As I prepared for my time on the air recently, I was casually surfing the web for some interesting little tidbit or new angle on some favorite pieces of music. Let’s face it, finding something new in such familiar sounds can be difficult. How many of us can remember anything that happened during our morning commute unless it’s out of the ordinary? If someone cuts us off, we sit in a traffic jam, or some poor duffer shanks a tee shot through your windshield, that we remember. The same thing applies with music. It fills our office at work, our car during errands, comes out of our computer while we surf the web, but it’s easy to just let it flow past our conscious mind while we focus on other things. Once in a while, however, something happens that forever alters our perception of a piece. Here’s an example…During ProMusica Chamber Orchestra’s Holiday Concert last December, Assistant Concert Master Marjorie Bagley stepped to the front of the Southern Theatre stage to play the Winter portion of Vivaldi’s Four Seasons. This, however, was not just a rote recitation of familiar music, but an explosion of sound which washed over the audience. John Petric, a reviewer for The Other Paper, dubbed Marjorie Bagley a“shredder” for the ferocity with which she brought Vivaldi’s music to life. I now must measure other performances by hers. Not only that, but the music now immediately transports me back to that moment, forever changing how I view at least THAT season.
The way I listen to Respighi’s Pines of Rome went through a similar change, not because of what I heard, but HOW I heard it. My web search took me to a site called http://www.romeartlover.it/respighi.html where I found beautiful photographs of the Rome Respighi wrote about in his orchestral trilogy. Now the Pines of the Villa Borghese were right in front of me as I listened, trees that are much different than the pines in our yard, or the ones we haul home for Christmas. The Pines of the Janiculum do not enclose you, but are open, providing shade as well as beauty, while seeming to frame the panorama before you.
While we hear daily reports on how the web is sucking up all of our free time and turning our minds to mush, take a moment to revel in the beauty it can put at your fingertips and the new dimension it can bring to your enjoyment of music. Here’s Antonio Pappano, a British-born conductor of Italian descent, giving his take on Respighi’s Roman Trilogy. — Boyce Lancaster
Yehudi Menuhin once said he couldn’t “swing” unless he was playing alongside jazz great Stephane Grappelli. They would go on to record some eleven releases together. The swing was in high gear last Friday night as ProMusica Chamber Orchestra was joined by amazing jazz vocalist Jane Monheit in the Southern Theatre. If you haven’t ever been to a ProMusica concert, this is a perfect place to begin. ProMusica’s Annual Gala offers a snapshot of the ProMusica family and how much making music means to each member. Each year, the musicians of ProMusica donate their services for the Gala performance to help support ProMusica. Couple that with the fabulous music performed in the season finale, and it’s an unbeatable combination.
Jane Monheit knew early in life that jazz was her calling. Her aunt and grandmother were professional singers, her Dad plays bluegrass banjo, her Mom was in musical theatre, and her brother is a guitarist. Her main musical influence beyond family was Ella Fitzgerald.
Jane met her husband, Rick Montalbano, Jr., while both were attending Manhattan School of Music, where they hooked up both personally and professionally. She and Rick have been nearly inseparable since, as he tours with her on drums. Add to that their now 2-year-old son Jack, who usually travels with them, and you have something that is tough to achieve in the music business, a family that has the luxury of, well, actually being a family.
That feeling of family extends beyond Rick and Jack. When you’re in the room with Jane, Rick, Michael Kanan, pianist and arranger, and Neal Miner, bass and arranger, it is obvious they are as tight-knit personally as they are musically. This also explains why Jane dedicated her 2009 recording the lovers, the dreamers, and me, to son Jack and the late producer Joel Dorn, who had worked his magic with such performers as Roberta Flack, Bette Midler, and the Neville Brothers. Dorn had produced Jane’s first three albums and Jane carries his memory with her onstage and into the studio.
Things have changed a lot for Jane and crew since she first began recording. She gets taken more seriously as a musician, and she doesn’t tend to go “glamorous” like she once did.
