Marisa Lin – The Stanford Daily https://stanforddaily.com Breaking news from the Farm since 1892 Wed, 04 Feb 2015 22:49:09 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.3 https://stanforddaily.com/wp-content/uploads/2019/03/cropped-DailyIcon-CardinalRed.png?w=32 Marisa Lin – The Stanford Daily https://stanforddaily.com 32 32 204779320 CCRMA and SSO offer a wonderful glimpse into the universe https://stanforddaily.com/2015/02/04/ccrma-and-sso-offer-a-wonderful-glimpse-into-the-universe/ https://stanforddaily.com/2015/02/04/ccrma-and-sso-offer-a-wonderful-glimpse-into-the-universe/#respond Wed, 04 Feb 2015 22:49:09 +0000 https://stanforddaily.com/?p=1094879 Cosmic activity prevailed at Bing Concert Hall last weekend. The Center for Computer Research for Music and Acoustics (CCRMA) and the Stanford Symphony Orchestra (SSO), led by conductor Jindong Cai, presented a stellar program featuring new and old classical music enhanced by vibrant visualizations of our universe. The first half of the program involved a […]

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The Stanford Symphony Orchestra along with CCRMA gave a cosmic-inspired performance in Bing Concert Hall. Photo by Yingjun Li, courtesy of the Stanford Symphony Orchestra.

Cosmic activity prevailed at Bing Concert Hall last weekend. The Center for Computer Research for Music and Acoustics (CCRMA) and the Stanford Symphony Orchestra (SSO), led by conductor Jindong Cai, presented a stellar program featuring new and old classical music enhanced by vibrant visualizations of our universe.

The first half of the program involved a premiere of New York-based experimental composer Sarah Weaver’s Universal Synchrony Music, Volume 3, which was completed in collaboration with the NASA Kepler Mission and NASA ArtSpace. In her work, Weaver explored the synchrony of our universe by “translating” information from data streams about the alignment of planetary orbits and constellations into music and sound. CCRMA teamed up with the Ensemble at York University in Toronto, Canada, through bidirectional live transmittance of sounds to create an evocative musical experience.

Tension was instantly palpable from the opening bars. A soft hissing emanated from the speakers, which was then overlaid with disparate, ringing tones varying in pitch, texture, length and dynamic — from insistent honks, to warning beeps, to even the chime of a striking clock, all of which mingled with the smooth ringing notes performed live by percussionist Dylan D. Hunn and pianist Zhengshan Shi. Although a sense of quiet stillness pervaded the performance — when not playing, Hunn and Shi remained motionless as if absorbed in a hypnotic abstraction — a low, constant drone throughout the piece warded off the looming weight of silence.

Nonetheless, the piece felt empty and tense, like the void of a black hole. Whispering tones streaming from an unseen source made it seem like something in the unknown was stirring in the darkness. The two performers, as if aware of this sinister presence, played with measured care, as if even a modicum of excessive force would disrupt the delicate equilibrium.

The visuals, interestingly, did not appear to share their restraint. Two HD screens behind the performers displayed bursts of colorful abstractions; lines, streaks and swirls flitted on and off the screens in seizures of color, spinning, diving and blinking in a collision of fantastic imagery.

Afterwards, the avant-garde gave way to the Stanford Symphony Orchestra’s passionate rendition of “The Planets,” a piece written by English composer Gustav Holst exactly 100 years ago from 1914-16. “The Planets,” a suite composed of movements representing each planet in the solar system (with the exception of Pluto), is based on Greek mythology: Holst assigned each planet a distinct personality, such as “Venus, Bringer of Peace” and “Jupiter, Bringer of Jollity.” The orchestra’s performance also made ample use of visuals, which included a series of photos and footage to display on the projector during each movement.

SSO brought impressive clarity in articulation and entrances, with Cai coaxing an exquisite balance between instrumental sections and contrasting melodic lines. From the persistent, ominous pulse of “Mars, Bringer of War” to the lumbering, ponderous chords of “Saturn, Bringer of Old Age,” the orchestra performed as a cohesive unit, pulling back and moving forward together through majestic, soaring phrases and staccato scales.

The ensemble’s brilliant technique was particularly evident in the opening of “Mercury, the Winged Messenger,” in which the players bolted rapidly through lively scales, remarkably clear and splendidly playful in this capricious movement.

For the final movement, “Neptune, the Mystic,” members of the Symphony Silicon Valley Chorale added their heavenly voices from backstage; their airy tones and the chords of the harps contributed to the diaphanous quality of the suite’s ending.

Haunting, mysterious and enlightening, CCRMA and SSO offered a glimpse into the our wonderful universe while exploring the limits of technology and how it is transforming perceptions of sound, distance and the world around us. Through this whimsical concert, we discovered that space is much more wonderful than we first thought.

Contact Marisa Lin at mlin3 ‘at’ stanford.edu.

