The Civic Center Arts Corridor will have another venue as of this weekend, with what had been Zellerbach Rehearsal Hall A at Davies Symphony Hall made over into a new space known as SoundBox. The sold-out first program, 'Extremities' (curated by none other than Michael Tilson Thomas) gives an idea of some of the adventuresome programming that the hall will be offering in the coming months.
There's more information about the program and the venue at the SoundBox website.
There's a theme to the programming of both revolutionary innovation and also the breadth of western music, from Gregorian chants to works by Steve Reich and Meredith Monk. What will be on display -- in addition to voices from the San Francisco Symphony Chorus -- is the Meyer Sound 'Constellation' audio installation, which allows the perceived acoustical space to be modified in real time. So the choral works from the Renaissance will sound as though they're being sung in a cathedral, and intimate chamber works will have a less reverberant, clearer sound. When the SoundBox project was being described at the Symphony's season announcement earlier this year, composer Sam Adams enthusiastically described the possibilities of the technology - a single piece could take advantage of multiple sound spaces, giving composers new the ability to think in new spatial ways. There's video projection in the new space, and to show that off, they'll show the work by Steina and Woody Vasulka from the SFMOMA collection called Voice Windows, with images reflecting the vocal gestures of Joan La Barbara.
Monday, December 8
American Bach Soloists will present three performances of Handel's Messiah at Grace Cathedral (on the 16th, 18th, and 19th) as well as this Sunday at the Mondavi Center, and the following Sunday at the Green Music Center. Music Director Jeffrey Thomas says Handel would make changes at every performance, depending on his singers' strengths.
"Handel conducted Messiah so many times in his lifetime, and each time it was different," Thomas says. "Every single time he would customize the arias to make the best use of the singers that he had at his disposal... Nowadays most performances are kind of a conflation, kind of a mixed sort of bag." For these Bay Area performances, they'll be presenting the 'Foundling Hospital Version' of the work - which also is a bit of a moving target. "There are at least a half a dozen "Foundling Hospital Versions' because he conducted it there at least that many times. So it just points towards the later performances, things had become more consistent from year to year, you no longer have an aria that sounds completely different than what we're used to hearing."
Friday, December 5
In a different kind of stage appearance, Yo-Yo Ma will be doing more speaking than playing on Wednesday night - as part of UC Berkeley and Cal Performances' new program called Berkeley Talks: In Conversation with Yo-Yo Ma. The famed cellist will discuss the role that culture, arts and sciences play in all of our lives, as cultural citizens.
The series, which is a new collaboration, will bring various "international thought leaders, public scholars, creators and innovators" to Zellerbach Hall to share their unique points of view... and Yo-Yo Ma has spent much of his career and life as a cultural ambassador, as well as explorer. Beyond the traditional concerto, chamber music, and solo repertoire, he's been a champion of world music, as seen in his enthusiastic collaborations with the Silk Road Ensemble, which is made up of virtuoso players from different musical traditions. He's explored jazz, releasing a disc of Cole Porter tunes with French jazz violinist Stephane Grappelli, and duets with Bobby McFerrin. New and bluegrass-influenced works by Edgar Meyer and Mark O'Connor and the 'Goat Rodeo Sessions' that was released a few years ago with mandolinist Chris Thile show an interest in the world of Appalachian music. And he's played for presidents from Kennedy to Obama (with former president Eisenhower in there as well).
Thursday, December 4
There are three seasonal performances of "Wintersong" - a program by the Ragazzi Boys Chorus this weekend and next, in San Mateo, Redwood City, and San Francisco. The group's Artistic Director and co-founder, Joyce Keil, says the unchanged voices will be joined by the Young Men's ensemble (and the older singers will have another SF concert, with the San Francisco Symphony a week from tomorrow.)
The concert will include traditional tunes like 'In the Bleak Midwinter' and Elgar's 'The Snow,' along with 'Eatnemen Vuelie' from the movie Frozen. Joyce Keil describes it this way: "There's a kind of a chant, a Norwegian chant, underneath a very ethereal, beautiful melody." She says the favorite by Franz Biebl, 'Ave Maria' will be sung by the Young Men's ensemble, and both groups will sing together: "We're doing a double choir arrangement of the Miserere, the Allegri Miserere, which used to be owned by the Vatican, and Mozart came in and wrote it down, and took it out into the world. So it's a really exciting boy choir piece, but it does require men too, so we do some things together."
