In the next few days, we will post part 2 of the video interview where Enrique talks about his students, his teaching methods, and his approach to music. In the meantime, get ready for what will surely be a spectacular concert at the Sottile.

TUESDAY • March 16
Works by Haydn, Rachmaninoff, Tosar, and Liszt
8 PM • Sottile Theater • 44 George St

Piano Sonata No. 62 (Hob. XVI/52) in E-flat Major • Joseph Haydn
This sonata is considered by many to be Haydn’s greatest (and trickiest) work in the genre. Like his Sonata No. 60 (see Mr. Berrocal’s program notes), it was written for London virtuoso, Therese Jansen, during his second visit to that city in 1794/95. As “Papa Haydn’s” sonatas go, it’s a rare tour de force of virtuosity.

The opening Allegro moderato movement treats an abundance of ideas, all based upon the material heard in the first eight bars. The secondary theme comes at the end of the exposition, launching an extended flurry of development. The following Adagio’s dotted rhythms and thematic materials bear strong kinship to the previous movement. The ebullient finale strays from the usual rondo form, again presenting a wealth of varied motifs in sonata form.

Morceaux de Fantaisie, Op. 3 • Sergei Rachmaninoff
Here’s a rare chance to hear Rachmaninoff’s five early Morceaux de Fantaisie as a complete set (they’re usually heard separately). They’re considered an important barometer of the composer’s early development. They are all in three-part (ABA) form, save for the final Sérénade—a straightforward waltz with Spanish inflections. The best-known of them by far is the second work of the cycle: the justly famous Prélude in C-sharp minor that the composer came to hate because his concert audiences always demanded it as an encore.

Aside from those, you’ll hear the lovely opening Elégie, a melancholic gem with epic melodies and a grand climax. Mélodie—the third number—combines drama with lyric beauty, with an ending that recalls Chopin. The following Polichinelle is a pyrotechnic blockbuster that comes at you like a fast and devilish march.

Danza Criolla • Hector Tosar
Pianist, conductor, and composer Hector Tosar (with whom Mr. Graf shares a birthday) was one of his native Uruguay’s most important musical figures. His early Danza Criolla is a fairly short (six minutes) and energetic piece that recalls the “Malamba”—a Gaucho folk-dance from the Pampas of Argentina. It begins and ends with a headlong pattern of running eighth-notes, in the driven manner of a toccata—with more lyrical moments in between. It features rather strange harmonics, with one hand playing in C Major (white keys) while the other plays only black keys. Its lively South American flavors are reminiscent of Alberto Ginastera, Argentina’s greatest composer.

Sonata in B minor • Franz Liszt
Liszt’s magnificent single-movement sonata—among his thousand-plus piano works—remains the only one written in strict sonata form. It comes across as a free-flowing, spontaneous fantasia—but it’s in fact very tightly organized around the materials heard in the work’s opening passages. It dates from 1854, after one of his high-born mistresses convinced him to retire from concertizing to concentrate on composition.

Single movement or not, the piece has all the trappings of a conventional sonata. Liszt managed to draw three complete themes from the opening bars—plus a chorale-like central passage. All of them are revisited in the later Prestissimo section, and (in part) in the concluding Andante. And there are sections of the work that even correspond to the usual opening movement-slow movement-scherzo-finale format. But even if you can’t catch them all, the work’s spectacular pyrotechnics and unbridled passion will simply bowl you over. •

(Lindsay Koob writes his regular blog Eargasms for the Charleston City Paper.)

“Wild Rose” by Michael Kahn

THIS IS JUST ONE of the stunning photos by Michael Kahn (it’s huge) at Martin Gallery on Broad Street. And the serenity of his work could hardly have been better complemented than by a recent performance in the gallery by Chamber Music Charleston.

I had heard four of the five musicians before, so I knew what to expect—simply the best. But I was in for a new treat with flautist Regina Helcher-Yost who swept me away with her melodic interpretations of Saverio Mercandante and Arthur Foote. The acoustics in the spacious gallery also carried a long sound that was nice on the ear.

Below is a short video of excerpts from their performance.

