At the Schermerhorn...
Nashville Starts the Season with Tchaikovsky, Barber, and Hailstork
On Friday, September 13, the Nashville Symphony opened their 2019-2020 season spectacularly with Tchaikovsky’s Fifth, Samuel Barber’s piano concerto with guest soloist Garrick Ohlsson, and Adolphus Hailstork’s An American Port of Call, all conducted by Maestro Giancarlo Guerrero. While these pieces appear to be musically unrelated, their composers are tied together through their issues with cultural identity. Both Adolphus Hailstork and Samuel Barber focus heavily on “the singing line” in their compositions, with Barber borrowing heavily from the Russian piano style to do so. Barber’s involvement in both the singing line and Russian piano tradition provided an excellent segue to Tchaikovsky’s Fifth, as it grapples with using distinctly Russian sounds in a world dominated by the western European tradition.
As is customary in many American symphonies, opening night began with a drumroll leading into “The Star Spangled Banner.” Both the orchestra and the audience stood and joined together in song, and quite honestly, it was one of the better sing-alongs I’ve heard! Although traditional, it was a pleasant way to start the season.
Adolphus Hailstork composed An American Port of Call in 1984 as a commission from the Virginia Symphony Orchestra, and the piece has since become his most popular orchestral score. Growing up, Hailstork played the violin, piano, and organ, but notes that first and foremost, he came up as a singer. Because of this, he states, “the vocal line, the singing line, is absolutely fundamental to my artistry.” Hailstork also describes his composition style as “a double cultural experience, that of my standard European-oriented education and that of my ethnic heritage.” As an African American composer, Hailstork feels that African Americans have been so long left out of the western classical tradition, and powerfully declares that now is the time for them to make an impact on the American repertoire.
This piece certainly kicked off the evening with a bang! The dissonant, brass-heavy opening was quite lively and energetic, and engaged the audience from the very first note. The piece had a great number of wonderful section features, which highlighted the technique and musicality of the woodwinds, low brass, and percussion beautifully. Even through all of the dissonance and excitement, the “singing line” intended by the composer was always appropriate emphasized, making the piece pleasant to hear and accessible to all members of the audience. The symphony (and composer, as he was present!) received a standing ovation after this first piece, which was certainly well-deserved.
Samuel Barber composed his piano concerto between the years of 1959 and 1962, as a commission to celebrate the 100th anniversary of his publisher, G. Schirmer. Barber was heavily influenced by the great late-Romantic composers, like Tchaikovsky and Rachmaninoff, in the composition of this concerto, and while he incorporates more modern harmonic language and rhythms, the influence of the Romantics can always be heard.
This technically and emotionally demanding concerto was performed with absolute ease by soloist Garrick Ohlsson. He boasts an impressive career, including winner of the 1970 Chopin International Piano Competition, collaborating with chamber ensembles around the world, and a current project of performing the complete solo piano works of Brahms in four different programs.
The concerto started with a bold statement from just the soloist, and from those first chords, it was clear Mr. Ohlsson had masterful command over this piece. He beautifully ducked and weaved in and out of the orchestral textures, knowing just when to be heard and when to blend. It was a nice change of pace to hear a concerto with quite a lot of involvement from the orchestra, with many prominent wind and string solos throughout. As always, these soloists played their passages with laser-like precision and such emotional complexity.
The second movement was perhaps one of the most beautiful moments of the entire concert. It showcased more of the emotional side of Mr. Ohlssons playing rather than his technical, and created such a lovely dialogue with the rich, low flute line. This movement also provided a nice contrast from the otherwise upbeat repertoire so far.
The third movement picked up the pace yet again, but this time with even more energy. Mr. Ohlsson flew through some of the most technically difficult passages of the program with absolute ease, never once giving the audience any indication that it challenged him at all. The audience was propelled to their feet in the second lengthy standing ovation of the evening, which was certainly well-deserved by both the symphony and the soloist. I’m not much of a fan of Barber, but this was truly a remarkable and enjoyable performance, and a perfect way to end the first half of the evening.
Pyotr Ilyich Tchaikovsky composed his Fifth Symphony extremely quickly, between May and August of 1888. This symphony exists in an in between space of Tchaikovsky’s emotional openness (symbolized by his Fourth) and later desire to be more private (such as his Sixth). Some of the only writing Tchaikovsky left about his Fifth suggests that the opening motto of the symphony is a “resignation before fate,” creating a bit of a connection with Beethoven’s Fifth. Tchaikovsky utilizes a wide range of orchestral textures, colors, and dramatic contrasts throughout, making the piece quite interesting and exciting to experience.
The symphony opened with the soft, but powerful line from the clarinets, which was executed flawlessly by the Nashville Symphony. The line rose and fell in dynamic so naturally and effectively, truly capturing the emotions that Tchaikovsky intended. I’m sure it’s just a matter of personal taste, but I wish the beginning had just been a hair more sustained to create a sense of continuity. With that being said, all of the releases in these opening passages were done with such elegance and care, and it was still enjoyable to hear. The first movement carried on with all of its dramatic dynamic, style, and tempo changes, and the Symphony did it all beautifully at every turn. It was truly a wonderful performance of one of my favorite movements of all time.
