Thile Mandolin Concerto

[BradKlein]

Although there are other threads on this subject, I think it will be nice to have one here in the "classical..." section.

The piece debuts on Sunday with the World Youth Symphony Orchestra in Interlochen, Michigan. There is some coverage here.

I would say that the Record-Eagle's story falls into the "dancing dog" family of journalism. As in, expressing mostly amazement that a mere bluegrass musician might venture in to composition. When, in fact, Thile's composition for Bass and Piano premiered over two years ago at Lincoln Center. That was an exciting concert, with Emanuel Ax and Edgar Meyer performing. Not a bad start! And then, of course, there is, Blind Leaving the Blind.

The new work's true "premiere" will be in Colorado in September, and I suppose that the list below hints at other opportunities that may be ahead:

"...co-commissioned by Interlochen and the Colorado Symphony, together with the Los Angeles Chamber Orchestra, Oregon Symphony, Alabama Symphony Orchestra, Winston-Salem Symphony, Delaware Symphony Orchestra and Portland Symphony Orchestra."

In addition to the general scarcity of opportunities like this for mandolin soloists, I imagine that Thile's work will be one of an even fewer number of compositions created or performed with the modern "American" mandolin in mind. (I am assuming he will perform with one of his Gibson/Loar style instruments, as opposed to the European style bowl back mandolin) I wonder if Thile considers this an important distinction, or not?

[BradKlein]

Even though my post here in 'Classical Corner', got exactly NO response back in July, I've decided to revive it to post a couple of links to the thoughtful coverage of Chris Thile's premiere last night in Denver.

The preview, by Kyle MacMillan, is here,

"This is not a bluegrass musician who is dabbling in classical music," said [music director Jeffrey] Kahane, who insists it is not hyperbole to describe him as Mozartean in terms of his musical abilities. "This is a great musician — one of the really towering musical minds."


and today's review is here .

"Indeed, in assessing this work, it is better to set aside the mandolinist's star status in the bluegrass world and think of him as an up-and-coming classical composer with almost unlimited potential."

Enjoy!

[mandobuzz]

I am a Chris Thile fan, especially of his work with Edgar Meyer. I think he has shown he is a curious, restless, growing artist who has not reached his artistic peak yet. I, for one, am looking forward to and planning on going to see him when he comes to Los Angeles in January to perform with the Los Angeles chamber orchestra.

[BradKlein]

I wonder if someone here can put this commission in some sort of perspective for those of us with only a bare familiarity with the world of contemporary composed music?

I had assumed, perhaps wrongly, that a commissioned work for mandolin and orchestra is (almost? completely?) unprecedented in modern times. If we look beyond baroque, classical, and romantic periods, are there any (many?) examples? I gather that there may be some 20th century works. Shonberg? Stravinsky? (I have read that mandolin is used in the ballet Agon? Is it prominent?)

I'm not thinking of the countless transcriptions made for mandolin orchestra, of course. Rather of the mandolin as a solo instrument with orchestra, large or small.

[mandobuzz]

I can chime in here, but I don't want to assume any authoratative voice. There are many others on this board with more information than me on this topic. In short, the mandolin has always had--and continues to have--a place in contemporary concert music, whether it be orchestral music, chamber music, or as a solo instrument. "The Classical Mandolin" by Paul Sparks is a good reference book to learn about the role of mandolin in classical music from 1815 on, including the use of it by Stravinsky (no, it does not have a large part in Agon), Schoenberg, Mahler, Webern, et al.

What is somewhat more unusual is to have a major artist of popular/bluegrass mandolin assume the role of a composer and soloist and compose contemporary concert art music. Of course, there is no reason someone cant be a great performer and a great composer. There are many examples of that. What is more difficult to do is to switch genres as a composer from popular to contemporary classical music without sounding like a mediocre grad school composition student who has been afforded way too many resources due to their popularity in the popular realm. Their efforts can turn into very public vanity projects. The track record for such things is not great.

However, like I said before, Thile is a VERY talented artist who has already moved in some interesting directions (for me). We'll see. I'm curious.

[BradKlein]

Thanks Buzz. I will check out the Sparks book.

