Posted tagged ‘gustav holst’

Summertime, and the Listening is Easy: The “President’s Own” U.S. Marine Band on the West Steps of the U.S. Capitol, July 17, 2014

July 19, 2014

The weather this week smiled upon First Lieutenant Ryan J. Nowlin as he made his debut as assistant director of the U.S. Marine Band, “The President’s Own.” (The previous assistant, Lt. Col. Jason K. Fettig, took over the director spot when Col. Michael J. Colburn retired last week.) Outdoor concerts happen at the mercy of D.C.’s summer weather, but stormy Monday and Tuesday yielded to balminess for his first two concerts leading the band on the west steps of the U.S. Capitol. I heard the second performance of the program, on Thursday night.

If I ever get tired of this view of the band and the Mall, I guess it's time to move away from the DMV. Not yet, though.

If I ever get tired of this view of the band and the Mall, I guess it’s time to move away from the DMV. Not yet, though!

Gustav Holst contributed the most substantial work on the program, his Suite in F for Military Band, four short fantasies on English folk tunes filled with wonderful sounds from the master orchestrator. As concert moderator GySgt Sara Dell’Omo noted, the Marine Band really likes marches, but they refrained from pressing ahead too fast in Holst’s, allowing the tune to blossom. The setting of “I’ll love my love” swelled with emotion, and the “Hammersmith” movement had a great charge from the actual blacksmith-y hammer used in the percussion. Nowlin and the band couldn’t quite synchronize the superimposition of two folk themes in the finale, though, and the result sounded a little tentative.

Normally, the band handles any challenge thrown at it with ease, as proved in other selections on the program. In both Joseph Wilcox Jenkins’ “American Overture” and Henry Fillmore’s “The Circus Bee,” the band played like a single instrument: tossing off brass riffs in the former with a rhythmic energy and emphasis that induced excited dancing from the five-year-old in front of me, carefully grading the accelerando in the latter while maintaining maximum exuberance. John Philip Sousa’s “The National Game” marks another entry in that composer’s roll of catchy toe-tappers, and how is it that we don’t hear this march, written in honor of the National League by a D.C.-born composer, at Nationals games? It even has pratfall noises that one could sync with video of errors by opposing teams!

The program cannily interspersed solos to vary texture, too. GySgt Frank Crawford played his tuba in Jean-Baptiste Arban’s set of variations, “Carnival of Venice,” which normally calls for the more nimble trumpet. The challenge did not faze Crawford. As the difficulty of the variations gradually increased to ludicrous levels, with the tuba seemingly puting nary a note astray, the crowd started applauding out of a combination of astonishment and relief like that for a tightrope walker who has made another safe traversal.

Dell’Omo, for her part, stepped out of the concert-moderation role and into the soloist spot for two songs, showing a brassy mezzo and bringing out the breezy delight of “The Trolley Song” from “Meet Me in St. Louis” and taking a lovely wallow in the (mawkish) sentiment of “For Good” from “Wicked.”

By the end of the concert, more than a few passersby had been caught by the music; they made a ring of people behind the band, looking up at the Capitol Dome. The sun had set to the west down Pennsylvania Avenue, and the dusk had brought a touch of coolness to the air. Kids who had managed to sit mostly still for an hour of music had some more attention left to pay as the band roared through a transcription of Dmitri Shostakovich’s “Festive Overture.” To close, Nowlin and the band performed a stirring arrangement of “America the Beautiful,” followed by the Marines’ Hymn, which together had everyone on their feet.  It was a perfect ending to an evening of light music in the shadow of our nation’s Capitol.


The Marine Band switches to Wednesdays at the Capitol and Thursdays at the Sylvan Theater next to the Washington Monument next week. You gotta catch them if you like a nice light-music concert in the summer; nobody does it better, at least within the city limits. (The National Symphony used to do some lovely concerts at Carter Barron, but sequestration has put an end to that.)

The Army Band takes over Thursday nights at the Capitol next week for its excellent light-music performances, to add to its Friday night shows; I’m going to get over there before the summer ends.

The Air Force Band and Navy Band seem to have mostly gotten out of the light-classical business, but you should go see concerts by them anyway.