The second movement once again highlighted the emotional side of the symphony, with one of the best performances of the horn solo I’ve yet heard. The “slow movement” certainly did not drag on, and provided a welcome breath of fresh air after the symphony’s intense beginning. The third movement continued this reprieve with a short, more lighthearted waltz, adding even more variety to the wide range of styles exhibited in this one work. As always the orchestra emphasized the differences in character beautifully.
The fourth movement was a triumphant return to the major (no pun intended) theme of the first movement. This movement brought more impressive features of the high and low brass sections, which filled the hall magnificently. The false stop near the end of the piece was done so convincingly that a few members of the audience prepared for applause. The REAL applause (and third standing ovation of the evening!) came after the energetic rush to the end, which the Nashville Symphony performed with such enthusiasm and excitement. It truly was a great performance of a fantastic symphony.
All in all, it was a successful opening to the season! The Symphony played beautifully, the house was nearly full, and everyone seemed genuinely excited to be there. The Nashville Symphony has certainly set the bar high for themselves, but I’m excited to experience everything else the season holds.
A New Season in Music City
The 2019-2020 season opened this past Friday in Nashville with a spectacular concert by the Nashville Symphony at Schermerhorn Hall. The concert featured world renowned pianist Garrick Ohlsson performing Samuel Barber’s fiery Piano Concerto as well as Pyotr Tchaikovsky’s Fifth Symphony and contemporary composer Adolphus Hailstork’s sparkling composition The American Port of Call. As I walked across the pedestrian bridge at the golden hour, I thought about how lucky we are here in the Music City.
The Nashville Symphony’s season, tied to the 250th anniversary of Beethoven’s birth, has prepared a classical line up this year in which chestnuts from the standard repertoire will be recontextualized by their presentation alongside works of living composers. This evening, for example, the program featured composers “…whose search for a voice is bound up with issues of cultural identity.” In the current political climate of the United States, certainly, cultural identity is a very important issue and one imagines relevance will never be far from center.
Obviously, the symphony isn’t the only game in town. Nashville Ballet is bringing out a production of Prokofiev’s Romeo and Juliet next weekend and Nashville Opera will present Puccini’s Madame Butterfly on October 10 and 12. Meanwhile, on October 5th contemporary music ensemble Intersection will present Renewal in which they will partner with the vocal ensemble Portara to present a concert that privileges the conservation of our planet’s beauty. Gateway Chamber Orchestra, who have a remarkable season planned, will be present Schubert’s 4th Symphony on the 29th and virtuosa flutist Lorna McGhee playing Reinecke’s Concerto. Alongside all of the other things happening this month around town, it’s going to be a very busy time for MCR’s intrepid reviewers. Interested in joining the team? We are always looking for new writers!
As I often like to do, after the concert at the Schermerhorn on Friday, I stopped over at Rudy’s Jazz Room for a 
late night snack on the way home. There I was extremely lucky to catch a set from the New York based Jonathan Kreisberg Quartet. Their interpretation of standards like Wayne Shorter’s “Fee Fi Fo Fum” or Vernon Duke’s “Autumn in New York” were both transcendent and intimate—Kreisberg’s back phrasing on the latter channeled Billie Holiday. This autumn Rudy’s will feature a wonderful collection of local and visiting names. Coupled with the daily jazz available at Skull’s Rainbow Room, the Jazz Workshop or even the City Winery where the Tennessee Jazz and Blues Society’s Great Albums Series continues with a performance of Thelonious Monk’s classic LP Misterioso on Sunday, jazz too continues to thrive in the Music City.
In all we are seeking to expand the MCR’s coverage of things going on in and around Nashville. If you have a concert you would like to review, or would like to submit a review for publication please contact us! We are always looking for new, local voices. Finally, if you like what you read and see here and wish it to continue, perhaps you might consider a monetary donation? The scene deserves so much more attention and a little help can go a long way. Also, maybe we could hire a real photographer.
Anyway, leave a comment below if you’d like and here’s to a great season!
Coming to TPAC:
Evan Hansen Lottery!
NASHVILLE, Tenn. – Described by the Los Angeles Times as a “cultural phenomenon,” Dear Evan Hansen makes its Nashville debut Sept. 10-15 at the Tennessee Performing Arts Center’s Jackson Hall. In advance of the one-week engagement, the production announces it will host a digital ticket lottery through Lucky Seat, offering fans the chance to purchase a limited number of $25 tickets per performance.
Lucky Seat will begin accepting entries 48 hours prior to the first performance at TPAC in Nashville and will be accepted until 9 a.m. CT the day before the performance.