Chamber Music Charleston
• Flute Quartet in A Major • Mercadante
• String Quartet in F Major, K. 590 • Mozart
• Nocturno and Scherzo for Flute and Strings • Arthur Foote

Featuring
- Megan Allison, violin
- Alan Molina, violin
- Katrina Smith, viola
- Timothy O’Malley, cello
- Regina Helcher-Yost, flute

You can read more about the program here.

The event, sponsored last night by the Kiawah Island Arts Council, grabbed the eyes, ears, and palettes of more than 120 guests who listened to Edward talk about how he tried to express the character of each wine through music.

A superb quartet—comprising four members of the Charleston Symphony Orchestra, led by concertmaster Yuriy Becker—played the pieces as everyone sipped wine and tasted cheeses that Manoli Davani had carefully selected from her Avondale Wine and Cheese shop. Manoli chose a Morbier to accompany the Clos de Braque Bordeaux, a Blue del Moncenisio to complement the Broadbent Madeira Reserve, and a Manchego to match the Tempranillo.

(Did you know that Morbier, with its characteristic line of dark, vegetable ash down the middle, comes from two “harvests” of the cheese: “evening” milk on one side of the ash, and “morning” milk on the other?)

Edward is an Associate Professor of Music at the College of Charleston whose works exhibit an elegant, refreshing combination of classical and modern. His pieces certainly enliven the experience of tasting wine. The third movement in particular—Tempranillo—included lots of fun qualities and unexpected turns, as you will see near the end of the video above.

One lady I spoke with stated adamantly that the event was “genius” and that Edward should take it to wine and music lovers around the country who would surely enjoy this innovative venue as much as we did. And I’m hoping he has some more movements in mind—maybe Burgundy, Shiraz, and Châteauneuf du Pape—so that we get an opportunity to do this again SOON. •

acrylic by Gilles Charest

THERE IS SOMETHING about combining classical music and fine art that brings out the best in both. The syncopation of visual and audio impressions. The mutual sharpening of eye and ear. And simply the elegance of two rich experiences at the same time that enables you to savor the moment in a deeper way.

That’s what’s on tap this coming Sunday at the Martin Gallery, at 18 Broad Street, when Chamber Music Charleston presents another of its vintage classical concerts.

In a program always tastefully selected by Sandra Nikolajevs, CMC will perform a string quartet by Mozart and a work for flute and strings by Arthur Foote, a little known but highly accomplished American composer from the late nineteenth century. According to Wikipedia, “He excelled in writing for strings, and his style, firmly placed in the Romantic tradition, is characterized by lyrical melodies, expressive phrasing, and clear formal structure.”

After the concert, you can enjoy a light reception and peruse a superb variety of artwork that includes paintings, sculpture, photography, ceramics, jewelry, and art glass.

Arthur Foote

Sunday, February 21 • 3:00 PM • Martin Gallery (18 Broad Street)
• Flute Quartet in A Major • Mercadante
• String Quartet in F Major, K. 590 • Mozart
• Nocturno and Scherzo for Flute and Strings • Arthur Foote

Featuring
- Megan Allison, violin
- Alan Molina, violin
- Katrina Smith, viola
- Timothy O’Malley, cello
- Regina Helcher-Yost, flute

Tickets • $25
Available at www.ChamberMusicCharleston.org
Or call (843) 763-4941

It ended with a series of rousing standing ovations. As soon as Micah sounded the last note of a Rachmaninoff sonata, the audience was onto its feet. He smiled widely. Then came the Liszt encore, followed by more standing, clapping, whooping fans as Micah smiled again before disappearing off stage.

Right after the first piece—J.S. Bach’s French Suite No. 5—began, you could see audience members looking at each other, nodding, and shaking their heads. They were impressed. And they were proud to see such a virtuosic display by one of their own; in this case, a 15-year-old Charleston native who has been dubbed a piano prodigy.

Micah chose a broad and technically demanding program that he presented with great clarity, efficiency, and strength. His poise at the keyboard is impressive, and he plays with a quiet demeanor that lets his playing do the talking. No physical antics, no strained facial expressions. Just the steely concentration of fabulous fingers finding their way effortlessly up and down and across the keys. His pristine, almost crystalline technique seems to reflect a focused intent and genuine purity. (And in all these things you can see the influence of his teacher, Enrique Graf.)