In the wintertime, you can hear these ensembles indoors, typically playing more substantial fare (here’s an example). Did I mention all these concerts are free?

Pretty sure DMV Classical is the only outlet to cover this concert, but Anne Midgette coincidentally has written a piece on military bands in general, which I commend to your attention.


In Their Orbits: Baltimore Symphony Orchestra at the Music Center at Strathmore, November 8, 2013

November 10, 2013

The Baltimore Symphony Orchestra gave Gustav Holst’s “The Planets”  the “Off the Cuff” treatment on Friday at the Music Center at Strathmore. In this series, music director Marin Alsop prefaces the full performance of the lucky opus with a discussion, as the BSO plays little illustrative snippets of the work as well as related music.

Because I am going to complain a bit about the pre-concert discussion, now is the time to state very clearly that the main point of going to a concert is to hear great music, and Alsop and the BSO delivered just about everything you want to hear in a performance of “The Planets” on Friday. The performance burst with color and energy of nearly (wait for it) astronomical proportions. (Joke sold!)

None of those little rocks gets its own movement because no one on Earth believed they had any influence on our personalities. Photo from National Geographic.

None of those little rocks gets its own movement because no one on Earth believed they had any influence on our personalities. Photo from National Geographic.

The horns, in particular, turned it loose, giving their dissonances an almost physcial force in “Mars,” bumping along merrily with a round, rich sound in “Jupiter,” pounding home the rhythm in “Neptune.” The basses, so often playing without cellos over them in Holst’s suite, made a solid shelf of sound even when quietly underpinning the rest of the ensemble. First among its excellent efforts, the BSO’s percussion section gave us some perfectly on-point glockenspiel playing, and I kept being reminded on Friday how important that is in “The Planets.” The offstage chorus in “Neptune,” the women of the Baltimore Choral Arts Society, sat way up in the top tier of the hall so no one could tell where they were, giving additional effectiveness to their otherworldly ostinatos. The only quibble I can come up with is that sometimes the internal machinations of the orchestra in fast passages didn’t come off completely clearly, but Alsop did a great job guiding the orchestra through Holst’s complex rhythms and hemiolas while keeping up forceful momentum throughout.

Before the concert, Alsop discussed Holst’s conception of the planets, largely drawn from astrology, and she brought in astrophysicist Dr. Mario Livio, of the Hubble Space Telescope Science Institute, to discuss the real planets. No attempt was made to bridge the discussions, and it wasn’t clear which discussion was supposed to be more illuminating for the concert. The gorgeous photos of the real planets shown while the music was being played heightened the confusion, as we saw Venus’ clouds of sulfuric acid and remembered Dr. Livio’s discussion of Venus’ typical high temperatures in the 800s while listening to the winds and (dynamite) glockenspiel paint a peaceful picture.

Alsop also kept pronouncing Holst’s name “Holts,” and in general sounded a little more detatched than she has in some of her discussions, rattling off an evidently prewritten discussion of the life of the composer at hyperspeed. She did a good job highlighting the tritone interval but then almost apologized for having done so, apparently deciding that the info was too technical for a general audience. The “Off the Cuff” people are here to learn — bring on the intervallic discussion!

On the plus side, Alsop made some good jokes, and heaven knows classical music can stand a few more laffs. Dr. Livio brought a similar sense of humor and a genial stage presence worthy of a man who’s made a second professional success in the realm of popularizing science. And the turn of the images onscreen from Neptune to evocations of Voyager leaving the solar system, as the Choral Arts Society folks sang us out, added an extra sensation to the already transcendent fade-out, capping a tremendously satisfying performance. Just a little more care with the “Off the Cuff” elements, specifically the exposition and how to juxtapose astronomy and astrology, would have made for an evening that was (I’m going to do it again) out of this world.


Well, I haven’t. It’s been three years and still no competition for Big Gustav in the realm of instrumental planets-themed suites from the legendary hip-hop producer, meaning I cannot make a playlist juxtaposing G. Holst and A. Young side-by-side, which would pretty much be the highlight of my music-fan life. Oddisee, step into the breach for the DMV!