Here are some highlights from a winter concert they gave a few years ago:
Wednesday, December 3
This time of year, there are more and more performances of The Nutcracker, Amahl and the Night Visitors, and Handel's Messiah... If you don't have the kind of time it takes to attend full shows in person, here's a cut-down and mashed up sampler-plate for you.
Certainly there are other seasonal "chestnuts" (roasting on an open fire) but these three in particular seem to be perennial crowd-pleasers, and for some, the holiday season isn't complete without seeing one or more of them.
Giancarlo Menotti's Amahl and the Night Visitors has the distinction of being the first opera ever written specifically for television, and had its premiere on Christmas Eve, 1951. It tells the story of a young shepherd boy and his mother, who offer the three kings a place to stay on their way to Bethlehem.
Tchaikovsky's Nutcracker is a seasonal mainstay of almost every ballet company - with dances associated with the movements of the Suite, plus plenty more - including an enormous Christmas tree, dancing mice, and the title Nutcracker, who is actually a prince.
Handel's Messiah was written in an astonishing 24 days (although he did borrow from music he'd already written), and remains a towering example of oratorio. One of the popular ways audiences can experience Messiah is by participating in a sing-along performance, as part of the chorus.
Tuesday, December 2
Ron Carter didn't start as a hall-of-fame jazz bass player... He actually began his music career as a classical cellist, moving on to the double bass before going to get his undergraduate degree from the Eastman School of Music - and a masters at the Manhattan School of Music. But along the way, he became a go-to session player as well as being part of many ensembles. He'll bring his trio to the Oshman Family JCC in Palo Alto this Thursday, as part of their "Jazz Giants" series.
Carter will be joined by guitarist Russell Malone and pianist Donald Vega for the program. Throughout his long career (by the early 1960s he was playing in Miles Davis's Quintet) Ron Carter has kept at a lot of things he learned in music school studying classical music. "We've got the same notes," he says. "I think when we understand that the notes aren't different, the differences are non-existent. One of the things I do maintain... was the discipline of how to practice. When you have lessons that are due every week, by teachers who insist on a high quality of performance, it makes you have to monitor your time, and make sure your practices are valuable and constructive." Likewise, whether you're playing bass in a symphony orchestra with a hundred other players, or exposed in a trio, there's a lot that's the same. "The responsibilities of musicianship are the same whatever size the group is. If you have a smaller band, there are fewer choices to be concerned with, and more responsibility spread around among fewer people. When you have players like Donald Vega on piano and Russ Malone on guitar, as I'm happy to have, the responsibilities are moer of a pleasure trip rather than a job."
Monday, December 1
The 9-voiced male choir called Cantus comes to Berkeley this Thursday night through Cal Performances for a presentation of All Is Calm: The Christmas Truce of 1914 - essentially a musical radio play that tells the story of when a spontaneous celebration of Christmas interrupted fighting for a few hours during the first World War.
There's more information about the show, which will be at the First Congregational Church in Berkeley at the Cal Performances website.
The events are told by actors from the company Theatre Latte Da, which like Cantus, is based in the Twin Cities. Paul John Rudoi explains how it came to be: "Peter Rothstein, the director, had the idea for... a radio drama. So he went over to Europe and studied up on the truce, and came back with a bunch of materials, really great materials, letters and diaries, and different accounts of this Christmas truce that happened during World War I in 1914... The vast majority of the material that they used is accounts from those diaries - it's really all from these individuals who were at that moment when a man stepped out into No-Man's Land and didn't get shot. It's a pretty profound message." The young soldiers hadn't expected the fighting to be so intense, or so long. "The men were told they're going to go and have some fun in war for a moment, and then come home for Christmas," Rudoi says. "They realize they might not come for Christmas, they also realize that they actually will get shot." So to raise their spirits, they begin singing carols. "They realize that the enemy is also celebrating Christmas, and they sing the same songs." Cantus bass Chris Foss continues: "They were sitting in their trenches, shivering because it was cold, but they would sing Christmas Carols at eachother from each trench. That's kind of how it started, a little bit. Still from the safety of the trench." Paul John Rudoi says for him, the highpoint of the show is both simple and brave, when a soldier dares to enter No-Man's Land: "That moment when he stands up and walks out is just such an amazing thing, because all it is is just a solo singing 'Silent Night'. The fact that that is the apex of the show just blows my mind, it's so meaningful." They've decided to make this season - which marks the anniversary of 100 years since the events took place - the last time they'll perform All Is Calm, for the time being.