Fans who have been selected will be notified daily via email and can then purchase up to two (2) tickets at $25 each. The ticket lottery will continue on a rolling basis for every performance in the engagement. All entrants are encouraged to follow Dear Evan Hansen on Instagram (@dearevanhansen), Twitter (@dearevanhansen) and Facebook (@DearEvanHansen) for additional lottery news and information.
Entrants must be 18 years or older. A valid, non-expired photo ID that matches the name used to enter is required for pickup. Seat locations awarded by the lottery are subject to availability. Additional lottery requirements can be found at www.luckyseat.com/
Dear Evan Hansen features a book by Tony Award winner Steven Levenson, a score by Grammy®, Tony® and Academy Award® winners Benj Pasek and Justin Paul (“La La Land,” “The Greatest Showman”), and direction by four-time Tony Award nominee Michael Greif (“Rent,” “Next to Normal”).
Declared “One of the most remarkable shows in musical theatre history” by Peter Marks of the Washington Post, Dear Evan Hansen opened at the Music Box Theatre to rave reviews on December 4, 2016.
There, it has broken all box office records and struck a chord with audiences and critics alike, including New York Times critic Jesse Green, who, in his May 2019 re-review of the show, declared it “more and more ingenious with each viewing. It is more hopeful than ever.”
In addition to winning six 2017 Tony awards and a 2018 Grammy Award, Dear Evan Hansen has won numerous other awards, including the 2017 Drama League Award for Outstanding Musical Production and for the off-Broadway production, two Obie Awards, a Drama Desk Award, and two Outer Critics Circle Awards and two Helen Hayes Awards. Dear Evan Hansen is also the winner of the Broadway.com Audience Choice Awards three years running and was just proclaimed the Best Long-Running Show and the Best Touring Production in the 2019 Broadway.com Audience Choice Awards.
Dear Evan Hansen, produced by Stacey Mindich, features scenic design by David Korins, projection design by Peter Nigrini, costume design by Emily Rebholz, lighting design by Japhy Weideman, sound design by Nevin Steinberg, and hair design by David Brian Brown. Music supervision, orchestrations and additional arrangements are by Alex Lacamoire. Ben Cohn is the Associate Music Supervisor. Vocal arrangements and additional arrangements are by Justin Paul. Danny Mefford is the choreographer. Casting by Tara Rubin Casting/Xavier Rubiano. Sash Bischoff, Adam Quinn and Danny Sharron are the Associate Directors. Judith Schoenfeld is the Production Supervisor. U.S. General Management 101 Productions.
For more information, visit DearEvanHansen.com, or find the show on Instagram, Twitter, and Facebook.
If You Go:
Dear Evan Hansen
Sept. 10-15, 2019
TPAC’s Jackson Hall
505 Deaderick St.
Tickets:
TPAC.org
615-782-4040
Traditions in Music City
Plaza Mariachi: Come for The Music, Stay for The Circus
Nolensville Pike, south of downtown Nashville, is known for being one of the most multicultural parts of town. Mexican taquerias are next door to Indian markets, Middle Eastern restaurants, and Korean churches. There are ten international markets in a three mile stretch alone. Back in 2016, Nashvillians in this area were wild with curiosity as to what an abandoned Kroger building on Nolensville Pike would become when construction began on the site. The Plaza Mariachi opened on May 12th, 2017 to great fanfare, and it has grown to be wildly popular. Looking at it from the outside, one might walk in expecting a
typical shopping mall. But when you step inside, you are instantly transported to a Latin American market with enticing food stalls around a central food court, and little streets lined with shops carrying everything from folk crafts to the most Gorgeous quinceañera dresses imaginable.
The tactile design of the space is remarkable, with different business fronts sporting tile, thatching, adobe, stained glass, and mosaic, many with flowering vines gracefully overflowing from the roofs. While the space feels like an open air plaza, it is in fact the renovated Kroger; the airiness is provided by three enormous skylights that give the food court a sun dappled feeling. Depending on the time of day and day of the week, your journey might be accompanied by a flamenco guitar, violin, or a full Mariachi band, who perform on a stage while people wander by eating paletas (Mexican popsicles that shame all other popsicles), street corn, or all other manner of tasty treats.+
A recent visit to the Plaza Mariachi allowed this reviewer to take a look at the breathtaking new mural of Frida Kahlo on the side of the building, and nab a pico de gallo paleta (it might sound odd, but was utterly delicious) before settling in to enjoy some music. The Gustavo Guerreo trio, featuring Gustavo Guerreo on guitar and vocals, backed by drums, sax, and flute, provided a heady counterpoint to the paleta. The band was tight, the energy on stage was contagious, and Guerreo’s charisma and supple voice charmed the audience with his original songs- a stylistic blend of Latin jazz and folk music- and the occasional Beatles cover in equal measure.
