student blog

if I were eleven / Molly

The Vienna Boy's choir on Friday night was a nice lead-up into Valentine's day. I mean, what could be more adorable than a pack of little boys in sailor suits? Yet, when they started right off with "O Fortuna," from Carmina Burana, it was like receiving a huge unexpected kick in the stomach. Their rendition of ABBA's "Chiqitita" had similar effects. Which leads me to the roller coaster ride, that was the first half.
To begin, I don't understand the division of the choir. The director often conducted from the piano that was placed in between the boys. Does this have something to do with tradition? I have seen small ensembles split and directed this way… but never choral groups. (Even if the arrangement is a tradition – is Chiqitita? Enough said). This created two problems with the boys: 1. Listening between sections 2. The confusion of who to watch. I often spotted the young men looking at each other from across the stage, yet I never saw as much contact with the audience. (I will especially attest to the lack of zest when performing, "Psalm 61," with cheesy clapping).

Yet, let me tell you – there was a boy who really came to the spotlight during Schubert's Die Nacht. He had numerous solos, and it was beautiful. All of them. And, despite my attempt at harassing the director for some of his musical choices (a.k.a. a song from the musical Rent, which, if I remember correctly, is about sex and drugs… and has also been used too many times as high school show choir ballads), he had some wonderful picks. Andy Icochea Icochea's "Et Lux in Tenebris Lucet" for example. I'm a sucker for the spoken text + song combo. They also performed another winner that was arranged by Icochea (after intermission), which had nice richness and was a nice break-up from the usual soprano showcase.

I would have to say that the boys finally began to enjoy themselves during the second half, which isn't too surprising. I would rather sing Waldhansl (clapping and stamping dance) than any Gregorian chant if I were eleven. Even so, I witnessed lots of yawns on stage- perhaps due to the 2 hour 15 min. concert. I was tired myself. Then again, it was worth it.

Molly

making me tired /Molly

Wow. The St. Lawrence String Quartet… They performed approximately 2 weeks ago, but it has taken me this long to let the performance sink in. I'm also going to compare them, in ways, to Time for Three. Impossible. That would be a sin. You're probably correct.

Differences:
Time for Three (I believe) writes their own arrangements.  SLSQ does not. 
SLSQ has four people, Time for Three has… you can guess.
Time for Three would not touch Mendelssohn

Similarities:
Bad Names – I understand neither of them are rock bands,  but, come on.

They don't mind educating people – SLSQ had GREAT program  notes [written by Iowa City's own Art Canter], and I know both groups like to visit classrooms.

They met at school.

Time for Three and The St. Lawrence String Quartet are  really fun to watch. They use their whole bodies to communicate.

Both groups make me tired.

Apparently, I wasn't the only one in the audience who felt fatigued after watching The St. Lawrence String Quartet. A woman leaned over to express her exhaustion at studying the first violinist's movements during the show. I must say, a lot of this was based off of the frenzied ending of Mendelssohn's String Quartet in F Minor, Op. 80. And thank God. I really don't like Mendelssohn ... The guy created lots of music while he was alive, but I still stick to my rules of quality vs. quantity. (I will surely be stoned for this statement). Yet, they succeeded in picking a work which he wrote at the end of his life – a piece sounding extremely different than the rest… Yay! Minus the middle dream-like sequence, I had to go shake off the emotional "Mendelssohn surprise" during intermission. Therefore, SLSQ gets a few bonus points for personal reasons. Still, I would say the real gem of the first half was Haydn's String Quartet in E-Flat Major, Op. 9, No. 2, HOB.III:20. I will never hear Haydn the same. The Adagio movement swept me off my feet and made me want to cry. But I guess this is how the members of the SLSQ have made a name for themselves.

Now, I guess you could have left the show just like that, but (and this is why I like the St. Lawrence String Quartet), they support new work. John Adams <gasp>, made another string piece (this time, without electronics). It was definitely an Iowa City premiere, but I was more excited to find out that it was only the second time to be heard by an audience – the first time being in NYC. John did not let us down, and he had a good ear when choosing the group - every atom in their bodies being in-sync with one another. The popping heights, sweeps, jabs, and gaping silences gave way to a supreme beauty and simple intensity. I have always loved how John Adams carefully chooses his dissonances/harmonies, and I'm proud of him for working inside the containment of stringed instruments. The SLSQ said he was once quoted saying, "The string quartet is dead," but I'm glad he changed his mind. It was wonderfully abstract, yet very listenable. New music is going in the right direction – and the St. Lawrence String Quartet is going to help.

— Molly

pretty funny /Molly

Used by permission from xkcd—A webcomic of romance,sarcasm, math, and language.