That was premiered as part of ProMusica’s gala concert last May in the Southern Theatre in Columbus, Ohio. So, how do you top all of this? How about a good old Jam Session? That’s the name of O’Connor’s latest recording which, for this listener, is just sheer musical joy from start to finish. O’Connor teams with some of music’s best improvisational players…Chris Thile on mandolin, Frank Vignola and Bryan Sutton on guitar, and Jon Burr and Byron House on bass. For the absolute joy of music making (and listening), it doesn’t get any better than this. — Boyce Lancaster
It’s not often that the term “phenom” is used in the same sentence with the name of a classical musician, but in the case of Joshua Roman, it is apparently perfectly suited. Here are some samples:
“Roman’s virtuosic technique and quiet intensity illuminated this difficult piece [George Crumb’s Sonata for Solo Cello] from within, so that its disconnected tones and textures became a thing of beauty. Roman transformed a lengthy pizzicato sequence into a cascade of popping bubbles and drew tones from his cello that seemed like shafts of light.”
—Seattle Times, October 2008 [Sumi Hahn]
As you can see, he has made a huge splash in the music world. It is especially thrilling, because of his age…he turns 26 this year! Even more amazing…at an age when musicians are usually just hitting their professional stride,Roman has already moved into the next phase of his career. He was selected as the Principal Cellist for the Seattle Symphony in 2006 at the age of 22, then embarked on his solo career two years later. He comes to Columbus April 10th and 11th to play the Haydn Cello Concerto in C with ProMusica Chamber Orchestra. ProMusica has for years been able to catch artists as they begin their ascent…and this seems to be no exception. It is a performance you will not want to miss. Make sure you stay after the concert for Coda, as Timothy Russell and I have a post-concert conversation with Joshua. You’re invited to join in the conversation! –Boyce Lancaster
Katherine Borst Jones is the heart and soul of of the School of
Katherine Borst Jones
Music. Revered by generations of students, she has elevated flute studies at OSU to their highest level ever. She is considered a legend by her colleagues and peers, not just my words but those of Jennifer Higdon, herself an accomplished flutist as well as a most distinguished composer
– Donald Harris, Professor of Music, Dean Emeritus, OSU College of the Arts
KATHERINE BORST JONES recently celebrated twenty- five years on the faculty of The Ohio State University School of Music with a January 25th concert at Weigel Auditorium.
Here’s a little Bach from the January 25 concert, from the Partita in a minor for flute alone, BWV 1031
Katherine Borst Jones has been at The Ohio State University since
1985 and has served as chair of woodwinds, brass and percussion since 1999. She was awarded the Distinguished Teacher award in 1995, and the Scholar award in 2008.
Kathy represents the heart and soul of the School of Music. Her singular dedication to her students is legendary, and the reputation of the flute studio at Ohio State, thanks to her, is second to none. But in addition to her remarkable contributions as professor of flute, Kathy’s devotion to the School in all of its aspects and her singular commitment to all of its students stands a an inspiration to her peers and colleagues. The School of Music is incalculably richer because of Professor Jones’s presence, and the School’s ability to speak to its educational mission is enhanced greatly by her leadership and devotion.
– Ed Adelson, Interim Director, OSU School of Music
From her January 25, 2010 anniversary concert, listen to music not only performed by Kathy Jones, but written for her: KBJ Variations by Michael Ruszczynski. This is the world premiere performance:
Kathy is a founding member and co-principal flutist of the Pro Musica Chamber Orchestra, a member of the Columbus Symphony, and principal flute of the New Sousa Band, which has toured Japan and the U.S. In 1976, she created the Annual High School Flute workshop program at OSU. Professor Jones conducts the OSU Flute Troupe, and has served in many roles for the National Flute Association, including president (twice), vice president and 1992 convention program chair. She has performed at eight conventions and was a member of the NFA delegation to the Soviet Union in 1989.
Kathy! The Ever Ready Battery sustaining breath of life for education, music and everyone involved! We have all delighted in her creativity, her generosity and professionalism. How lucky we are to move with her, watch her, see her and hear her!
Weigel Auditorium was filled with Kathy’s friends and colleagues on January 25th as we shared in celebration of her gifts. This is the Meditation of Ardalus by Alan Hovhaness. “Hovhaness gave this unpublished piece to my teacher, Keith Brion, on the occasion of the premiere of his Suite for Band, which we played when I was at James Caldwell High School in Caldwell, New Jersey. Mr. Hovhaness was the first live composer I ever met!”
Since coming to OSU, for me, Kathy Jones has been an icon of professionalism, tireless commitment to students and teaching, and collegiality. She is a total musician, and in every sense of the word, she represents the best of an “Academic”! OSU is fortunate to have enjoyed her talent and energy for 25 years!