Speaking to Guerreo after his set was a treat, as he is a young man with the skill of instantly putting one at ease, and making it seem as though you have been friends for years. Guerreo hails from Honduras, but spent much of his later childhood and teen years in North Carolina. He is a passionate advocate for DREAMers; his bilingual cover of John Lennon’s “Imagine,” recorded with Youtube sensation Alex G., was chosen by the Democratic National Committee to be part of their fight for the DREAM Act in 2017. It’s a beautiful video, you can check it out here:
Guerreo’s set ended, and two women in sparkly unitards from the Nashville circus group Beyond Wings took to the air, in a very literal sense. Plaza Mariachi has two sets of aerial silks installed in the center of the food court, and these ladies performed a breathtaking routine 30 feet above the diner’s heads. One of the women, Grace Good, is also an accomplished hula hooper and performed a dynamite hooping routine, finishing with seven hoops undulating around
various appendages.
Live music can be heard daily, and circus performances are weekend staples, but the fun doesn’t end there. The Plaza Mariachi boasts salsa dance nights, Mexican folk dancing, karaoke, and trivia nights. Sometimes it transforms into a latin dance club, other times a wrestling ring is installed and patrons can enjoy Lucha Libre (Mexican wrestling) while they eat. Not to mention there are slamming lattes and equally slamming margaritas available, depending on your mood.
Scanning the crowd, one gets the impression that the Plaza Mariachi is part Hispanic community center, part Hispanic ambassador ship to Nashville. The majority of the patrons are indeed of Latinx origin or extraction, but the atmosphere is welcoming to those from outside of that community. Families, couples, groups of “girls night out-ers,” and highschool kids that primarily hang out at the arcade (did we forget to mention the arcade? Yes. They have one.) co-exist peacefully and pleasantly. Every color of humanity is represented, because who in their right mind doesn’t appreciate delicious food, beautiful music, and circus babes in an idyllic setting?
For more information about the Plaza Mariachi, please visit https://plazamariachi.com/ . To hear more of Gustavo Guerreo’s story and music, please visit https://www.gustavoguerreromusic.com/ , and subscribe to his YouTube channel https://www.youtube.com/user/GustavoGuerreroMusic . To learn more about the Beyond Wings circus company, please visit https://beyondwings.webs.com/ .
Coming Event:
Popsicles & Pointillism from Intersection
Saturday, August 24th – 5:00-7:00pm
1416 Lebanon Pike
Nashville, TN 37210
POPSICLES & POINTILLISM is a fundraiser for Intersection with live music, small bites, art creation, drinks, and a tour of the Clay Lady campus. Join us for this fun, casual, family friendly event supporting Intersection! We’ll have popsicles and live music from Intersection musicians along with creative activities. You’ll hear the news about our upcoming sixth season – ACTION. Guests will also be able to take a tour of the Clay Lady’s Campus enjoying casual indoor spaces, a lovely outdoor courtyard, and original works by resident artists on campus.
Coming September 20-22 at TPAC
Nashville Ballet: Romeo and Juliet
Choreography and direction by Paul Vasterling
Fight direction and choreography by Tim Klotz
Music by Sergei Prokofiev
Live music performed by the Nashville Symphony
William Shakespeare’s star-crossed lovers return to the stage to open Nashville Ballet’s season. The most iconic love story ever told, Romeo and Juliet sweeps audiences away in a whirlwind of forbidden passion and swoon-worthy romance. Featuring action-packed fight scenes and lush period costumes, this timeless and theatrical production whisks audiences to the streets of fair Verona as the Bard’s famous tragedy unfolds. Forbidden passion, action-packed fight scenes, and swoon-worthy romance whisk audiences away as the timeless story of Shakespeare’s star-crossed lovers unfolds this September 20-22.
https://www.youtube.com/watch?v=3dhGCAKEgT0&feature=youtu.be
Essential Movement: Young People’s Chorus of New York City in Murfreesboro
I am a choral music nerd. It is a tradition I was raised in and the foundation of my education is as a musician. Most of all, choral music was my first real love. I likely would never have pursued music at all without it. As more and more time-tested choral institutions financially go under and fade out of operation, a concert from a real choir of high caliber is becoming a rare occurrence. Of course, when a future-educator friend tells me one such choir is giving a free performance in the Nashville area Friday evening, I have to make time to witness. So, after leaving work, I made my way to St. Mark’s United Methodist in Murfreesboro; the church where Young People’s Chorus of New York City (YPC) and their national off-shoot, Concinamus, gave enriching workshops for the Tennessee ACDA state conference earlier in the day. I could not be happier that I did.
The program included a vast array of works that highlighted the sweeping diversity of cultures and sounds represented in the choral tradition. Featured were pieces inspired by everything from the Ojibwe origin of dreamcatchers, to Justin Timberlake, to Zulu folksong, ripping Gospel, and the very streets of New York City; each exquisitely performed by an incredible group of musicians, none over the age of 18. Perfect displays of musicality like the ethereal Liminality (A Breath of Epiphany) by YPC Director Francisco J. Núñez or Ellen Reid’s emotionally charged So Much On My Soul were punctuated by crowd pleasing, fully choreographed renditions of Timberlake’s Can’t Stop the Feeling and Abba hits, Dancing Queen and Mamma Mia. Even delivering a sing-along of Luigi Denza’s Funiculi, Funicula, the concert carried a perfect balance of expressive excellence and gleeful entertainment.
