Salt Lake Symphony Season Release

Here’s the 44th Season for the Salt Lake Symphony, year 15 for me as Music Director. Time flies when you’re having fun.

 

Salt Lake Symphony, 2019-2020 ~ The 44th Season. Robert Baldwin, Music Director

September 28, 2019. Fantastique! 44th Season Opener

  • César Franck: Le Chausseur maudit
  • Hector Berlioz: Symphonie Fantastique

November 9, 2019. New Horizons. Julie Wright-Costa, soprano. World Premiere piece by John Costa, plus HS Side-by-Side performance.

  • Alberto Ginastera: Estancia Suite, op. 8a (with side-by-side High School musicians)
  • John Costa: World Premiere Piece for Soprano and Orchestra
  • Aaron Copland: Symphony No. 3

December 5, 6 and 7, 2019: Amahl and Christmas Carol at the Grand Theatre.

Collaboration with the Grand Theater and University of Utah Lyric Opera Ensemble

(Robert Breault, Director of U Opera; Nick Harker and Michael Leavitt, conductors)

  • Giancarlo Menotti: Amahl and the Night Visitors
  • Michael Leavitt: A Christmas Carol

December 14, 2019: Let There Be Peace: Holiday Concert with Utah Voices

Robert Baldwin and Kelly DeHaan, conductors

  • Dan Forrest: “Arise, Shine!”
  • Other Holiday Favorites TBA

January 11, 2020 Family Concert: The Thrill of Music!

Robert Baldwin and Nick Harker, conductors. Justine Sheedy, choreographer. Dancers from the UofU School of Dance

  • Richard Wagner: Ride of the Valkyries
  • James Newton-Howard: Selections from “King Kong”
  • Russell Peck: The Thrill of the Orchestra
  • Hector Berlioz: March to the Scaffold and Dies Irae from Symphonie Fantastique
  • Johann Strauss, Sr.: Radetzky March
  • John Williams: Music from “Star Wars, Episode VII: The Force Awakens”

January 25, 2020 Summer Arts Piano Competition Winners Concert

Jinhyoun Baek, Guest Conductor

  • Program TBD from competition winners

February 8, 2020: Annual Vienna Ball

March 14, 2020. Jie Yuan, piano; Robert Baldwin and Nick Harker, conductors

  • Sergei Prokofiev: Symphony No. 1 “Classical Symphony”
  • Paul Hindemith: Symphonic Metamorphosis on Themes by Weber
  • Ludwig van Beethoven: Piano Concerto No. 5 “Emperor”

April 25, 2020. Romantic Favorites. Bo Wu, Guest Conductor

  • Franz Schubert: Overture to “Die Zauberharfe“ (Rosamunde)
  • Bedrich Smetana: The Moldau from “Ma Vlast”
  • Peter Tchaikovsky: Symphony No. 4 in F Minor, op. 36\

May 16. 2020 Nights in Jazz: with Kris Johnson, trumpet, and his combo

  • George Gershwin: An American in Paris
  • Orchestral selections with Kris Johnson and his jazz quartet
  • Duke Ellington: Black, Brown, and Beige Suite

June 25, 2020. Spotlight Performance for the Utah Arts Festival.

  • Program: All-American Spotlight

 

For ticket and other information, please visit http://www.saltlakesymphony.org/

 

 

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A Conductor’s Adventures in China

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The following is a guest blog post recently published by the University of Utah College of Fine Arts, documenting my recent trip to China to conduct and teach.  Clicking the “Read more” link will redirect to the full article.

I was fortunate to make my second trip to China recently. For this trip, I had been invited to conduct a New Year’s Concert at Wuhan University where recent University of Utah School of Music DMA graduate, Bo Wu has just started a new position as Director of Orchestras. Wuhan University is a major University in China, academically quite similar to the University of Utah. It’s a beautiful campus and a top ten university in China, set on a mountainside between the East Lake and the Yangtze River. It is also in the middle of a bustling metropolis of 10.6 million people.

Read more

The Spice and a Slice of Utah Life

Utah Life cover

I am happy to report that my poem, Spice of Life was featured in the July-August – Issue 3 of Utah Life magazine. This is a fantastic new publication that is worthy of a subscription if you like reading about Utah out-of-doors activities, and history in good essays, articles and poetry. Issue 3 is on newsstands now. Here’s the link to the magazine.

https://utahlifemag.com/

Spice of Life-Utah Life

 

Copyright, 2018. Robert Baldwin, Before the Downbeat

Images used with permission from the editors at Utah Life magazine.