 

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Siberian Front raises the roof at Sigma Chi https://stanforddaily.com/2015/01/30/siberian-front-raises-the-roof-at-sigma-chi/ https://stanforddaily.com/2015/01/30/siberian-front-raises-the-roof-at-sigma-chi/#respond Fri, 30 Jan 2015 09:33:51 +0000 https://stanforddaily.com/?p=1094567 Celebrating its debut EP release, the student-led alternative rock band Siberian Front fired up the crowd last Friday night at Sigma Chi. Ever since its debut performance at the same place last February, Siberian Front has garnered a large following on campus, having previously performed at Wine and Cheeses, Beer and Pretzels and F*uck the Man […]

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Siberian Front lead singer Thomas Reidy fired up the crowd at Sigma Chi with his impassioned singing.
Siberian Front lead singer Thomas Reidy fired up the crowd at Sigma Chi with his impassioned singing. GABRIELA GROTH/The Stanford Daily

Celebrating its debut EP release, the student-led alternative rock band Siberian Front fired up the crowd last Friday night at Sigma Chi. Ever since its debut performance at the same place last February, Siberian Front has garnered a large following on campus, having previously performed at Wine and Cheeses, Beer and Pretzels and F*uck the Man at Columbae. Returning to Sigma Chi, lead singer Thomas Reidy, along with bandmates Gio Jacuzzi (lead guitar), Damian Mcglothlin (bass), Shamik Mascharak (drums) and Walter Torres (rhythm guitar), presented an animated performance, featuring songs from their EP, as well as new originals.

The band started the night off with a forceful rendition of the group’s first single “Seattle,” bringing refreshing vitality to the party. Reidy’s vocals, though at times overshadowed by the instrumentation and the commotion of the crowd, were powerful and invigorating. The room was immersed in a whirlwind of sound, the driving rhythms flowing through the audience. Occasionally, the storm would relent for a softer, soulful bridge with mellow tones, as it did in their original song “Black Hole” — a tender aspect that was somewhat underappreciated by a crowd looking for excitement. Yet the upbeat pulse of “Intentions,” “Are You Ready” and “Skinny Jeans” offered abundant opportunities for musical highs.

During the performance, the band members themselves appeared absorbed in the music, oblivious to the crowd in front of them. Reidy, both hands grasping the mic and eyes gazing intensely ahead, seemed caught in a trance, particularly in the opening bars of “Freedom.”

Listeners were clearly charmed, as well. With their bold, snappy movements — heads nodding, bodies jerking, arms punching the air — the band hyped up the tightly congregated audience, which responded with gleeful whoops, enthusiastic clapping, crowd surfing, and appreciative laughter at Reidy’s jokes:  “What do you get when Batman doesn’t go to church? …Christian Bale!” Jokes aside, the band’s terrific music, compounded with loosened inhibitions of party-goers, resulted in a festive vibe that felt, one student commented, “more fun than the typical bad DJ-ing at frats.”

Siberian Front raises the roof at Sigma Chi
Student-led alternative rock band Siberian Front presented an animated performance at Sigma Chi. RAHIM ULLAH/The Stanford Daily

What is perhaps most impressive about Siberian Front is their confident originality of style, even in their covers of songs by The Strokes and Young the Giant. Toting indie rock influences, Siberian Front’s reliance on extensive instrumental solos, contrasting textures and dynamics, and Reidy’s soaring vocals, as well as their evocative, if not sometimes mysterious, lyrics mark them as a maturing presence on the regional music scene.

These characteristics, however, were not as evident in their live performance, partly due to the small size of the venue, which, although intimate, stifled the energy of the show. Space was an issue, as bodies squeezed uncomfortably by each other, and the acoustics were not flattering either — you had to frequently strain to hear the lyrics over the clamor of the crowd. But for those who just wanted to have a good time, it didn’t matter. Siberian Front was there to entertain, and Siberian Front delivered. Although their performance may not have been an accurate representation of the extent of their talent, their EP album is. Listen to it:

Contact Marisa Lin at mlin3 ‘at’ stanford.edu.

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Top 5 rising conductors of 2014 https://stanforddaily.com/2015/01/07/top-5-rising-conductors-of-2014/ https://stanforddaily.com/2015/01/07/top-5-rising-conductors-of-2014/#respond Wed, 07 Jan 2015 08:01:41 +0000 https://stanforddaily.com/?p=1093281 Transforming orchestras, winning international competitions, breaking gender barriers: that is just a sample of what young conductors are doing these days. 2014 was a thrilling year that marked the rise of many brilliant talents, but more importantly it brought to the forefront the touchy issue of gender in a field historically dominated by men. This is changing, however, as increasing numbers of female conductors prove their leadership skills and musical gifts as the heads of top orchestras.

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Transforming orchestras, winning international competitions, breaking gender barriers: That is just a sample of what young conductors are doing these days. 2014 was a thrilling year that marked the rise of many brilliant talents, but more importantly it brought to the forefront the touchy issue of gender in a field historically dominated by men. This is changing, however, as increasing numbers of female conductors prove their leadership skills and musical gifts as the heads of top orchestras. Of the five conductors listed here, four are women, named not just because they are women but because they are brave artistic crusaders, talented in their own right. From the well regarded Susanna Malkki, who is set to head the oldest orchestra in the Nordic countries, to the relatively unknown Elim Chan, who became the first woman to win the prestigious Donatella Flick Conducting Competition, female conductors new and seasoned are beginning to show their mettle.