I think it's pretty funny.
— Molly

needs help /Molly

Global Drum Project may be too restrictive of a name for the group of performers showing up at West High School’s auditorium. With all of their fancy equipment, the sound board man really needed to be given a prize. Yet, I could only muster a faint smile when finally passing the guy at the end of the night. Like I said, they went far beyond global.    Mickey Hart admits this too. In an interview he said, “We're taking the archaic rhythm worlds into outer space.” Whatever Mickey. We all know you have ties to The Grateful Dead. Still, minus the family of dreadlocks sitting in front of me, it wasn’t a dead head kind of show. Nobody was standing, and nobody was toking up in the bathroom. They did play a continuous set, which somehow reminded me of Phish, although the fluidity was occasionally lacking. For instance, using electronically warped voices and sounds over the beats was a nice thought, but how did we go so quickly from rainforest noises, to a baseball game? I found everything a tad scattered despite the long-ness of it all.     

The most interesting voiced section was the half sung, half spoken text at the end of the show. Why couldn’t we have more? Perhaps it would link the show together, creating an abstract story of sorts. When stating my ponderings, someone asked – didn’t the band Creed do that? (A shrill scream resonated in my head). No, Global Drum Project is much better than that sort of child’s play. You could see it through their amazing solos and creative rhythms. Still, why did it lull me into sleepiness? I dug their talent. I did. Just… I don’t know. Somebody help me out here.

—Molly

a little bit of empowerment /Molly

I have to make a confession. I tend to mistake Nanci Griffith for Kathy Griffin. Yes, I know Kathy didn’t sing “Love at the Five and Dime.” Actually, it would sound awful if she did. I have also spelled Nanci’s name wrong when trying to google her (come on, use a Y like a normal person), and have, instead, ended up reading a story about a poor sixteen year old’s murder. None of this being funny…But Kathy Griffin is a big deal. Why? Because, unlike the detailed gory story I read online, she’s hilarious. And unlike me, she’s right on the money when it comes to faces and celebrities. In fact, I could never say a bad word against her. Maybe it’s unfair that the three of us reviewers are chicks, because what twisted girl would knock a female comedian? Really, you don’t believe me? Read this.

So, I want to give a giant shout-out to the husband who brought his wife to the show. Thanks for spreading a little bit of empowerment. Your wife loved it too. (I was watching). I bet she has a great sense of humor.

—Molly

family gathering /Molly

   I have to admit that the overall feel of the Hancher kick-off season was similar to a heartfelt family gathering with lawn-chairs littering the floor and kids climbing on trees. The stage was the perfect centerpiece for a beautiful afternoon. I also applaud the Hancher folks for featuring this Canadian group, because what could possibly create any more warm-fuzzy feelings than friendly northerners? And we all know, warm fuzzies are more than welcomed, due to the awful flooding Hancher Auditorium has had to deal with. Still, the free outdoor performance merely served as a temporary disguise for the art campus's unfortunate state of affairs.
    ScrapArtsMusic wasn't able to show us all of their goods. Making a statement mid-show, they described their inability to play certain home-made instruments of the string/reed nature due to the hot temperature outside. In my opinion, this is what would have given them their edge amongst other professional percussion groups. When describing the instruments they *could* play, their spokesperson commented, "I'm not going to get too involved with what this is..." But it was plain to see what *this* actually was. Large structures of aluminum and stainless steel. They were not as complicated or interesting as the instrument rolled out for a short solo in the second half of the show. It looked sort of like a squid. From afar I wondered, "Balloons? Does it change the pitch? How are they connected to the strings?" Except for this single invention, I wasn't thrilled with the instrumentation.
    For a person who knows so little about percussion (me), why did this show fail so much when put up to my minuscule drumming standards? ScrapArtsMusic wasted no time giving me these answers. Upon visiting their webpage, I noticed their statement comparing themselves both to Stomp and The Blue Man group. Yes, I too noticed the similarities. ScrapArtsMusic used paddles on tubing and jumped around a few times. The thing is, as choreographed as they seemed, it lacked the flair. There was no group dynamic and playful interaction. The one female representative looked awkward in her high-school goth costume, and the others looked like frat boys in star-trek uniforms. Maybe I am being harsh, but when I realized the sole person in my vicinity taking pictures and nodding his head to the music was also wearing a bracelet which read "I heart boobies," the single-girl all of a sudden turned creepily smurf-esq. The Blue Man group, on the other hand, took the smurf thing and went with it all the way. This is why I love The Blue Man group. It's weird, but in a "I'm watching sci-fi at two in the morning and I'm okay with it" kind of way. Stomp, simply put, is just much cooler.
    I'm getting carried away. So, let's look at the positive. Musically, the group was very tight. I can't argue with that. What they didn't have was panache or charm, which I feel is as equally important, especially when you are calling yourself a family event. Now I see why those five year olds kept playing in the trees. They could still listen to the music without having to watch.

—Molly