Of course, unique talent, high praise, and heightened anticipation always bring out the deriders; those just looking for weaknesses, mishaps, and an opportunity to have their critical say. One gentleman I spoke to at intermission stated authoritatively that Micah’s rendition of Bach “did not touch me tonight,” that Micah needs a lesson in Chopin from someone who really understands the composer, and that it was unfortunate such high expectations should accompany such a young and still maturing pianist.

I could relate to all of these comments; they all contain some truth. I was only disappointed to see that the gentleman had nothing else to say; that he had missed all the wonderful things about this special evening—or else was unable to see and appreciate them.

I asked several other people the same question: what stands out for you about Micah’s performance tonight? They mentioned things like: “fabulous chops” (his large hands). “He is definitely a prodigy.” “I notice that his left hand is unusually strong.” “He plays with great clarity and uses very little pedal, particularly when playing Chopin—unlike so many pianists.” In general, there was a pulse of appreciation and a tone of acknowledgment.

I am far from a musical expert, but I can endorse two of the points just mentioned. First, that Micah plays with great clarity. He articulates each note in a way that makes him very easy to listen to. The sound is enjoyable and the phrases comprehensible. Nothing is muddy. Secondly, that his left hand is so strong. Typically, you hear the melody in the right hand, supported—very much secondarily—by the left hand. But with Micah, never have I had such a good time listening to the left hand, too. Especially when he had to manage two voices, one in each hand, as you have to do with Bach and Haydn, for example. Micah simply brought the left hand alive in a way that I have not heard nor been able to appreciate before.

Congratulations to this fine young man and superb talent, and to Enrique Graf for putting him on the solo stage. Equal congratulations to the Charleston audience for turning out in large numbers to see and support Micah’s debut. It clearly meant a lot to him, and we will be lucky to see him for awhile—until he gets swooped away by larger musical circles, as he surely will. •

Balanchine’s “Rubies”

THE GHOST OF THE BELOVED ballet master, George Balanchine, comes to Charleston this weekend as CBT presents Masterpieces of Dance at the Sottile Theatre on Saturday, Feb 13 at 7:30 PM. They will be breathing life into one of Balanchine’s first big successes, Serenade, as well as Rubies. Rubies is new to the CBT repertoire and choreographer Jill Eathorn Bahr describes it as, “crisp and witty, epitomizing the collaboration of Stravinsky and Balanchine.” One of his favored duets, its costumes are inspired by Claude Arpel’s jewelry design.

Charleston Ballet Theatre is one of the few companies that has been given the nod to present Balanchine’s work, as the oeuvres are under heavy scrutiny and protection by the quality-police in the dance world. About this phenomenon, Jill comments: “Many people are concerned these days about the authenticity of different companies’ versions of the Balanchine ballets. That’s good. Let them worry. But the way to be true to Balanchine is not so much to be authentic as to be artistic. A company must like the ballet for a personal reason (not just because it’s by the famous Balanchine), and work on it according to that idea.”

George Balanchine

In 1933, the Russian dancer-turned-choreographer was wooed by ballet ambassador Lincoln Kirstein to come to the brave new world and be the voice of American ballet (albeit with a Russian accent). After a series of diversions with musical theatre and touring companies that spread the word, the revelation of the School of American Ballet made it the esteemed breeding ground for students to be well trained in the art form and then to move on (in 1948) to New York City Ballet—an icon of the crème de la crème for balletomanes. Balanchine’s style is considered neo-classical because it takes the tradition of Marius Petipa’s ballet formula and turns it upside down and inside out. To see Balanchine work is to be completely seduced by the completely unpredictable nature of the movement and design of his dances.

When he arrived in the states, he was inspired by Fred Astaire and Ginger Rogers, and he put this into his ballets which presented an entertaining glamour that had not been part of ballet before. Incorporating the speed and sophistication of New York City, he infused his ballets with razor-sharp lines and ballerinas.