Courtesy of Dr. Dave Weiland
Courtesy of Sean Cook and EMI Classics

1. Conductor Han-na Chang transforms young national orchestra into world-class ensemble

Beginning in 2013 when she became head of the Qatar Philharmonic orchestra , Han-na Chang transformed the young orchestra — founded in 2007 — into an international powerhouse that was invited to perform at the BBC Proms in September 2014. The performance elicited a highly positive response from critics, with The Guardian dubbing Chang and QPO a “winning combination,” and a review on the classical music site Bachtrack praising the performance as “outstanding.” Unfortunately, less than 24 hours after the performance, Chang submitted her resignation as Music Director, citing “persistent administrative difficulties and irreconcilable artistic differences with the management of the Qatar Philharmonic Orchestra.”

2. Young conductor Cristian Macelaru named 2014 Solti Fellow

Courtesy of Cristian Macelaru
Courtesy of Cristian Macelaru

Romanian-born conductor Cristian Macelaru, dubbed “The real thing” by  the Chicago Sun-Times, was selected by the Solti Foundation as the 2014 recipient of the Sir Georg Solti Conducting Award, otherwise known as the Solti Fellowship. The award is bestowed annually to a promising young American conductor under the age of 38, and it comes with a $25,000 grant — one of the largest grants given to American conductors. The news came in the midst of a flourishing 2013-14 season, in which Macelaru appeared with the Naples Philharmonic, Houston Symphony, the Chicago Symphony and the Baltimore Symphony, along with a heralded debut with the National Symphony Orchestra, featuring violinist Anne-Sophie Mutter. Sir Georg Solti (1912-1997) is considered among one of the greatest conductors of the twentieth century.

3. Joana Carneiro makes a splash at the opera

Courtesy of Dr. Dave Welland.
Courtesy of Dr. Dave Welland.

Lively, versatile and energetic, Joana Carneiro made an impressive debut at the English National Opera last November when she conducted John Adam’s staged work “The Gospel According to the Other Mary,” described on the ENO’s website to be “one of the most significant events in London’s contemporary music season.” The production, directed by the acclaimed Peter Sellars, received enthusiastic reviews, all of which commented on the stellar conducting of Carneiro. The Guardian lauded the performance as “Vigorously and sensitively conducted.” Other critics agreed. A “dynamo,” is how one described her. “Fine form,” praised another. Carneiro, who has appeared at the Cincinnati Opera, the Chicago Opera Theater and the Paris Opera, is also the Music Director of the Berkeley Symphony and the Principal Conductor of the Portugal National Symphony.

4. University of Michigan Ph.D. student Elim Chan wins international conducting competition

In a dramatic twist that seemed straight out of the movies, Elim Chan, a doctoral student at the University of Michigan, became the first woman to win the 2014 Donatella Flick Conducting Competition with the London Symphony Orchestra, beating out the two other (male) finalists. Her win brings attention to the vast inequality in gender in the conducting world. Out of the 225 applicants, only five were women, a figure which New York Times critic Michael White calls  a “dismal but not wholly surprising statistic.” Women conductors may be rare, but they’re no less able, as seen in Chan’s accomplishment. As a result of her win, she will be awarded £15,000 ($23,500) and have the honor of serving as assistant conductor of the London Symphony Orchestra for a year.

5. Finnish Conductor Susanna Malkki becomes the first woman to lead Helsinki Philharmonic

Courtesy of Simon Fowler.
Courtesy of Simon Fowler.

In September 2014, the Helsinki Philharmonic announced that Susanna Malkki will succeed John Storgards in 2016 as its music director, making her the first woman to hold this post in the orchestra’s distinguished 133 year history. Malkki, who has enjoyed a blossoming career conducting top orchestras such as the Chicago Symphony, the San Francisco Symphony and the Berlin Philharmonic, was also the first female to conduct Teatro Alla Scala Opera House and to hold the post of music director of Ensemble Intercontemporain. When it comes to breaking gender barriers, Malkki may be a true pioneer, but she isn’t one to relish in it. “Maybe one day we will have reached a point where we won’t have to discuss the gender issue at all,” she said in an interview with Reuters. With any luck, that day will come soon.

Contact Marisa Lin at mlin3 ‘at’ stanford.edu.

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The Brad Mehldau Trio enchants at Bing https://stanforddaily.com/2014/12/13/the-brad-mehldau-trio-enchanted-at-bing/ https://stanforddaily.com/2014/12/13/the-brad-mehldau-trio-enchanted-at-bing/#comments Sat, 13 Dec 2014 23:56:55 +0000 https://stanforddaily.com/?p=1093100 One of the finest jazz pianists of our time, Brad Mehldau has captivated audiences with his ability to play different melodies in each hand simultaneously and his penchant for turning pop tunes into jazz standards. On Friday night, notes sparkled with ethereal quality as he, along with Larry Grenadier ’89 on bass and Jeff Ballard […]

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L to R: Larry Grenadier, Brad Mehldau, and Jeff Ballard. Photo courtesy of International Music Network
L to R: Larry Grenadier, Brad Mehldau, and Jeff Ballard. Photo courtesy of International Music Network

One of the finest jazz pianists of our time, Brad Mehldau has captivated audiences with his ability to play different melodies in each hand simultaneously and his penchant for turning pop tunes into jazz standards. On Friday night, notes sparkled with ethereal quality as he, along with Larry Grenadier ’89 on bass and Jeff Ballard on drums, performed a program of pop-turned-jazz melodies (“My Valentine” by Paul McCartney), jazz standards (“Airegin” by Sonny Rollins), original compositions (“Spiral” and “Sète Waltz”) and even a Spanish song (“Valse Brasilera” by Chico Buarque) at Bing Concert Hall.