YPC premiered two works in this performance I would be remiss not to mention. The first, No More Bad Dreams by Bruce Adolphe, is a retelling of how the dreamcatcher was created; an Ojibwe story in which a Grandmother saves the life of a spider. To thank her, the spider teaches her to spin a magic web that will catch bad dreams and let good dreams pass. The piece features quasi-recitative passages that can be exceptionally difficult to execute cleanly in a choral setting, and YPC sang them flawlessly. The rest of the work is punctuated with spoken word narration telling the story in full text, which ultimately kept me from really falling in love with the piece. They were well performed, but there is a interruptive quality to them that seems to derail the musical direction as a whole. Adolphe’s setting was beautiful at its most essential and provided a vivid and climactic musical painting of the story. It just didn’t seem fully integrated across the spoken sections and back into the sung portions. The disruption created by large chunks of speaking, at times, left the story feeling rushed and deflated some of the more engulfing moments too quickly. The second premier piece was Whispers by frequent YPC collaborator Jim Papoulis. An exploration into communities, the exchange of ideas, and the creation of beautiful music by such exchanges; the piece gets the job done quite beautifully. It was intimate at times, incredibly lush at others, and over all comforting and profoundly gorgeous. In the hands of the young artists of YPC, it held a really touching power. I only wish some of the texture of the piece had been wider. The work pulls on a fairly subdued pallet of sounds, and it seems that a piece taking on such a brave concept as unity, especially in todays world, deserves a braver range of musical ideas.
At the center of YPC’s impressive performing strength is an emphasis on movement; the idea that truly expressive and beautiful singing comes from the complete freeing of the body, and that musical movement is cultivated through physical movement. It is a concept I am familiar with through my own training, and am a firm believer in. The heavy use of choreography that to outside eyes may read as campy, or “Choralography” as some colleagues of mine have affectionately referred to it, is often so much more than a visual effect or showy gimmick. It is a way to allow the body to respond to music, and create audibly expressive singing. It is such a treat to see a choir embracing that with such enthusiasm and precision as YPC has, and the results show. But, beyond that, some moments of the July 27 performance got me thinking about balancing the approach as a whole. At what point does movement go from essential to inhibiting? When does full choreography become a crutch rather than a necessary reinforcement and creative tool? Of course, I am not referring to the energetic dance moves of a Timberlake song, or the jaw dropping precision choreography that accompanied YPC’s Gershwin medley, I Got Gershwin. It is something more subtle. It is the notable difference when the smooth, flowing, and relaxing movement employed on Liminality or the very intentional vocal affect of doubling over during So Much On My Soul is compared to lying crumpled on the stage floor in the same piece. The former two reinforce the core support mechanisms of singing and create an expressive affect to the voice, where the latter, when taken on by young performers even with such talent, audibly undercuts the substance of the sound they produce. It simply raises a question: in a choral setting, should a performative gesture be kept if it undermines the sound quality of the ensemble. It’s a question that would take volumes to explore, but the attention to detail and exceptional skill level of YPC brings it right to the front. Their emphasis falls on perpetual motion, and the vast majority of the time that emphasis works overwhelmingly in their favor.
Truly enhancing, truly worthwhile concerts inspire either joy or thought. The highest level performances do both. Choral music has such a natural disposition to nuance. It can be explosively dense or it can be breathtakingly tender. To deliver all of this it takes a choir that is careful, precise, passionate, and willing to stretch to that next level; it takes a real choir. That is exactly what an audience can expect from the Young People’s Chorus of New York City, and it is so inspiring to witness. I just might have to find somewhere to sing again.
Traditions in Music City
The Nashville Irish Seisiún Scene: McNamara’s Irish Pub and Restaurant
This article is part of a new series, Traditions in Music City, which will focus on the many and diverse musical traditions happening around Nashville. Instead of a critical focus, they will seek to communicate the history and sense of community in an event. Be sure to share and leave a comment at the end!
If you ask most people what they envision when you mention a traditional Irish seisiún (pronounced session), they’ll describe a scene where several grandfatherly types are playing lively tunes on fiddles, flutes, and accordions, tucked in the corner of a quaint pub- resplendent in dark wood- in the Irish countryside. The bi-weekly seisiún that happens at McNamara’s Irish Pub and Restaurant near the Nashville airport isn’t dissimilar from this description, except the location is Music City instead of County Clare, and the age of the seisiún players runs the gamut from early 20’s to the aforementioned grandfathers. Lively tunes abound, as does the dark wood and cozy atmosphere.