Many know that Balanchine married four of his leading ladies and that countless young ballet dancers served as his muses to create such gems as Agon, Apollo, and The Four Temperaments. He once said in an interview that he preferred his dancers like parmesan cheese: “young and moist, not old and hard” — delicious fodder for feminists who have often commented on his pedestal relationships.

So, step out this weekend to support the home team culture—especially if you had to endure the super bowl—and experience the good stuff! Enjoy.

You can BUY TICKETS here •

Well, that’s just part of what makes this not your ordinary wine tasting. Or your traditional chamber concert. It’s even better — a Charleston composer’s love of wine expressed musically and interactively. Taste three wines, talk about them, and listen to 3 movements composed specifically for each wine while enjoying superbly paired cheeses from Avondale Wine and Cheese. (What else do you need?)

The idea, initially conceived for Piccolo Spoleto, comes from Dr. Edward Hart, Associate Professor of Music at the College of Charleston, who will host the event at Kiawah on Thursday, Feb 18 at 5:00 PM.

The venue is appropriately titled, Amori Vini — “for the love of wine.” As Edward says, “To my knowledge, this is the only interactive string quartet/wine tasting in existence. Each of the three movements represents a distinct wine and will be preceded by an on-stage and off-stage wine tasting by the musicians and the audience. During the three mini-tastings, everyone will be asked to reflect upon the taste and types of wine. It will be an open, non-scripted dialogue.”

The music will be performed by four of Charleston’s finest musicians from the Charleston Symphony Orchestra: concertmaster Yuriy Bekker, violinist Alan Molina, violist Jan-Marie Joyce, and cellist Natalia Khoma. The movements, named for the wines they reflect, are Bordeaux, Madeira, and Tempranillo.

Edward explains: “I’ve written music that expresses my personal opinion of and experience with these wines. For example, the Madeira movement is slow, sweet, and melodic representing not only the taste of the wine but a recollection of the circumstances around which I have enjoyed this drink.” What does he expect? “I hope the audience will be intrigued and use their imagination, without  being too distracted from the music” — a small likelihood considering the caliber of the musicians.

To reserve your tickets (highly recommended), call Stephanie at the Kiawah Town Hall. Dress will be semi-formal-casual.

I’ve been bearing such wondering witness to Micah’s music-making (and writing about it) ever since he first walked through the door of my sorely missed classical room at Charleston’s now-closed Millennium Music store, back when he was only eleven. Many of you will recall the lovely grand piano I had there—and the popular “Sunday Spotlight” concert series that I built around it. Ever the talent scout, I asked Micah to play something for me, after learning that he was an advanced piano student.

I expected—at best—the usual mechanical and mono-dimensional playing that you routinely get from kids, even the supposedly talented ones. But I wish I had been able to see my own thunderstruck facial expression as this shy, serious, towheaded slip of a boy launched into the Mozart sonata he was working on at the time. Not only was he hitting all the notes, but—right from the opening bars—he was also realizing almost everything else that the music had to offer behind mere notes. Not only were Mozart’s hallmark grace and charm there to be savored, but also the composer’s sunny sweetness—and even his occasional pangs of melancholy or sharp emotion. And it got even better, as Micah delivered further selections from other composers.

Micah McLaurin

Needless to say, I was absolutely floored—and lost no time in scheduling a semi-formal recital for him there at Millennium. A few weeks later, he appeared—resplendent in his rented mini-tux—to offer a 45-minute program of advanced classics (from memory!) to a standing-room-only crowd of stunned music lovers. Somehow, here—from a mere child—was real music-making-complete with technical confidence, interpretive maturity, and emotional depth… while remaining stylistically true to the composers at hand. As I’ve written before, many young virtuosos can play all the notes, but very few can put their whole hearts and souls behind them like Micah could, even then.

