Concerts - May 2012

Matt GreifAcross the Seas from Ages Past

  • May 12, 2012 - Cascade Theatre, Redding, 7:30 pm
  • May 13, 2012 - Laxson Auditorium, Chico, 2:00 pm

Conductor Kyle Wiley Pickett will give a free pre-concert talk before each concert.

Ticket info

 

Matt Greif, guitar

Fluid technical command, natural expressivity and a remarkable versatility distinguish guitarist Matthew Greif. Matthew is a member of the Grammy-winning Los Angeles Guitar Quartet, with whom he has toured worldwide. Previously, he was a member of the Falla Guitar Trio. In addition to his work with LAGQ, and as soloist, he performs in an array of concert settings. Past performances include the L.A. Philharmonic Green Umbrella series at Disney Hall, and appearances with legends Dave Brubeck and Chet Atkins.

Matthew's diversity is represented by his recordings. His critically-acclaimed debut recording, Permanent Transition, featured the world premieres of World Music/Classical solo compositions as well as duo improvisations with Andrew York and Dusan Bogdanovic. El Encanto features favorites of the classical guitar repertoire. His latest, Circle, is a modern jazz recording, featuring mostly original compositions. Playing on the album with Matthew are Ric Fierabracci (Chick Corea) on bass, and drummers Walter Rodriguez and Cougar Estrada (Los Lobos). Matthew also recorded a duet with Scott Tennant on the Delos recording Wild Mountain Thyme.

Matthew currently teaches guitar at Cal State University - Dominguez Hills, El Camino College and Los Angeles Harbor College.

Matthew was raised in a family of musicians, including his aunt, NSS violinist Cherie Gans. Matthew's early musical education took place on many instruments, in many musical styles, before the guitar captured his full attention. Upon completion of  Master's and Bachelor's degrees from U.S.C., where he studied with William Kanengiser, Scott Tennant, and James Smith, Matthew was named Outstanding Graduate of the guitar department. Prior to his studies at U.S.C., Matthew studied with Ann Waller at Northwestern University and with Michael Fowler of the University of Tulsa. Matthew has also studied in master classes with David Russell, Christopher Parkening, Manuel Barrueco, and many others. He spent two summers studying in Spain with Jose Tomas and Pepe Romero. He has studied improvisation with Joe Diorio, Mark Pratt and Frank Potenza.

Matt Greif's website

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The Flying Dutchman Overture
Richard Wagner (1813-1883)

The name of Richard Wagner brings to mind epic opera with oversize dimensions and heroic scale. Wagner was a revolutionary, whose vision it was to combine all forms of creativity: sound, stories, the visual element and music . He is best known for the cycle of four operas, The Ring of the Nibelung which was composed in the middle of his career. The Flying Dutchman dates from earlier in his career and marks his shift from the standard operatic style of the time, to the development of his own distinct style – marked by grand musical gestures, complex textures, and intense harmonies.

The Flying Dutchman was composed in 1841 and marked Wagner’s first large success. The story follows a sailor under a curse, who can only come to shore once every seven years to look for a love to break the spell. After the libretto and score for The Flying Dutchman was complete, Wagner composed the Overture. The Overture is both an introduction and musical summary of the entire opera.

The Flying Dutchman Overture begins with a stirring brass call and continues with the stormy sounds of the sea. Inspiration was likely drawn from Wagner’s own experience crossing the Baltic and North seas during a storm with his first wife, Minna. Three themes dominate the Overture: the motif of the Dutchman as he defies God and the elements, to go around the Cape of Good Hope; the theme of the woman (Senta) who forsakes her love and gives herself to save the Dutchman from his curse; and a jaunty Norwegian theme which portrays those on shore in the world  unreachable to the Dutchman. These themes are presented and then seem to fight a tumultuous if melodious battle, until the end when Senta’s theme triumphs – the redemption of the Dutchman.

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Concierto de Aranjuez
Joaquin Rodrigo (1901-1999)

Spanish composer Joaquin Rodrigo studied music in Paris, like many of his contemporaries in the early 20th century. Despite being challenged by blindness from the age of three, he became an outstanding pianist and popular composer. While in Paris, he studied with Paul Dukas (best known for The Sorcerer’s Apprentice). The premiere of Concierto de Aranjuez in 1940, after he returned to Spain, propelled him into the international spotlight.

Rodrigo said of his concerto that, “it should sound like the hidden breeze that stirs the treetops in the parks, as strong as a butterfly, as dainty as a veronica [a common bullfighting pass]”and that it should depict “the fragrance of magnolias, the singing of birds and the gushing of fountains” (note how qll of Rodrigo’s descriptions use senses other than sight).

Aranjuez is a town located south of Madrid. In the 18th century, there were large gardens and the place was the site of the royal summer palace.

Though a 20th century composer, Rodrigo had great respect for tradition and the classical and folk music of Spain. He also stayed true to traditional musical forms, and many traditional harmonies.

Allegro con spirito begins with strummed solo guitar chords balanced against the larger sound of the orchestra. Well into the first movement, the theme is finally presented as Rodrigo expertly keeps the balance between the two groups. Many of the orchestral passages imitate the guitar. The movement is based on traditional Spanish dance music in 6/8 meter that can either be stressed in a pattern of two or a pattern of three. Many passages are also in 3/4. The guitar leads the movement to a close similar to the introduction.

Adagio is the most famous and most performed movement of the concerto. The beautiful melody caught the attention of jazz trumpeter Miles Davis who famously used a version of it on his album Sketches of Spain in 1960. The guitar provides an arpeggiated accompaniment under the English horn’s melody, before the guitar takes up the melody itself. Contemplative and melancholy, the melody is beautifully ornamented and reaches a passionate climax before the reflective conclusion.

Allegro gentile is a considerable contrast to the previous movement with the return of folk-like melodies and dance rhythms. Reminiscent of the first movement, the battle between duple and triple continues to the end of the staccato finish. 

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Symphony No. 4
Robert Schumann (1810-1856)

The year 1828 held a watershed event for Robert Schumann. It was the year he met Clara Wieck, whom he was to marry in 1840. Before they met, Schumann had led a life of excessive drinking and womanizing. A musician and composer like her husband, Clara was instrumental in encouraging Schumann’s career. Though his reputation is closely tied to his piano works and lieder, it was Clara who encouraged him to compose a symphony.

Out of Schumann’s four symphonies,  the so-called Symphony “No. 4” was actually written in 1841 after the first symphony. It was not published, however,  until 1851. The four movement symphony is to be performed as one piece rather than four movements – there is to be little interruption in the music between the sections. Instead of developing different themes for each movement, the major themes of the entire symphony are generally presented in the introduction. 

Symphony No. 4 begins with a quiet and hovering melody that is commonly described as “sinuous.” As the music changes, the next important theme is found at the beginning of the Lebhaft section. It begins lightly, but gains intensity as the instrumentation increases. The third important theme can be found in the beautiful melody of the Romanze. After the presentation of these three main themes, they are developed throughout the rest of the Romanze, into a driving Scherzo and outstanding transition into the riveting finale.

A romantic symphony in every sense, Symphony No. 4 embodies drama and emotion in its melodies and orchestration. Schumann pushed the accepted boundaries of symphonic form with his unified one-movement structure and close relationship of themes between the sections. Though not directly related to romantic love, it was the major love relationship in Schumann’s dramatic life that encouraged him toward his symphonic potential.

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Program notes by Lauren Sharkey