Sean and Paula McNamara opened McNamara’s Irish Pub and Restaurant in the Donelson area of Nashville in 2010. The pub’s success is reflected in the expertise the two bring to the table: Paula was born and raised in County Down in Northern Ireland, and is an veteran of the hospitality industry. The inviting atmosphere and cozy decor reflect her attention to detail. Sean is a second-generation Irishman, who moved to Nashville from the Northeast to pursue his love of folk music. The fact that McNamara’s boasts fantastic live traditional music in their main room Wednesday through Sunday, often featuring Sean’s Irish Band, Nosey Flynn, is a testament to Sean’s discerning ear. The main room also serves as a venue for noted Irish musical acts to perform at when passing through Nashville. But hosting stage acts, serving authentic pub fare, and featuring a wide selection of Scotch and Irish whiskeys wasn’t enough. Within a few months of opening, Sean reached out Irish fiddler Bill Verdier and Irish flutist Bill Wolfe to add the final magical touch to the pub: a seisiún.
Irish seisiúns, such as they appear in the current day, became popular with Irish immigrants on both sides of the Atlantic in the 1950’s, particularly in London and New York. Playing tunes with friends over a pint at the pub at the end of the week was both a way to relax, and a way to bond with other folks from the home country for a bit of reminiscing. First, second, and third generation Irish men and women have grown up attending and participating in seisiúns, and the infectious joy of traditional Irish music has spread to those without any Irish heritage at all. The Irish music and dance spectacle Riverdance that debuted in 1995 helped spark interest in Irish arts around the world, inspiring seisiúns in pubs from Moscow, to Tokyo, to Rio de Janeiro.
Over the years, seisiúns have developed a certain amount of etiquette required from the participants. This includes having an established leader or leaders of the seisiún who
chooses the sets of tunes to be played, and limiting the number of bodhráns (frame drums covered in goats hide played with double ended mallets, or tippers), guitars, or bouzoukis playing at any given time so that melody instruments are not overwhelmed by competing accompaniment. If the seisiún leader invites a singer to sing, the entire group of musicians (and often the whole pub) will pause their conversations to listen respectfully; once concluded, the riotous tunes and background chatter will start back up. Unlike Bluegrass music, Irish music does not rely on improvisation. Melody instruments are expected to play in unison, and players will jump in and out as they know the tunes being called.
Nashville has a long tradition of supporting folk music, but the seisiún scene didn’t coalesce until 1995, when an English pub called Sherlock Holmes opened on Elliston Place. A small group of Irish musicians, spearheaded by the aforementioned Bill Verdier and Bill Wolfe, started a weekly seisiún that grew until the pub closed its doors in 2006. At that point the seisiún changed venues to the (then) recently opened 12th South Tap Room, where it remained until finding a home at McNamara’s. It appears to be a mutually beneficial arrangement; pub regulars don’t expect a stage show, but they come to listen to players, young and old, joyfully wend their way through tunes that trace their lineage back two hundred years or more.
Over the nine years that the seisiún has resided at McNamara’s, many luminaries of the global Irish music community have stopped by to share tunes, and several have made Nashville, and this seisiún, home. Cities such as New York, Boston, or Chicago have many competing seisiúns; so much so that one could go to a different seisiún every night of the week. Nashville may not boast a large number of seisiúns (at the time of this writing there are three seisiúns in the Greater Nashville Area), but the people and the music at the McNamara’s seisiún are world class.
McNamara’s Irish Pub and Restaurant can be found online at mcnamarasirishpub.com. The seisiún occurs every 2nd and 4th Tuesday of the month, from 7:00 -9:30 pm. This is a closed seisiún, meaning it is suitable for advanced level players and is invitation only. Beginning level players are encouraged to check out the seisiún and instruction offerings at the Fiddle and Pick Musical Heritage Center, Fiddleandpick.com. A Pocket History of Irish Traditional Music by Professor Gearóid Ó hAllmhuráin is a fascinating read for those wanting more detailed information about Irish music, musicians, and instruments.
Traditions in Music City
Old Jams, New Jams, Blackberry Jams, and Blues
***This article is part of a new series, Traditions in Music City, which will focus on the many and diverse musical traditions happening around Nashville. Instead of a critical focus, they will seek to communicate the history and sense of community in an event.***
On Saturday, June 22, 2019, the sleepy village of Leiper’s Fork saw its 16th annual Blackberry Jam Music Festival. With the previous night’s harsh weather and morning rain, it was uncertain whether the event would proceed, and attendance was low for the first couple of hours. However, the small group of hands-on, dedicated volunteers and performers and their love for making music and benefitting their community showed out and made it clear that a little rain couldn’t halt their parade.
Beginning with the Viva! NashVegas radio show, the festival segued into the children’s program. Though clearly for kids, the children’s program was enjoyable for people of all ages. For those uninterested in singing about cows and roly polys, the program was scheduled at noon, so it was the perfect time to check out the food truck offerings, which included trucks specializing in barbeque, burgers, ice cream, coffee, and a stand serving cotton candy.