There is such a vast musical landscape out there, and so much is happening that I am unaware of. I'd have thought that the very existence of a contemporary mandolin concerto, in performance around the country would be cause for much more comment here at the cafe. But it seems less unusual than I had thought.

If I could trouble you, and the classical gang, with one more question. Is it common for the classical players in the US to perform with an 'American', Gibson-style mandolin when playing with an orchestra? Is amplification the 'rule' in these sorts of situations? It seems that the recordings that I have heard have all involved either period, or various flat-top instruments. I was wondering whether the Loar F-5 is often heard in concert, something that I imagine LL would have hoped for and approved of.

[mandobuzz]

Again, I can only speak of my perspective. While in general, many classical players love bolwbacks (myself included), when performing NEW, contemporary music there is much more of a "whatever one prefers" attitude than most people would think, especially among American mandolinists. Part of this may be that there is really no "American" school of contemporary classical mandolin. Bowlbacks tend to be more entrenched among European players. This could partly be due to the fact that there is more of a standardized pedagogical system (or systems) there, i.e the German school.

A few examples: Avi Avital, an Israeli mandolinist who plays contemporary music uses a flat-top. Joe Brent has used a bowlback (--wait he now has the Labraid---what do we call that?) Marilynn Mair has recorded contemporary music on a Lyon and Healy Style A. Our own Neil Gladd has performed a lot of contemporary music. I have seen pictures of him holding both a bowlback and a f-style mandolin. Maybe he can chime in on his preferences? For what it's worth, I often use a Collings for new music.

I don't believe their is any prejudice against amplification anymore, as long as it's done tastefully. That's just part of our world. 50 years ago classical guitarist Andres Segovia would scoff at it, but today it is common.

By the way, listen to the Cafe's MP3 page of a new concerto for mandolin and orchestra by Avner Dorman (Avi Avital on mandolin) to hear another example of contemporary mandolin music with orchestra.

[DougC]

I know that Peter Oshtroushko uses his F4 Oval on the Copeland arrangement for the St. Paul Chamber orchestra. He also did some Vivaldi with the Lyra Baroque Orchestra . Cant' remember the maker's name right now but he is based in Winnepeg.

[Glassweb]

It seems as though Chris is finding his true voice through formal composition... which seems to suit his active mind quite well. No doubt he will go on to create some very interesting and challenging music... I guess his flower is just beginning to bloom... all the best Chris!

[Andrew DeMarco]

Where can we hear it? Anyone record it?

[BradKlein]

Thanks again Buzz et al.

It seems as though Chris is finding his true voice through formal composition... which seems to suit his active mind quite well. No doubt he will go on to create some very interesting and challenging music... I guess his flower is just beginning to bloom... all the best Chris!

A great thing about Chris - last week, just a few days before his premiere in Colorado, when the concerto must have been much on his mind, he performed a duo gig here in NYC with Michael Daves on guitar. A benefit for the venerable Parkside Lounge, a home to bluegrass in the city.

Lots of Louvin Bros, and bluegrass standards, along with the sweet Ookpik Waltz and at least one rock cover. He has a real commitment to composition, and still gets great joy from tearing into the classic BG repertoire. Those boys raised the roof.

And of course, coming up, the P-bros play Carnegie Hall. The big room this time! That will be yet another thing entirely.

[John Goodin]

I had the great pleasure of hearing Chris Thile perform his mandolin concerto last night with the Waterloo-Cedar Falls Symphony at the Gallagher Bluedorn Performing Arts Center on the campus of the University of Northern Iowa. This involved a 2 hour drive each way on mostly 2 lane roads but was well worth the effort.

The WCFS is a very fine orchestra led by conductor Jason Weinberger. They played a brilliantly designed program that opened with Charles Ives' Symphony no. 3, followed by Thile's Ad astra per alas porci. After intermission a subset of the orchestra performed the original 13 musician version of Copland's Appalachian Spring. I believe the hall seats 1900 and the main floor and the first balcony were nearly full.