Musical Gratitude: Annual Thanksgiving Post

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A slightly edited version of a post I’ve been sharing on this day since 2012.

It’s Thanksgiving weekend in the U.S., a tradition where Americans express gratitude for what we have in our lives. For musicians, our “musical thanks” often leads to a specific instrument, talent or to the music of certain composers. Some of us even express thanks for Music itself, as something that has shaped our lives, personalities and world-view.

I’d like to add one more that is often left off musician’s lists: Gratitude for our fellow musicians. Music is a community activity. No one learns, creates, or performs music in a vacuum. We have all relied on teachers, peers, mentors and colleagues. We interact and learn from each other. It’s a great time to remember how closely we are all connected.

Think for a moment about a symphony orchestra. I certainly do. As a conductor, I am the only person on the stage not making a sound, yet I rely on each and every musician in the orchestra to play the notes, execute the phrasing and find the passion within themselves to express the music. I must trust their musicianship and willingness to share with the ensemble. Everyone has a job to do, and they are remarkably adept at it. It seemingly defies logic that this collection of diverse instruments and personalities could ever make a unified whole, yet it works. All are partners in a sonic adventure; one we ultimately undertake for the audience. And of course, thanks to our audiences, as well. We literally would not do this without you.

Within each of our musical offerings, we have many connections. It is truly mind-boggling. The viola player may not think of the oboe player much after the tuning note, but her well-played oboe solo may set the mood for a memorable performance. Similarly, the control and artistry of a timpani player can help the pulse and excitement of an entire ensemble. And let’s not forget the string section, where our stand partner just turned the page so the music could continue uninterrupted. Even the mundane matters!

When thinking deeper into the past, our gratitude can extend far beyond a particular composer who wrote a great piece. The copyist who labored over the manuscript, the publisher who provided your copy, the musicologist who discovered new insights, the critic who keep the piece alive in the repertoire by extolling it’s virtues to the masses…And that’s just the beginning!

So this Thanksgiving weekend, I am feeling tremendous gratitude for my many musical partners, known and unknown, who help me on a daily basis. My own musical journey would not be possible without you.

Thank you!

Photo credit: Pieter Claesz’s Still Life with Musical Instruments (1623). Wikimedia Commons

Copyright, 2012 Robert Baldwin/Before the Downbeat (edited, 2016)

 

The Rite Connections

Monteaux and Stravinsky

Recently, I discovered there was only one-degree separating me from an event that changed music history forever.
The most amazing coincidences happen in life. Last Sunday I was at a dinner reception for a concert I conducted in Lexington, Kentucky. I was seated next to an older woman who grew up in Maine. As we got to talking, she asked if I knew who Pierre Monteaux was. Well, indeed I did! Monteaux was the conductor who premiered Stravinsky’s “Rite of Spring” in Paris, 103 years ago. The fuse was lit–her eyes twinkled as she mentioned that as a girl growing up in Maine, her next-door neighbor was, believe it or not, Pierre Monteaux. (I’m sure a memorable sound from that reception was the sound of my jaw hitting the table). She mentioned how he was like a grandfather to her and her siblings, bouncing them on his knee and playing with them in the yard.
This weekend, I find myself conducting my second “Rite” in performance (I’ve also played it twice). But now there is a living connection to the watershed event in the history of music. Layers of meaning added with a chance encounter.
Mind. Blown. Apart.