By 1:00, the festival had picked up many more attendees, and the children’s program had the lively performers Farmer Jason and Roger Day to amp up the younger audiences for the day’s remaining performances. Though aimed at children, their performances transcended generational lines and were certainly fun for the whole family. “Ode to a Toad” (Farmer Jason) and “Roly Poly” (Roger Day) were hits with everyone. Giri and Uma Peters performed very well between Farmer Jason and Roger Day with Uma on clawhammer and gourd banjos and Giri on fiddle and guitar. The sibling duo is a prime example of how the small, yet high quality festival allows young, early-career musicians to perform in the same setting as critically acclaimed musicians with extensive accolades.
In addition to these emerging talents (who already have a recorded album and are actively touring), the stage was graced by a Grammy winner (Lee Roy Parnell), CMA award winners (Parnell, Lockwood Barr) and members of the Library of Congress “Americana Women: Roots Musicians – Women’s Tales and Tunes” MusicBox Project (Jackie Merritt and Resa Gibbs of the M.S.G. Acoustic Blues Trio), not to mention Farmer Jason and Roger Day, who both have a lengthy list of accolades when it comes to children’s music.
After the children’s program, Tray and Jo Ann Eppes kicked off the rest of the show with some bluesy original songs. Seasoned veterans of the Blackberry Jam stage, they make the yearly trip to Leiper’s Fork all the way from their home in Central Virginia where Tray runs a pottery studio, in addition to making music on the road.
The next performer to grace the stage was Lockwood Barr. According to Music Row Magazine, the 2016 CMA Emerging Artist award winner “has the goods”, and I believe them. Barr’s music ranges from soft and sweet to fierce and emphatic (think Underwood’s Before He Cheats), and often writes from a personal place about tough subjects like suicide, and it is easy to connect with her and her music as an audience member. To a young adult audience, bluegrass and country is often considered old hat, but Barr’s vocals and visual branding seems to make the music more relatable to a wider audience without sacrificing what makes her music bluegrass.
Reckless Johnny Wales and the Hip Replacements (in which “Hip” can be read as either a noun or an adjective) provided a refrain from the gentler blues of the Eppes duo and the softer vocals of Lockwood Bar. The next group, Heavy Drunk and the Hurricane, was lacking six members of its nine-strong group, but still rocked the stage with both beautiful vocal harmonies and. Their simple yet emotional rendition of “Georgia On My Mind” provided a soulful contrast to some of the more robust blues of the festival.
Next on the program was Carol and Dale, owners of the Boyd Mill Farm and the hosts of the Blackberry Jam. The lovely Boyd Mill Farm has always been the venue for the festival. Carol Warren and Dale Whitehead founded the festival in 2003. The venue, though outdoors, had a unique intimacy that made the connection between performer and audience easygoing. Carol and Dale’s performance was delightfully upbeat, likely because the bass (Carol is a bassist) was more prominent. Unfortunately, Carol and Dale’s performance was cut a little short due to impending rain, so we were instructed to return to our vehicles until it passed. Though many people chose to leave at this time, when the festivities started up again, it seemed that there were more people than before.
Baillie and the Boys (Kathy Baillie, Michael Bonagura, and Alan LeBoeuf) were the next performers, and the combination of Kathy’s light but powerful vocals and the ominous sky created an electric atmosphere to usher in the evening. Baillie and the Boys played a more straightforward country set and typically sang in a three-part harmony, with songs like “The Road that Led Me to You” and “She Deserves You”.
Freddie and Francine followed their act with an excellent acoustic duo. Though some have described them as a pop band, their style seems difficult to pin down, and their website would argue the same. Primarily branding themselves as “folk,” Freddy and Francine’s vocals and stage presence represent a unique blend of folk and country and maybe even pop, but rather than pigeonhole them I would say they have a certain je ne sais quois that sets them apart.
Beyond quality music and food trucks, the festival has been dedicated to giving back to the community. From the beginning, the festival donated proceeds to an assortment of
charities, but since 2009, all proceeds from the festival have been donated to the Hard Bargain Association, an organization dedicated to rehabilitating existing homes and building new, affordable homes in the historically African-American Hard Bargain neighborhood in Franklin, TN. Last year, the festival donated $8,000 to the Hard Bargain Association, and it will be exciting to see the outcome for this year.
Perhaps one of my favorite performances of the day was that of the M.S.G. Blues Trio, who travelled to the festival from the D.C. area. Comprised of Jackie Merritt, Miles Spicer, and Resa Gibbs, this group emphasized audience participation. As dusk set in, their performance was on the porch of the house at Boyd Mill Farm, and the audience was able to move closer and experience their music in an even more personal setting. Audience favorites were “Glory Glory, Hallelujah” and “Mean Church People”, the latter being a playful jab at churchgoers with a holier-than-thou mentality. The final performance was by Lee Roy Parnell, whose clear vocals, Texas twang, and slide guitar playing rounded out the evening.
If you haven’t been to the Blackberry Jam Festival before, I would highly recommend doing so. The music is phenomenal, the atmosphere is friendly and fun, and it is place where you can truly feel like part of the Middle Tennessee music community. The festival is every fourth Saturday in June, so keep it in mind!