That was more than four years ago. Meanwhile, Micah has moved on to a world-class teacher: the College of Charleston’s Artist-in-Residence, Enrique Graf, who runs one of the country’s finest piano pedagogy programs. And Micah just keeps getting better and better. You can peruse Micah’s list of awards and competition wins in this earlier article. Graf calls him the most talented piano student he has ever had the privilege of teaching. And this week and next—over a span of four days—Micah will get his chances to prove it. His local orchestral debut will happen at this Saturday’s Charleston Symphony Masterworks concert, where he’ll be performing the slow movement from Mozart’s Piano Concerto No. 23. The following Tuesday, he’ll be the youngest performer to ever get his own full-length, formal piano recital as part of Graf’s vaunted International Piano Series: a concert series that has showcased many of the world’s truly great piano masters over the years. And his ambitious program (see my program notes) is one that would intimidate many adult pianists. Trust me.

Let’s dig a little deeper into the “prodigy” matter. It’s almost impossible to define clearly, especially when you’re talking about music: the most subjective and intuitive of the arts. This is where the “wonder” part comes to bear—even for a seasoned musician and critic like me. I’ve already touched on matters like Micah’s uncanny interpretive depth and emotional vitality. So how, you may ask, has a home-schooled ninth-grader (also a boy scout and competitive swimmer) managed to accumulate enough of life’s inevitable ups and downs to enable him to express the kinds of heart-on-sleeve emotion and dramatic intensity that you hear in his playing? What can a barely adolescent boy possibly know of adult-level romance, humor, triumph, drama, grief, desolation, or any of the other human feelings and impulses that music speaks of? Yet, with your eyes closed, you’d swear that it was a fully grown, finished artist at work before you.

May I suggest that Micah’s preternatural musical maturity—since it can hardly be the result of actual life experience—flows perhaps from a deep and mystical sensitivity to the music at hand; he has somehow come to understand such intangible qualities from the music itself. Micah, still a shy and soft-spoken young man, is nevertheless a confident, even fearless performer who would rather do his talking with his flying fingers. He and I have communicated at length via email and Facebook, and he’s dropped some interesting hints along the way. He has spoken of “dreaming” spells inspired by the music of composers like Chopin, Rachmaninoff, and Wagner.

But most telling, perhaps, was his answer to one of my questions a few months back about how he seeks to engage his listeners. His simple response was, “I want to make my audience cry.” And I can testify, from personal experience, that Micah has the power to do just that. His performing muse is driven by his desire to share with others the beauty and emotional intensity of music that has ignited a joyful fire in his soul; music that is simply too precious to keep to himself.

So, especially if you’ve never heard a real “Wunderkind” in person before, just be there at the Gaillard this Saturday—or at the Sottile Theatre next Tuesday—to share my own endless sense of wonder as this young wizard plays his way into our hearts. And don’t forget your hanky: you’ll probably need one before Micah is finished with you. •

(See Lindsay’s program notes for the Sottile performance: click here.)

For 15 months, British and American pilots flew more than 277,000 missions to drop more than 2.3 million tons of supplies to the citizens of Berlin. The supplies that appealed most to the children were those dropped in secret by U.S. Pilot, Lt. Gail Halvorsen.

Mercedes, a young girl living with her mother, wrote a letter to the “Chocolate Pilot” and asked him to drop some candy at her house. Lt. Halvorsen did even better; he mailed a package directly to Mercedes and began a life-long friendship.

Their story turned into Mercedes and The Chocolate Pilot which will come alive again this Saturday accompanied by live classical music by Chamber Music Charleston.

When: Saturday, February 6 • 1:00 PM
Where: Circular Congregational Church
150 Meeting Street in downtown Charleston

The 45-minute program will also feature film, television, and stage actress Chris Weatherhead from Actors’ Theatre of South Carolina who will read the story as illustrations from the book are projected on screen for everyone to see. And don’t miss the cookie and punch reception afterward, where you and your kids can meet Chris and the musicians.

About the Author
Margot Theis Raven has written for 30 years for radio, television, journals, and books. She lives with her family in their homes in Massachusetts, New Hampshire, and South Carolina. When she found a story about a retired U.S. Air Force Colonel named Gail Halvorsen who had parachuted candy down to the children of Berlin, Ms. Raven was determined to learn more. She and her daughter flew to Utah to meet Col. Halvorsen and planned how best to bring his story to life.

Classical Kids Series is the creation of Sandra Nikolajevs, founder of Charleston Chamber Music. Sandra is a passionate musician and a wonderful teacher who is genuinely interested in promoting classical music education in the Charleston region.