Though the sheer size of the venue — Bing boasts a total of 842 seats, most of which were occupied on Friday — somewhat dampened the intimacy of the performance, the mood was nonetheless enchanting. What was striking about this performance was that it seemed so natural. Each member exuded an air of composure, with Mehldau perched coolly on the piano bench, Grenadier standing at ease with his bass and Ballard sitting calmly at the drums.

The trio radiated a self-assured — but not haughty — aura; they knew what they were doing. And considering their technical and expressive unity that night, they certainly did it well.

After a couple polite bows, Mehldau and company began with the debut of the “Sète Waltz,” an original piece composed in the French city of Sète earlier this year. Relaxed and comfortable, they played the piece at an ambulatory pace, the melody on the piano — played with characteristically detached articulation — walking on top of the chords beneath, Mehldau’s right hand embellishing the music with a lively mixture of arpeggios and scales.

The next piece, a recent original work titled “Spiral,” offered an upbeat swing feel and featured impressive solos for both Grenadier and Ballard. Grenadier’s rapid plucking imparted a feeling of movement: The music was going, pushed by the momentum of the rhythms. Yet it did not rush. Mehldau improvised within the beat; the notes in his right hand somersaulted and cartwheeled playfully over the calm legato chords of the left hand.

If “Spiral” was an afternoon stroll in the garden, the next piece, Mehldau’s arrangement of “Valsa Brasilera”  by Chico Buarque, was a nostalgic evening on the Rio Grande. Suave, sensual and smooth, the trio’s performance evoked a dreamy atmosphere, stirring up memories of passions long past. The bass and the piano exchanged sorrowful stories while Ballard stroked the drums with his jazz brushes — drumsticks with bristles at the end — layering a velvety texture that enhanced the seductive timbre of the music.

A fast-paced rendition of the jazz standard “Airegin” by saxophonist Sonny Rollins followed the Buarque. Mehldau’s slim figure swayed easily and Ballard’s quick, subtle movements provided a sharp, but not too dominating, beat over the low twang of Grenadier’s bass. Notes flitted in and out and collided, the result of which was — to use a phrase from the program notes — “controlled chaos.”

To close, the trio slowed down for a touching rendition of “My Valentine” by Paul McCartney. Time seemed suspended in the patient, slow rhythms and melancholy harmonies. Even with touches of rubato and melodic flourishes, Mehldau kept the overall structure in view, the minor chords grounding the melody and nudging it gently forward. His tender piano solo suggested classical influences — hints of Chopin and Bach in his expressive counterpoint between right and left hand.

The program was over, but the audience wanted more — a freewheeling, rolling encore followed. Lively tunes and rich sonorities whooshed through the auditorium, their crisp edges smoothed over by the echoes.

From the arrangements to originals, the Mehldau trio fused both spontaneity and structure. Free yet cohesive, the music flowed effortlessly, wrapping itself in a swirl around the audience. We left content, knowing that though the music was gone, the magic was still there.

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Poor pianos, poor practice: Low-quality pianos point to deeper problem https://stanforddaily.com/2014/12/02/low-quality-practice-pianos-point-to-a-deeper-problem/ https://stanforddaily.com/2014/12/02/low-quality-practice-pianos-point-to-a-deeper-problem/#respond Wed, 03 Dec 2014 07:05:20 +0000 https://stanforddaily.com/?p=1092757 Although in recent years Stanford has attempted to increase its visibility in the arts by erecting several new state-of-the-art buildings for the arts, including Bing Concert Hall and the Anderson Collection, resources are still lacking at the student level, from the limited storage space in the Visual Arts Department to the scarcity of practice space for […]

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Practice piano in Braun Music Center. Photo by Gabriela Groth.

Although in recent years Stanford has attempted to increase its visibility in the arts by erecting several new state-of-the-art buildings for the arts, including Bing Concert Hall and the Anderson Collection, resources are still lacking at the student level, from the limited storage space in the Visual Arts Department to the scarcity of practice space for student dance groups. The Department of Music can now count itself on this list of grievances, too: both music majors and non-music majors have been criticizing the substandard quality and the low availability of the practice room pianos in Braun, as well as the high cost of gaining access to them.

Broken strings, out-of-tune notes and sticky keys — these are just a few of the ailments that plague the practice room pianos on the second floor of the Braun Music Center. Additionally, the disparity between pianos in public spaces such as dorms — which are often superior — and those in practice rooms, presents a tricky dilemma to those who value privacy but also wish to practice on good instruments.

Students have been long aware of the shortcomings of the pianos in the music department. “The practice room pianos at Braun are just not up to par at all,” said Kevin Coelho ’17, noting inconsistency in key-action on a single keyboard as a significant problem. Adjusting to uneven keys can impact a pianist’s performance of a particular piece and, in the long-run, can affect technique. Sticky keys or slow hammer action — which are also common — exacerbate the difficulties. “When you have that, it’s really hard to have good practice sessions,” said NiuNiu Teo ’16 in a phone interview.