Fiddler on the Roof at TPAC
Fiddler on the Roof at TPAC
On Tuesday, I took a short step away from the classical music world, and enjoyed a magical night of Broadway! TPAC is currently rounding out its season with the classic Fiddler on the Roof, a story of a Jewish dairyman, his five rebellious daughters, and the deeper struggles of a Jewish community in early 20th century Russia. Fiddler is well-known and well-loved by many, and this company certainly “raised the roof” with their energetic and heartfelt performance.
The show opened on Tevye (played by Yehezkel Lazarov) , the dairyman, as he explained the traditions of the Jewish community in the village of Anatevka. From the moment he spoke his first lines, it was clear Mr. Lazarov was perfect for this role and would tell the story with tons of charisma. The scene then unfolded into a full-cast musical number
(“Tradition”), which was the true moment the audience was captivated for the night. It was quite a wall of sound, with timbres and harmonies absolutely perfect for a Broadway show.
Next came “Matchmaker, Matchmaker,” which featured the eldest three of Tevye’s daughters, Tzeitel, Hodel, and Chava. The chemistry between the three women onstage was phenomenal, and perfectly captured the quarreling of siblings as well as the genuine fear of having no say in an arranged marriage.
Shortly after, we transitioned to arguably the most famous scene of the entire show, “If I Were a Rich Man,” which was yet another opportunity to showcase Tevye’s personality. While there was a note of sincerity that rang true the entire time, the scene was full of a playful sort of sarcasm that really brought everything together and made it interesting. It was nearly impossible to look away while Mr. Lazarov was onstage.
The next notable moment of Act I, and quite possibly my favorite scene of the entire production, was “Tevye’s Dream,” in which he recounts a false dream to his wife Golde in order to ease her into the idea of Tzeitel marrying Motel, a poor tailor that Tzeitel loves, as opposed to Lazar Wolf, a rich butcher arranged by the Matchmaker. The chorus was outfitted in grotesque costumes to resemble Golde’s deceased ancestors, and many were on stilts in order to appear larger than life. It was truly frightening and so different than the rest of the show, which made for an breathtaking scene. Olivia Gjurich, who played the dead wife of Lazar Wolf, harnessed a kind of chaotic energy perfect for the scene, and had the vocal technique to pull it off wonderfully. I truly wish that we could have seen more of her in a solo role!
Act I ended with Tzeitel and Motel’s wedding, which was complete with truly impressive dance numbers! All of the extended dance sequences throughout the show were high-energy and athletically challenging, and it was truly a treat to behold! The tensions between the Jewish community and the Russian law enforcement presence came to a head in this scene, with the soldiers and Constable (played by Jeff Brooks) participated in a small pogrom at the wedding. Mr. Brooks held character extremely well and instilled a sense of fear in everyone in the audience, reminding everyone of the overarching conflict in the show. It felt a bit strange to clap after the seriousness of this scene, but Act I was too fantastic to not show any appreciation.T
Act II opened with Tevye’s second daughter, Hodel, announcing that she will be marrying Perchik, a traveling student and radical that has been staying with the family. This goes against all previous traditions, but after another passionate monologue, Tevye agreed to the union. The chemistry between Hodel (played by Ruthy Froch) and Perchik (played by Ryne Nardecchia) was fantastic, and it was quite sad that we did not get to see more of them together onstage!
After this one happy moment, Act II definitely took a turn for the darker, with Tevye’s third daughter Chava, announcing that she wishes to marry Fyedka, one of the Russian officers in the town. Although Tevye accepted many things that went against tradition, marrying outside of the Jewish faith was too far. While Mr. Lazarov kept his role pretty
light-hearted, he transitioned perfectly to an angry, broken character as he announced his daughter was “dead to him.” It was an extremely emotional performance, and perfectly captured the struggle between tradition and acceptance.
The show continued down this darker path, with the conflict ending with the entire village in Tevye’s barn as the Russian authorities close in, informing them all that they must sell their properties and leave the village in three days. All of the actors in the company perfectly captured this shift in mood, and effectively showed that nearly all other conflicts pale in comparison to this. The show ends with everyone in the village packing their homes and leaving, discussing their destinations and saying what are clearly their final goodbyes. Tevye even seems to concede and accept his daughter Chava once again, although the family is separated in the end. Much like Act I, it feels a bit strange to clap at the end of this show, but it is truly effective in creating such a strong feeling of sadness and fear.
All in all, this was a stellar performance of Fiddler on the Roof. The cast was wonderful, particularly the leads, and the show featured so many amazing dance numbers and such powerful chemistry between actors (namely Tevye and Golde)! The sets and costumes were also beautiful and fitting, and really added the final touch to the acting and music. Aside from a few minor problems that can easily be chalked up to it being opening night, it was one of the better productions that I have seen. I cannot think of a better way for TPAC to end their season.
The show runs through Sunday, June 30, with two performances on Saturday and Sunday. I assure you that it is well-worth seeing!
