All In The Family, Part 5 (Birthday Edition)

Today would have been my father’s 79th birthday. He passed away over five years ago, though for me, especially today, it feels like it happened yesterday. He gave me many different gifts, and since his passing, I’ve seen them come together in ways I hadn’t expected, but that I think he’d be pleased to see. We shared a love for many things, including baseball and the Pink Panther movies, but I’ll focus here on the two most important – music and social justice.


First of all, the music world is very different from the one he knew, but there are many things happening now that he would have liked.


My dad believed that art was for everyone, and often lamented that more people didn’t know and love the music that was so central to his life. Anyone who’s read this blog before knows I have offered many reasons why great music has such a small fan base, and I’ve tried to offer some solutions to the problem – thankfully, many others in the classical music world are working on this, too – a development I know he would appreciated.


I started Bach and Boombox because of the connections between all kinds of music that my dad showed me. Along with countless new classical music concerts, he also took me to many jazz performances (he’d been a jazz pianist in his early days), and introduced me to the Beatles, too. He was a firm believer in the saying – “There are two kinds of music – good, and the other kind.”


Nowadays, I spend much of my time sharing the joy of playing music with kids who might not get to otherwise, through 4-Way’s String Project at Woodford Paideia. My dad helped open my eyes to the inequities in society early on, and we often talked about how they could be addressed – I think he’d be especially pleased that we’ve found a way to be of service through music.


This past weekend, ProMusica Chamber Orchestra gave our final concert of the season, and the program began with a brief performance by violin students from the orchestra’s Play Us Forward program, most of whom come from economically challenging circumstances. On stage with them were players from the orchestra (including yours truly) and our guest artists for the evening, violinist Vadim Gluzman (who has been a big supporter of the program) and violist Paul Neubauer, who a few minutes later would give a thrilling performance of Mozart’s Sinfonia Concertante. In the picture below (courtesy of another ProMusica cellist – thank you, Cora!), you can see all of us, playing together – this is the kind of musical and social connection I’m sure Dad would have liked to see.

In his own music, my dad shared a great deal of himself, and you can hear his varied musical influences, from Schoenberg to Stan Getz. So to close, let’s hear a short dance for piano, performed by his friend Richard Becker, that gives you a good sense of him and where he was coming from. Like all his music, it’s both intense and subtle, and at about the 2:00 mark, it starts to sound (to me, at least) like an Earth, Wind and Fire record – a little bit of funk to finish.


Happy Birthday, Dad – I miss you.



Six Clowns and a Bass Player Walk Into A Bar…

Last weekend, I performed at Classical Revolution Cincinnati, a monthly show at the Northside Tavern. There was a very good-sized crowd, a nice mix of classical music fans and hipsters. The atmosphere was just right – the audience was listening attentively but not stifling themselves (there were some quiet conversations going on too).



Also on the program was Rick Robinson, former bassist with the Detroit Symphony, and director of that city’s chapter of Classical Revolution. I played in a string group with Rick and several others – we played some of his compositions (my favorite was “Pork and Beans“) and arrangements ranging from Beethoven’s 5th Symphony to a beautiful Duke Ellington piece about Martin Luther King.

Rick is bringing back a great classical music tradition with his work – arrangements like his were common back when these pieces were written, so people could play orchestral pieces in small groups at home or in coffeehouses. You can hear some of Rick’s original compositions and learn more about him on his website.

Rick spoke eloquently during our set about Classical Revolution’s mission of bringing music to the people. He also made a great point about how performances in casual settings like bars can complement the traditional concert experience, without replacing it.

This is crucial – the concert experience is wonderful, and will continue to be the main presentation of our art form to the public, but the music does just fine in other settings, and many new audience members can get to know it more easily with a beer in their hand.

I bet many classical music devotees worry that programs like Classical Revolution are a threat to the traditional concert experience, and that any departure from the ritual of the concert hall is somehow cheapening the music. All I can say is I wish they’d heard the evening’s final performance.

Six students from CCM took the stage next, with eye makeup that belonged on a KISS tribute band:




They then gave a beautiful performance of Schoenberg’s Pierrot Lunaire, a work which is perfect for a bar. The piece was first performed in 1912 with the singer/speaker in full commedia dell’arte costume and the players (including the composer) behind a screen.

The vocalist in Pierrot half sings, half speaks (a technique Schoenberg called “Sprechstimme”) and frankly sounds a little tipsy much of the time. The texts are pretty out there, too – my favorite stanza is “Black gigantic butterflies have blotted out the shining sun. Like a sorcerer’s sealed book, the horizon sleeps in silence.” Now if this isn’t drinking music, I don’t know what is.

Pierrot’s debut came shortly before that of Stravinsky’s ballet “The Rite of Spring” in 1913 – both works sparked great controversy. There was hissing from some in the audience at Pierrot’s premiere, and the riot which erupted at the premiere of “Rite” set the standard for music’s ability to provoke.

Nowadays, both pieces are standard repertoire, performed regularly in the hushed setting of the concert hall, where even a stray cough can be greeted with stares and shushing. For all those who worry about the need for absolute quiet during performances, you should know that the audience in the bar was incredibly focused on the Pierrot performance – the minimal amount of chatter was very quiet and didn’t seem to distract the players one bit.

Good performances like this one command attention and create the atmosphere they need to be heard, even in a bar – a good lesson for any performer accustomed to the mandatory silence of a concert hall.

Furthermore, the players’ face makeup added to the mood of the piece and made perfect sense – a small but significant enhancement, and a reminder that having a little bit of fun is ok, even when you’re playing music by this guy:




I think Pierrot benefited greatly from the bar performance – maybe orchestras could serve beer the next time they perform Rite of Spring, too! In any case, my Classical Revolution experience was further proof that great music holds its own just fine, even when competing with the sounds of dropped glasses and pool tables in the next room.

Till next time,