Practice piano in Braun Music Center. Photo by Gabriela Groth.
Practice piano in Braun Music Center. Photo by Gabriela Groth.

Jason Griffin ’17 points out that while the practice rooms may not have the best pianos, there are other places in the Department of Music — classrooms and rehearsal spaces — with finer pianos that are open when not in use. However, reserving these instruments can be difficult and unpredictable. “Overall,” said Stephanie Wang ’15, “the quality and quantity of practice rooms are pretty low.”

Peter Sumner, curator of pianos at Stanford, is responsible for taking care of the pianos at Braun and concert halls such as Campbell and Bing. While he and his colleague John Howard do their best, as part-time piano technicians, to improve the condition of the pianos, Sumner realizes that their reach is limited. “We are constantly trying to upgrade them, but that’s basically one full-time technician to do all the work to see the 70 pianos that we have — not just the tuning but also the restoration and the ongoing maintenance.”

For the older pianos, it’s simply a matter of keeping them going. “There are some instruments that are well past their sell-by date,” Sumner said. “You’re dealing with 40-year-old Yamaha uprights and almost hundred-year-old Steinway grand pianos, some of which are from the ’20s and ’30s. We just don’t have parts or funding to replace them.”

Indeed, the underlying problem appears to be a lack of resources in the Department of Music, which Sumner describes as “very underfunded.” His dream, he says, would be “to have the Department of Music thought of by somebody in the same way someone thought of USC.” In 1999, philanthropist Flora L. Thornton donated $25 million to the School of Music at the University of Southern California, which was then renamed in her honor. Thornton gave another $5 million for the school’s facility needs in 2006. Today, USC boasts one of the top music programs in the country, hosting the likes of Pepe Romero and Midori.

Piano storage in Braun Music Center. Photo by Gabriela Groth.
Piano storage in Braun Music Center. Photo by Gabriela Groth.

Inspired by this, Sumner has been entertaining the idea of having wealthy individuals sponsor a particular instrument for restoration. An aging Steinway grand, for example, could be sent back to the Steinway factory in New York to be remanufactured for approximately half the price of a new piano. Sumner quotes the cost at around $60,000 to $75,000, which he acknowledges is a sizeable amount for most donors. “It hasn’t happened here yet,” he said, “But I’m hopeful.”

Students, too, have noticed this limited funding resulting in limited resources. “I think there’s a distinct lack of funding in the music department,” said one student. “Wherever the money is, it’s not being used to improve practice spaces on campus.”

Some students, discouraged by the state of the pianos in the Department of Music, have opted to practice in their dorms where the pianos are sometimes much better. Coelho recounts his experience practicing on a dorm piano as a freshman, citing convenience as a significant benefit. “It was super nice, because I could just sit down and practice, as long as it wasn’t being used,” he said. Griffin expressed similar sentiments, often preferring to play on one of the grand pianos in Kimball rather than “going all the way to Braun, unlocking a room, and sitting in one of those stuffy boxes to practice.”

Both noted, however, that there are tradeoffs. Practicing in a dorm can be distracting, especially with residents around. “People walk by; people make noise,” Coelho explained. “You have to just deal with it and practice through it.” But for many, simply “practicing through it” is easier said than done. “I never really felt comfortable,” admitted Teo, who attempted practice sessions in her dorm freshman year. For Griffin, a sophomore studying composition, privacy is especially valuable; like most artists, composers are hesitant to show the world their creative process.

Practice piano in Roble dorm. Photo by Gabriela Groth.
Practice piano in Roble dorm. Photo by Gabriela Groth.

This places musicians — pianists in particular — in a touchy situation. While they treasure seclusion, the best pianos are often found in public places, forcing them to choose between quality and privacy. For instance, the lounge in Kimball, an arts-themed dorm, houses two grand pianos that one student described as “significantly better” than most pianos in Braun. Branner is also known to have an excellent grand piano.

While the presence of these instruments in the dorms increases the accessibility of music resources for students, it also decreases the pianos’ availability for serious musicians. “It’s surprising that the music building has some of the worst pianos on campus,” Coelho said. This disparity has affected the morale of students, one of whom described the situation as “disheartening.” “It makes me feel like the school doesn’t care about music,” said another.

Besides the inferior quality of the instruments, practicing at Braun isn’t free, either. Students must pay $50 for each quarter they choose to rent practice rooms, although it is included in the $600 per quarter fee for those taking music lessons. Without lessons, the cost of practicing in Braun can add up to $150 per year, not including the summer quarter. Studying music privately at Stanford costs even more: up to $1800 per year — an amount some students have labeled “absurd.”

“We’re already paying so much for being here,” one student said.

Like many things, it all seems to come down to cost. Despite Stanford’s $21.4 billion endowment — 75 percent of which is already reserved by donors for particular purposes — the arts departments, particularly music, have often been overlooked in favor of the sciences. Part of this is because there are fewer sponsors for the arts, which means less funding — the Department of Music, Sumner says, “is just not sexy.”