–Karen Peeler, Professor of Music, OSU
Kathy was co-founder, teacher and coordinator of the Robert Willoughby Master Classes, held at the University of New Hampshire. Professor Jones studied with Keith Brion, Robert Willoughby, Kyril Magg, Donald McGinnis, and Julius Baker.
To give you an example of the lady’s skill and versatility, consider that her January 25th concert had music by Bach, Martinu, Hovhaness, Michael Ruszczynski and George Crumb’s monumental Vox Balanae (Voice of the Whale). Vox Balanae was written in 1971, and “ was inspired by the singing of the humpback whale.”Kathy Jones’s colleagues for this concert were Mark Rudoff, cello, Michael Ruszczynski, piano and Maria Staeblein, piano
George Crumb: Vox Balanae (excerpt)
Dear Kathy, Congratulations on your “Silver Anniversary” of teaching at OSU. I has been my pleasure to know and work with you in various venues–mostly with the CSO–these past 25 years. I wish you all the best for many years to come.
–Jude Mollenhauer, Principal Harp, Columbus Symphony
Kathy is the “Spirit Queen ” of the School of Music. There isn’t anyone who lives and breathes OSU spirit more than this ladfy!
–Hilary Apfelstadt, Professor of Music and Director of Undergraduate Study, OSU
Katherine Borst Jones performs with symphonies, chamber groups and festivals throughout the world. She has recorded for CRI, d’Note and Summit recordings, and has commissioned solo and chamber works by Michael Ruszczynski, Mark DeVoto, Tom Duffy, Tom Wells and Rudolfo Bubalo. Her flute, viola and harp trio, COSMOS, has commissioned works from Libby Larsen, Stephen Paulus, Andrew Boysen and Steven Main.
I always call Kathy ‘the hardest working flutist in show biz’. She’s that and much more. Supremely talented, a consummate professional, devoted teacher and a dear friend and colleague.
–Paul Lockwood, OSU School of Music
Meditation de Thais (Massenet) from Paradise with Jeanne Norton,
COSMOS, with Jeanne Norton and M. E. Harris
harp
Kathy Jones has been a beloved colleague ever since we taught together at Capital University over thirty years ago. As a result of her tireless efforts on behalf of her students at The Ohio State University, she has developed one of the finest university flute classes in the country. One only has to listen to the recording of her 25th anniversary recital at OSU to appreciate the depth of her artistry on the flute.
–Stephen Secan, Principal Oboe, Columbus Symphony
And from me at WOSU: If you want to guide a young person into the serious study of music with all its joy, and you want them to have an exemplary teacher, mentor and friend, here are three words: Katherine. Borst. Jones.
The old and the new converged at the Southern Theatre and the Pontifical College Josephinum last weekend as ProMusica Chamber Orchestra welcomed three guests…Composers Michael Daugherty and Derek Bermel, along with baritone Christopheren Nomura. This is one of those times that you really did need to attend both performances. The only common threads for the weekend were Mozart’s 29th Symphony and baritone Christopheren Nomura. Mr. Nomura has performed with some of the worlds finest orchestras and conductors, including the Boston Symphony and San Francisco Symphony, under the likes of Leonard Bernstein and Seiji Ozawa. Saturday’s performance at the Josephinum featured two disparate works…Bach’s Cantata 82 and the gorgeous Songs of a Wayfarer by Gustav Mahler, both sung by Mr. Nomura, along with Mozart’s 29th Symphony.
Timothy Russell discusses Christopheren Nomura and Mozart
Then on Sunday evening at the Southern, Mr. Nomura presented his third piece of the weekend, Letters From Lincoln, which is a stirring setting of Lincoln’s own words by Michael Daugherty.
Timothy Russell discusses Michael Daugherty
Letters from Lincoln is one of TWO regional premieres performed Sunday evening. The other was by one of music’s hottest composers, Derek Bermel. Bermel’s A shout, a whisper, and a trace is dedicated to the memory of Serge and Natalie Koussevitzky and was inspired by the reading of letters written by Bela Bartok.
Timothy Russell discusses Derek Bermel
Timothy Russell discusses commissions
As always, the Southern Theatre performance was followed by Coda, an opportunity for those attending the concert to meet the guest artists and composers and find more about them and their music. Timothy Russell and I led the lively discussion which you’ll be able to hear as part of ProMusica’s next broadcast season this fall on WOSU-FM. As usual, a weekend with ProMusica is full of great music and great surprises. If you were unable to attend, I hope you can join us next time! — Boyce Lancaster
OK…so the title was a stretch, but it made you look, right?