If you are in the Salt Lake region, come check out the performance with the Salt Lake Symphony.  Here are the details:

______________________________________________________

Salt Lake Symphony: Primal Energy!
Saturday March 19, 2016 7:30 pm

Libby Gardner Concert Hall
Hasse Borup, violin
Robert Baldwin, conductor

Dvořák Slavonic Dances #2 and 7
Jett Hitt Yellowstone for Violin and Orchestra (Utah Premiere)
Stravinsky The Rite of Spring

Few pieces have the primal energy as Stravinsky’s The Rite of Spring. This year marks a first for the Salt Lake Symphony, our initial performance of this monumental work. Originally intended for ballet when composed in 1913, the piece has become a staple in the concert hall as the quintessential work of the early 20th century. With its driving rhythms and eerie sounds, it’s a piece that creates a lasting memory for performers and audiences alike. It’s not the only legacy we will celebrate at this concert, though. We will open the concert with our annual side-by-side performance, featuring talented young musicians sitting alongside our musicians. After their rousing opening of Dvořák’s Slavonic Dances, we will perform the Utah premiere of Jett Hitt’s Yellowstone Concerto, with Dr. Hasse Borup playing the solo violin part. Join us for and evening of music and musicians filled with energy and excitement. This is an event not to be missed!


Tickets $10 adults, $5 students and seniors.
Available by calling 801-531-7501 or at the door with cash, check or credit card.

Be sure to attend the free pre-concert lecture by Dr. Baldwin, discussing the culture behind the music, at 6:15 p.m. in Room 270, right behind the concert hall.

 

Shining Star for Us to See, What Our Muse Can Truly Be

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Like for so many, 2016 has resulted in trips down my own personal memory lane; several event-inspired retrospectives of music. Truly, there is a lot of popular music (of any generation) that is not worth remembering, but the recent losses of iconic pop musicians reminds us that there is also a lot worth taking the effort to know. Most recently I’ve been revisiting music by Earth, Wind and Fire, after trips through the tracks of Bowie, Jefferson Starship, Tower of Power, and The Eagles. Losing great musicians has a way of causing reflection on their work, though some of it may be covered by the dust of time.

Of course, it is no more tragic to lose important musicians than any other human being. After all, save David Bowie, most we’ve lost in 2016 were already semi or completely retired. They, like all people, leave behind family members, friends and neighbors who defined their personal and private lives.  But it is somewhat tragic to realize that we’ve also risked forgetting a generation of imaginative and hopeful MUSIC, from which their creators hoped to make a difference in the world.

Dust off the years and the slightly dated groove, and a whole generation emerges–humans inspired by recent moon landings, technological advances, and ends of (certain) wars. The music promised an upward trajectory for the human species, reaching past the lingering problems of racism, sexism and nuclear proliferation that haunted the times. The spirit of hope opened by two Kennedys and a King took root in the people and truly bloomed in the 70s and early 80s, most notably through the music of the time. The best popular music helped define a bright future unlike anything else could. It helped us see our brighter future, beyond a world still mired in the Watergates, Iran hostage situations, and oil embargo crises.

The music didn’t change the world, of course, but it hinted that we, the people, had the power to do so. That we again fell into the trap of greed and self-indulgence only reinforces it is indeed only us, and none other, who must make the changes to insure a better future. It also illustrates how difficult that is to actually achieve.

The music of Bowie, EWF, et al, is thankfully still there for any and all generations to explore. It also serves as a beacon and challenge to the musicians of today. And if we don’t express hope through the arts, there is a danger that the message may be forgotten. Then it will truly be too late to make a difference.

So at the risk of sounding too hippy-dippy, and to humbly add to the the great songwriter, Burt Bacharach,

What the world needs now is:

 Love, Sweet Love…

But also music with: soaring string backgrounds, electrifying brass licks, more funk, and less junk.

And lyrics that: uplift without tearing down, invoke imagination, promote possibility, encourage equality.

And ideas that challenge us to hope, dream, create, and grow.

Especially, grow.

 

Copyright 2016. Robert Baldwin. Before the Downbeat.

Photo credit: https://en.wikipedia.org/wiki/Egyptian_pyramids#/media/File:All_Gizah_Pyramids.jpg

 

Tchaiku-Haiku

Concert work for musicians often comes in clumps. Such was the case with my last few weeks. So after wrapping up 6 concerts within 16 days, I finally felt the exhaustion settling into my brain and body. But instead of merely expressing it in a blunt, factual way, I decided to have some fun with it. Creativity’s seeds are always present, and sometimes sprout when you least expect it–like at midnight on a Tuesday.

Post Rehearsal Late Night Double Haiku:

No energy left;
Perhaps I’ll lie in the snow,
For a little rest.
…..

But there was no snow;
So I just walked to the car,
And drove myself home.

 

Copyright, 2015 Robert Baldwin, Before the Downbeat