Not sexy perhaps, but still important. Though most students who study music at Stanford end up majoring in other fields, many cite music as both a creative outlet and an asylum from the demanding pressure of academics. “It’s a great solace for folks who are studying hard,” Sumner says. Wang, a biology major who has been studying piano since she was five, agrees: “It’s nice for me to able to relax and de-stress by practicing.”

That’s not to say that studying music is easy at Stanford. Cost is high, good pianos are scarce and resources are limited, not to mention the rigorous academic expectations that come along with attending one of the most elite liberal arts institutions in the country. Stanford is not, after all, a conservatory. But then again, neither is USC. Despite the buzz surrounding monumental construction projects and generous donations, Stanford still has a long way to go when it comes to supporting the arts at the student level. For the Department of Music, that will mean hiring more technicians, expanding facilities and improving practice room availability. For Sumner it’s quite simple: “It’s just a question of more money.”

Contact Marisa Lin at mlin3 ‘at’ stanford.edu.

 

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Pomplamoose returns to The Farm: A night of surprises https://stanforddaily.com/2014/11/06/pomplamoose-a-night-of-surprises/ https://stanforddaily.com/2014/11/06/pomplamoose-a-night-of-surprises/#respond Fri, 07 Nov 2014 07:55:57 +0000 https://stanforddaily.com/?p=1091558 On Saturday night, pop duo Pomplamoose shined at Bing Concert Hall. Stanford graduates Jack Conte ’06 and Nataly Dawn ’09 put on a quirky performance, featuring original songs, covers and lots of audience participation. The couple met at Stanford University eight years ago when they started writing songs and making YouTube videos that showcased Dawn’s […]

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Natalie Dawn and Jack Conte of Pomplamoose performing at Bing Concert Hall. Photo by Avi Bagla.

On Saturday night, pop duo Pomplamoose shined at Bing Concert Hall. Stanford graduates Jack Conte ’06 and Nataly Dawn ’09 put on a quirky performance, featuring original songs, covers and lots of audience participation. The couple met at Stanford University eight years ago when they started writing songs and making YouTube videos that showcased Dawn’s velvety vocals, Conte’s multi-instrumental abilities, and creative film techniques that showed each instrument they used in the process of making the track.

After more than a half-decade and 100 million views, the vitality was still there. Dawn began plucking her bass in a cover of “Nature Boy,” gently crooning notes while Conte, head dipped toward the keys, rolled out harmonies on the piano. The music echoed in the auditorium, and Dawn’s silky voice acquired a slightly airy tone as it swept over the audience. Notes dripped like rain drops, sound waves rippling throughout.

Bing, Conte explained afterwards, was unlike any venue they had ever performed at. Demonstrating the acoustics of the hall, he clapped once, and the sound reverberated throughout the space. They had planned the entire show beginning at 9 a.m. that very day to adapt it to the unique venue. “It will never be played anywhere else,” Conte said.

Indeed, compared to the duo’s YouTube videos, the program featured sparser instrumentation and simpler vocals that exuded a more personal feel, providing intimacy in the expansive hall. Pomplamoose’s music videos layer multiple tracks of instrumentation on top of the lyrics, (see their cover of “Wake Me Up Before You Go-Go”), but the arrangements they presented in concert were much simpler. At times, Dawn’s voice would only be supported by chords on the piano, a riff on a guitar or a light pattering of the drums. The string section – Anton Patzner on the violin and Lewis Patzner on the cello – contributed to the fullness of sound without overpowering Dawn’s vocals.

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Jack Conte on the piano. Photo by Avi Bagla.

In other songs, the stage seemed to fill up with virtuosic chaos, as in the rock-like cover of “Royals.” Strange and wonderful harmonies surged, heads bobbed up and down, bows sailed across strings, and fingers scurried along fret boards. Percussive chords, accentuated by the pounding of the drums, punctuated the driving rhythms. Once in a while, Conte would leap up from his bench, as if lifted by the momentum of the beat. They were careful not to overdo it though, ensuring each layer of musical texture enhanced, rather than overpowered, the overall sound of the piece.

Between each song, Dawn and Conte engaged in casual conversation, describing their creative process, telling the stories behind some of the songs and recounting how they first met — Dawn was a freshman and Conte a senior at Stanford when Dawn opened up for Conte at the CoHo. Their first original song, “Hail Mary,” was an immediate viral hit on YouTube. Their performance at Bing quickly proved why: Dawn’s lush timbre glided effortlessly over the winding melody as Conte joined drummer Carlos Cabrera on percussion, both tapping a catchy march-like rhythm.

Besides originals such as “Another Day” and “Bust Your Knee Caps,” Pomplamoose also offered its own whimsical interpretations of several popular songs, including a punchy “Telephone,” a stripped-down “Single Ladies,” a sultry “Puttin on the Ritz” and the classic French song “La Vie en Rose.”

But the climax of the concert was surely when Conte, who was told that choral music sounded great in Bing, transformed the audience members into one grand choir. Using the position of his hands and their height from the floor to conduct – a closed fist meant “mmm,” an opened palm “aaah” – Conte moved with the swift grace of a ballet dancer teasing out ethereal harmonies from the amused faces of the crowd. Dawn’s voice entered quietly over the humming with “Amazing Grace.” The volume swelled as Conte raised his arms in musical ecstasy, and then – with a wave of the hand – silence.