Click the ticket below to learn more and purchase.

To learn more about the rest of this year’s events by the Classical Kids Series,
click the image below.

Micah has already been recognized in regional and international competitions. In 2008, he won second prize in the International Institute of Young Musicians Competition and first prize in the Hilton Head Symphony Orchestra Youth Concerto Competition. He also won fourth prize in the 2009 Blount-Slawson Young Artists Competition in Alabama. He has been an annual winner of the South Carolina Music Teachers Association Pre-College Auditions, and has performed twice on SCETV as a representative of the SC Piano Festival Association. Micah received the Critic’s Circle rating five times in the National Guild Auditions. He is on a Charleston Symphony Orchestra scholarship and is a student of Enrique Graf at the Charleston Academy of Music.

TUESDAY • FEBRUARY 9
Works by J.S. Bach, Chopin, Prokofiev, Haydn, and Rachmaninoff
8 PM • Sottile Theater • 44 George St

J.S. Bach: French Suites
J. S. Bach composed his six French Suites during his happy interlude at the royal court in Cöthen. They first appeared in his Little Notebook for Anna Magdalena Bach: an instructional collection for his wife. They were written for “Clavecin” (harpsichord), but—like so much of Bach’s keyboard material—they adapt nicely to the modern piano. The fifth suite, in G Major, is one of the more upbeat and laid-back of the series—but is still one of the more difficult of them. Like the rest, it contains four standard dance movements: Allemande, Courante, Sarabande, and Gigue—with three additional movements: Gavotte, Bourée, and Loure—inserted after the Sarabande. As usual, there’s plenty of variety in tempo, mood, and style—crowned by Bach’s inimitable, brain-teasing contrapuntal wizardry.

Chopin: Ballade No. 4
The Ballade No. 4, in F minor, is widely regarded as one of Frédéric Chopin’s most profound and technically demanding creations. Of the four Ballades, it’s the most subtle—yet the darkest and most emotionally intense. It also contains the fewest distinct thematic subjects (only two), relying instead on extended development of the material at hand. After a brief introductory passage, the airy and pensive opening theme undergoes a series of transformations before the appearance of the second motif. From there, the development of the two themes becomes intertwined, gradually building in tension and complexity. Finally, after a moment of relative calm, the bravura, counterpoint-laced coda brings the work to its feverish close.

Prokofiev: Piano Sonata No. 3
Sergei Prokofiev first sketched his single-movement Piano Sonata No. 3 in A minor, Op. 28, during his student years, and completed it ten years later, in 1917. Many regard it as one of his finest piano compositions. It can be described as a study in contrasts between his hallmark “motoric” style and his more lyrical side. The work begins in Prokofiev’s typically headlong, driven mode—but soon gives way to a tender, songful interlude. The sophisticated development section that follows is symphonic in scope, with pronounced dramatic-lyric shifts. The manic final coda drives the work to a powerful, crashing finish.

Haydn: Sonata No. 38
It’s not known how many piano sonatas Josef Haydn produced, as he often gave his only copies of them to the students he wrote them for. But more than fifty survive, covering a wide range of sophistication and difficulty. His Sonata No. 38, in F major (H. XVI/23) is a model of confident elegance. The opening movement quickly becomes virtuosic, notable for its trills against a choppy motif. The second movement—built upon scales—is subtly introspective. The assertive finale employs bright chordal textures, leading into a bravado finish.

Rachmaninoff: Piano Sonata No. 2
Sergei Rachmaninoff composed his lush, late-romantic Piano Sonata No. 2 in B-flat minor, Op. 36 in 1913, but revised it in 1931—and it is this condensed (120 bars shorter) version that is most often performed today. Rachmaninoff dives into the work with a slashing, arpeggiated downward plunge, before nearly drowning the listener in a rhapsodic torrent of tense and neurotic music. The slow movement follows without a pause, offering tender and exquisitely elegiac relief—before taking it to a level of feverish intensity. Another sudden downward slash announces the stormy and nervous finale, alternating between a frantic march-parody and moments of incredible lyric intensity. It ends in a blaze of virtuosic glory. •