An hour before the concert Chris and Jason held a concert talk attended by 80 or so people. Chris was his usual high-energy self and talked about his musical upbringing and how the concerto came to be. In the process he used his Loar to demonstrate the impact of hearing Glen Gould's Goldberg Variations recording as a teenager and did a little dance while playing a bit of the Preludio from the E major partita for solo violin. He also played a superb rendition of "Chinquapin Hunting" in answer to a request from someone for a demonstration of bluegrass style.

The performance of the concerto itself seemed excellent to me. Chris played into a mic, which took a little getting used to, but the piece was written with that in mind. I'd like to hear it a few more times before I decide where it stands in the pantheon of Great Music but I certainly enjoyed it. It was a pleasure to see and hear Chris interact with the orchestra members. There was a lot of eye contact and movement on his part. Maestro Weinberger did a great job of holding things together and the orchestra sounded great. The audience loved the piece and a standing ovation followed.

As an encore Chris stepped to the front of the stage and played the Presto from the Gm solo violin sonata unamplified. It was as fast or faster as any version from a modern violinist and, despite the speed, very musical as well. More ovations and then Chris sang a slow Gillian Welch song with mandolin accompaniment. I would have preferred more Bach but he won me (and the audience) over.

Introducing the Bach piece he said something like: "No matter who you are, Bach is always better!"

Chris said that this was the 13th time that the concerto has been performed. I hope there will be many more.

John G.

[MandoNicity]

Thanks for the report. Sounds like it was a fantastic experience.

JR

[Jim Ferguson]

I had the great pleasure of hearing Chris Thile perform his mandolin concerto last night with the Waterloo-Cedar Falls Symphony at the Gallagher Bluedorn Performing Arts Center on the campus of the University of Northern Iowa. This involved a 2 hour drive each way on mostly 2 lane roads but was well worth the effort.

The WCFS is a very fine orchestra led by conductor Jason Weinberger. They played a brilliantly designed program that opened with Charles Ives' Symphony no. 3, followed by Thile's Ad astra per alas porci. After intermission a subset of the orchestra performed the original 13 musician version of Copland's Appalachian Spring. I believe the hall seats 1900 and the main floor and the first balcony were nearly full.

An hour before the concert Chris and Jason held a concert talk attended by 80 or so people. Chris was his usual high-energy self and talked about his musical upbringing and how the concerto came to be. In the process he used his Loar to demonstrate the impact of hearing Glen Gould's Goldberg Variations recording as a teenager and did a little dance while playing a bit of the Preludio from the E major partita for solo violin. He also played a superb rendition of "Chinquapin Hunting" in answer to a request from someone for a demonstration of bluegrass style.

The performance of the concerto itself seemed excellent to me. Chris played into a mic, which took a little getting used to, but the piece was written with that in mind. I'd like to hear it a few more times before I decide where it stands in the pantheon of Great Music but I certainly enjoyed it. It was a pleasure to see and hear Chris interact with the orchestra members. There was a lot of eye contact and movement on his part. Maestro Weinberger did a great job of holding things together and the orchestra sounded great. The audience loved the piece and a standing ovation followed.

As an encore Chris stepped to the front of the stage and played the Presto from the Gm solo violin sonata unamplified. It was as fast or faster as any version from a modern violinist and, despite the speed, very musical as well. More ovations and then Chris sang a slow Gillian Welch song with mandolin accompaniment. I would have preferred more Bach but he won me (and the audience) over.

Introducing the Bach piece he said something like: "No matter who you are, Bach is always better!"

Chris said that this was the 13th time that the concerto has been performed. I hope there will be many more.

John G.

Heh John.......I am jealous...:-)
Sure wish could have been there for the concert. I was just listening, earlier today, to Thile playing Bach and was simply mesmerized with his classical mando talent. Lucky you...:-)
Peace,
Jim

[Acquavella]

For those interested, the LA performance of Chris Thile's Mandolin Concerto can be heard here: http://performancetoday.publicradio....2_20110513_128.

Enjoy.

[hellar]

It looks like Thile's Mandolin Concerto is up on Youtube: http://www.youtube.com/watch?v=xVwjcFGcRHw

It's nice to hear it again after seeing it performed over a year ago!