But that was just the warm-up for the finale. In their final act, Conte invited the audience to come onstage – “No really, I mean it,” he assured after sensing the audience’s hesitation – to jam along in a passionate rendition of “We Will Rock You.” We gathered around the band with our feet stomping and our hands clapping the familiar, primitive rhythm. Energy coursing through the crowd, we all sensed – for a few fleeting moments – the wonderfully adventurous spirit of this special duo.

Shortly after the concert, I realized that what made this night so special was not so much Pomplamoose’s vocals or musical talent, which were impressive in their own right, but the unexpectedness – the spontaneity of the performance, their interaction with the audience, and the unplanned dialogue – all of which culminated into a concert that would indeed, recalling Conte’s words, never be repeated anywhere else.

Contact Marisa Lin at mlin3 ‘at’ stanford.edu.

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Orpheus Chamber Orchestra and violinist Jennifer Koh thrill audience at Bing https://stanforddaily.com/2014/11/06/orpheus-chamber-orchestra-jennifer-koh/ https://stanforddaily.com/2014/11/06/orpheus-chamber-orchestra-jennifer-koh/#respond Thu, 06 Nov 2014 19:43:04 +0000 https://stanforddaily.com/?p=1091559 The world-renowned Orpheus Chamber Orchestra, founded in 1972,  took the stage with violinist Jennifer Koh last Saturday. Known for its democratic approach to music-making – Orpheus lacks a traditional conductor, instead opting for a rotating leadership group – it aims to “combine the intimacy and warmth of a chamber ensemble with the richness of the […]

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Photo by Larry Fink, Courtesy of Orpheus Chamber Orchestra.

The world-renowned Orpheus Chamber Orchestra, founded in 1972,  took the stage with violinist Jennifer Koh last Saturday. Known for its democratic approach to music-making – Orpheus lacks a traditional conductor, instead opting for a rotating leadership group – it aims to “combine the intimacy and warmth of a chamber ensemble with the richness of the orchestra,” according to the program notes. In this concert, Orpheus paired up with Koh, the 1994 winner of the prestigious International Tchaikovsky Competition, for a diverse selection of works spanning the 18th century to 2014. The majority of the program featured a 13-member string section along with a harpsichord in J.S. Bach’s Violin Concerto in A minor. The winds and percussionists then joined them onstage for Mozart’s Symphony No. 34 in C major, K. 338.

If one could sum up the performance in three words, they would be clarity, precision and articulation. The collaboration among members was impressive; each individual, focused on his or her own part, was also finely attuned to the overall musical landscape. Stealing quick, knowing glances with each other, they used exaggerated body language – nodding, swaying, lifting their bows – to signal cadences, entrances and arrivals throughout each piece.

Synchronization was key, and they nailed it. Plunging into the opening notes of the “Praeludium” from Edvard Grieg’s suite, “From Holberg’s Time,” Op. 40, the strings buzzed with musical anticipation, their articulated accents and precise pizzicato showcasing their extraordinary technical unity. But more importantly, Orpheus boasted artistic cohesion, remaining together through the broad fortissimos, delicate pianissimos and everything in between. The ritardando at the end of the “Praeludium,” in which the orchestra slowed down together with grand – and finely timed – emphasis further illustrated its exceptional coordination.

Orpheus carried these traits through the remaining suite. In the “Sarabande,” the orchestra employed smooth expressive rubato phrasing, sailing through the lively “Gavotte” and into the somber “Air.” The final movement, “Rigaudon,” featured prominent roles for the first violin and viola as they zig-zagged through the piece, subsiding temporarily for a sweet French melody, only to resume again for a rousing finish.

Next, Koh joined forces with Orpheus for an elegant rendition of the Bach concerto. Standing amid the orchestra in a magnificent magenta strapless dress, she dived into the first movement with gusto, the strings following not far behind. In the “Andante,” the gentle lilting of the cellos supported expressive legato phrases as Koh, eyes closed and face tilted upwards, gauged the exact amount of pressure that would draw out the sweet, warm timbres of this emotional movement. Next came the fiery “Allegro Assai,” in which Koh led the orchestra, with assertive playfulness, to a triumphant conclusion.

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Jennifer Koh. Photo by Juergen Frank, courtesy of Orpheus Chamber Orchestra.

Koh remained center stage to perform the world premiere of Anne Clyne’s “Rest These Hands.” It began with a barely audible drone from the bass as Koh entered with an exotic, haunting melody. The tension between the two lines was almost palpable, clashing with dissonance. A substantial violin cadenza in the middle of the work, with arpeggiated chords, double-stops, slides and scales showed off Koh’s remarkable technical ability and artistic finesse. Later, other strings slipped in, creating a quiet cacophony of murmurs, chatters and whispers, above which Koh’s violin soared with its long, piercing tones. Meanwhile, as the music progressed, the stage lights gradually dimmed, illuminating Koh’s figure against the dark backdrop of chromatic harmonies and ominous undertones. In the last line, notes clashed then fused together, melting away into soft silence.

