juilliard, Ms Sohn has been in California since 2000. She is playing a lot of Britten and Lutoslawski at festivals this season. In addition to concerti performances, she also performs with her piano trio, Latitude 41. In addition to the Britten concerto, she is currently performing the Korngold concerto which she says is much easier to listen to, “its beauty just washes over you,” and the Schubert Fantasy, a great favorite. See more at liviasohn.com

Here are links to two great newspapers covering local and international news: facebook/tribuneofusa

facebook/punjabnews

Support good journalism!

The de Saisset Museum at Santa Clara University has opened “Seeking Answers” the Photography of Wynn Bullock. The exhibition opened on April 12 and closes on June 30. It is not to be missed. Bullock was a great California photographer whose life and work were part of the Adams, Cunningham, Weston era. He followed his own pathway with his gift for experimentation and his quest for a deeper understanding of life and art that could be found through photography. He is best known for black & white images of nature and figures in nature, and many outstanding images are in this exhibition. There is also a group of his color-light abstractions which are eye and mind opening. Bullock’s photos are on the ground floor; go upstairs (by stairs or elevator) to see Jonathan Clark’s beautiful and profound photographs of Bullock. Clark has captured his friend in the landscape, truly part of the landscape, and reveals so much about the land and man together. These photographs are powerful in the surprising insights they present about Wynn Bullock’s character and the deeper meanings of photographic art. Photo shows (L to R) Curator Lindsey Kouvaris; de Saisset staff; artist Jonathan Clark; Barbara Bullock-Wilson, Wynn Bullock’s daughter; Gene Wilson. The de Saisset has an important permanent collection of Bullock’s work. Barbara and Gene Bullock Wilson are the moving forces behind new exhibitions. The de Saisset museum is on the campus at 500 El Camino Real. Admission is free. May 15, 7 p.m., Barbara Bullock-Wilson and Curator Lindsey Kouvaris will share stories behind the exhibition, Seeking Answers. Free.