ProMusica Chamber Orchestra welcomed two stellar artists, Violinist Ani Kavafian and Pianist Anne-Marie McDermott for a pair of weekend performances at the Southern Theatre. The two joined forces for a rare performance of Mendelssohn’s Double Concerto for Violin and Piano, written when he was only fourteen! Each soloist also joined a member of ProMusica in two other great works…Ann-Marie McDermott and ProMusica Principal Trumpet Tom Battenberg played Shostakovich’s exciting Piano Concerto No. 1. Ani Kavafian and ProMusica Concert Master Katie McLin opened the evening with J.S. Bach’s 2 Violin Concerto. I hope you were able to join them, and that you stayed for a few minutes afterwards for Coda…a casual conversation between Timothy Russell and me, along with the evening’s soloists. It’s your opportunity to ask questions and get to know the musicians a little better. As usual, Timothy Russell stopped by the WOSU studios before the performance to fill us in. –Boyce Lancaster
It’s the time of year that so many of us look forward to…giving gifts, gathering with friends, family gatherings. For me, though, one of the great “December delights” is the music. No matter how you celebrate this time of year, hearing and singing the music of the season holds an extra special place in the hearts of many of us. Maybe it’s because we haven’t heard it for nearly a year, or maybe it’s just because it’s some of the best music we have. One of most popular works associated with the holidays is Handel’s Messiah. Again this year, ProMusica Chamber Orchestra gives you the opportunity to hear, and sing, the best of Handel’s Messiah. This Friday, Dec. 11, at 7:30pm, Timothy Russell leads ProMusica Chamber Orchestra in everybody’s favorite choruses from Handel’s timeless classic. You’re invited to sing along, not only the music of Handel, but some other seasonal favorites as well. Then Saturday and Sunday, ProMusica presents A Baroque Holiday. I just happened to be in Phoenix, Arizona this week, where Timothy Russell is a professor at Arizona State University, and had the opportunity to speak with him over dinner about this year’s performances.
“Going Green” is the hot phrase these days. ProMusica Chamber Orchestra is doing that musically this weekend with a program that gets us out into nature. Even if you’re one of those for whom getting back to nature means sitting under a tree while you check spreadsheets on your laptop, I promise you a painless trip into the great outdoors this weekend.
In an age where Classical Music radio stations are disappearing and Arts organizations are struggling, ProMusica Chamber Orchestra began it’s 4th decade of performances Sunday. It is no small task to get noticed in this age of You Tube, Twitter, Facebook, Blogs, and I-Phones, but ProMusica still manages to do that with creative and classic programming. Rossini, Haydn, and Mozart were on tap for the evening, along with a delightful piece by Samuel Adler, a composer born in Mannheim, but now living in Perrysburg, Ohio. I spoke with ProMusica’s Timothy Russell about this concert and their 31st season. — Boyce Lancaster
Boyce Lancaster speaks with Timothy Russell, pt. 1
Boyce Lancaster speaks with Timothy Russell, pt. 2
As I prepared for my time on the air recently, I was casually surfing the web for some interesting little tidbit or new angle on some favorite pieces of music. Let’s face it, finding something new in such familiar sounds can be difficult. How many of us can remember anything that happened during our morning commute unless it’s out of the ordinary? If someone cuts us off, we sit in a traffic jam, or some poor duffer shanks a tee shot through your windshield, that we remember. The same thing applies with music. It fills our office at work, our car during errands, comes out of our computer while we surf the web, but it’s easy to just let it flow past our conscious mind while we focus on other things. Once in a while, however, something happens that forever alters our perception of a piece. Here’s an example…During ProMusica Chamber Orchestra’s Holiday Concert last December, Assistant Concert Master Marjorie Bagley stepped to the front of the Southern Theatre stage to play the Winter portion of Vivaldi’s Four Seasons. This, however, was not just a rote recitation of familiar music, but an explosion of sound which washed over the audience. John Petric, a reviewer for The Other Paper, dubbed Marjorie Bagley a “shredder” for the ferocity with which she brought Vivaldi’s music to life. I now must measure other performances by hers. Not only that, but the music now immediately transports me back to that moment, forever changing how I view at least THAT season.
In an age where Classical Music radio stations are disappearing and Arts organizations are struggling,