The final piece on the program, Mozart’s Symphony No. 34 in C Major K. 338, was quick to dissipate the solemnity of Clyne’s composition. Once again, Orpheus brought impressive clarity to the work with its crisp bowings and clean scales, both of which reflected precision in technique, tone and character. Its interpretation of this three-movement symphony successfully highlighted the whimsical moods of Mozart — capricious, charming, pompous and tender. The third movement provided a thrilling conclusion to the concert as the strings raced breathlessly toward the end, relenting occasionally for bright commentary by the winds. After the last resounding chords, the audience offered a partial standing ovation as the performers filed off stage.

Walking out of the auditorium, I was incredulous at how this orchestra with more than 20 members moved in such a cohesive unit through the long Romantic phrases of Grieg and the intricacies of Bach, as well as how it expressed a wide range of emotional colors and intensities with versatility. And incredibly, all this was without a conductor! Whether or not this means that classical music is becoming more democratic, one only has to listen to the Orpheus Chamber Orchestra to realize that whatever it is, it’s surely a good thing.

Contact Marisa Lin at mlin3 ‘at’ stanford.edu.

 

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Daniel Pearl Concert bridges divides https://stanforddaily.com/2014/10/22/daniel-pearl-concert-bridges-divides/ https://stanforddaily.com/2014/10/22/daniel-pearl-concert-bridges-divides/#comments Wed, 22 Oct 2014 20:37:14 +0000 https://stanforddaily.com/?p=1090146 I could not believe my friend had donned a bro-tank for the Daniel Pearl World Music Days Concert, an annual performance held in honor of the Stanford-graduate-turned-journalist slain in Pakistan while investigating the supposed connection between Al-Qaeda and "shoe bomber" Richard Reid.

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Courtesy of Stanford Live
Courtesy of Stanford Live

I could not believe my friend had donned a bro-tank for the Daniel Pearl World Music Days Concert, an annual performance held in honor of the Stanford graduate-turned-journalist who was slain in Pakistan while investigating the supposed connection between Al-Qaeda and “shoe bomber” Richard Reid. I glanced around Memorial Church and the buzzing audience — no one seemed to notice the out-of-place tank, so that was a good sign.

As the audience settled, Rabbi Patricia Karlin-Neumann offered introductory remarks for the annual concert in honor of Pearl, who was killed in 2002.

“Through his work, Danny had a way of bridging divides and bringing humanity closer,” Karlin-Neumann said.

On stage, the St. Lawrence String Quartet and the Stanford Chamber Strings, along with oboist James Austin Smith and baritone Kenneth Goodson, led an engaging performance. Lead SLSQ violinist Geoff Nuttall directed the strings in a lively dialogue with the soloists.

But before they picked up their instruments, Michelle Pearl, Daniel’s sister, commented on the power of musical performance.

“Every year, I am amazed by the incredible beauty humanity is capable of,” she said. “When we leave, we carry that beauty out to the world.”

The beauty was there, all right. The program opened up with a spirited rendition of the Telemann Concerto for Oboe in E minor, with Nuttall leading a careful, yet graceful, introduction into the “Andante,” followed by a sparkling “Allegro,” with the oboe dancing merrily among the strings. The performance progressed into the  soaring phrases of the “Largo”, the notes fused in an expression of sublime control — which then subsequently dove into a fiery, yet articulated, second “Allegro.”

Courtesy of Stanford Live
Courtesy of Stanford Live

The chemistry between the performers was evident. Bows bounced up and down in sync as the musicians eyed each other and even seemed to breathe together, inhaling at the beginning of a phrase and exhaling at the end of an especially intense section. Nuttall and Smith cocked their heads toward each other as they engaged in an animated interchange of the melody.

Next, Christopher Costanza, sitting below the steps of the stage so that his chair was only a few feet away from the front row, gave an intimate and expressive performance of the Bach Suite No. 1 in G Major for solo cello. The music glided in elegant arcs over the audience, echoing off the pillars and filling the wide expanse of space. He wove through the famous “Prelude” into the winding melodies of the “Allemande,” making every note — brief or long — resonate throughout the church while maintaining an impressive dynamic range. After performing the playful “Courante,” slow “Sarabande,” and delightful “Minuets,” Costanza completed the “Gigue” in quiet triumph, the sonorous tones melting into the air.

For the finale, Goodson joined the ensemble on stage, adding his booming voice to the already vigorous musical discussion. At times, Nuttall focused on Goodson, determined to match Goodson precisely in Bach’s “Ich habe genug.” But there was no need to worry: The cohesion of the ensemble was impressive, especially in the third “Aria,” in which the strings galloped effortlessly up and down phrases under Nuttall’s rapid tempo.

After the concert, the audience offered the musicians a standing ovation. I filed out of the sanctuary in a state of subdued wonder. As we passed the rows of pews, even my bro-tanked friend expressed respectful admiration.

As we walked outside alongside the other concertgoers, the notes still ringing in our ears, I recalled the words of Karlin-Neumann: Like Pearl himself, music certainly had a way of “bridging divides and bringing humanity closer.” Having seen the St. Lawrence String Quartet bring bro tanks and oboes together, I left the concert without a doubt that what Karlin-Neumann had said was true.

Contact Marisa Lin at mlin3 ‘at’ stanford.edu.

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