Saturday, February 18, 2006
A broad range of the composer's music will be covered.
By L. CROW
VINDICATOR CORRESPONDENT
YOUNGSTOWN -- In keeping with its "Winners Circle" theme, the Youngstown Symphony Orchestra will present a concert of the music of Beethoven, featuring the Claremont Trio, first recipients of the Kalichstin-Laredo-Robinson International Trio Award in 2004.
Music Director Isaiah Jackson is especially pleased to be conducting this concert.
"It all goes back to Beethoven," said Jackson. "He was the first to successfully establish himself as an independent composer. Bach was employed by the church, and Haydn by the Esterhazy family. Mozart tried to become independent but wasn't successful. Beethoven was able to live as he wished, and write what he wanted."
And Jackson feels that Beethoven's music has provided a continuous thread that is woven into music being written even today. "So much music in the last 200 years is written in 'conversation' with Beethoven," Jackson noted. "He is still a foundation: 'A God with clay feet,' as the clich & eacute; goes. Although his music constantly approaches the sublime, it is rooted in worldly considerations. He covers the broad spectrum of both worlds and everything in between."
A wide range
And so this concert will cover a broad range of Beethoven's music, beginning with a set of four "Contradances." "These are little 'throwaway' pieces, something Beethoven might have written for someone's party," Jackson explained.
The next work on the program is the "Triple Concerto," which features the Claremont Trio. Though Jackson has not personally worked with this ensemble, he praises the group of women: Emily and Julie Bruskin (violin and cello) and Donna Kwong (piano), as distinguished colleagues.
"The cello part in this concerto is particularly difficult," he said. "It is the hardest of the three parts, which is unusual, because not much virtuoso cello music was written in this era."
The second half of the program will consist of Beethoven's Third Symphony, known as "Eroica." "This symphony is about twice as long as other symphonies of the time," Jackson said. "The fourth movement is a theme and variations, beginning with an introduction and pizzicato section. And the theme he used is from one of the contradances, a melody which he particularly liked that lends itself to good variation writing. Writing variations is like writing fugues: You have to be careful to pick a melody that will work well."
Both the "Triple Concerto" and this symphony were written around 1803, which was also when Beethoven was becoming increasingly aware that he was going deaf.
Loves the music
Jackson said he loves the music of Beethoven. "He is my 'desert island' composer," he said. "If I had a choice of only one composer, it would be him." But after that, Jackson said he would have trouble choosing a second favorite.
He now has an opportunity to teach others about the wide range of musical choices we have today, in a brand-new course he has created for Harvard University. Called "The Future of Music," Jackson said three main considerations will be covered: where we are; how we got here; and where we are going.
"In 1999, we suddenly realized the dichotomy that has reigned in the 20th century," he said. "But there is value in all styles of music, not just Western art music. We have Sibelius, but also Ellington." Radio New Zealand has interviewed Jackson about this new course, and you may listen to it online until Monday at this link: www.radionz.co.nz/cfm/programmes/upbeat.
And for this reason, Jackson has praise for the Youngstown orchestra. "The symphony has made a commitment to all types of music, from children's, pops, masterworks, and all the other events at Powers" he said.