It has been almost ten years since I first experienced Lara Downes’ capacity to combine her piano skills with those of a well-informed interviewer and conversationalist. At that time she was exercising those multiple skills through a series of events called The Artist Sessions. The “subject” for the event I attended was pianist Anthony de Mare, who was discussing his project entitled Liaisons: Re-Imagining Sondheim from the Piano. For that project he recruited 36 composers from the domains of classical, jazz, film, theater, and indie pop to reconceive their favorite songs from the musicals of Stephen Sondheim as piano solos. The event was so compelling that, a year later, I wanted to be “the first kid on the block” to acquire the three-CD album of those 36 compositions.
Downes’ conversation with de Mare took place in the Recital Hall of the San Francisco Conservatory of Music (SFCM). Last night provided me with my latest opportunity to enjoy this aspect of her talents. This time the venue was the Barbro Osher Recital Hall in the Bowes Center SFCM building, where she was joined by John McWhorter to discuss American music during the last two decades of the nineteenth century and the first two of the twentieth. The core of their conversation was devoted to Scott Joplin, and Downes played three selections of his music.
What particularly struck me were the smooth transitions between discussion and music. It seemed as if, whenever Downes wanted to make a point, she could go to the keyboard and illustrate it with a brief composition. Joplin may have been the center of attention; but she also played two pieces by Harry Burleigh, two by Irving Berlin, and one by James Reese Europe. The entire event lasted about an hour, and I was particularly struck by how much content was presented without my ever feeling overcome by “information fatigue.”
The other composer to be discussed during the conversation was Antonín Dvořák. However, rather than review any of compositions that were inspired by his time in the United States, the primary topic was his role in encouraging his American pupils to find their own voice, rather than turning to European sources. This reminded me of my favorite story about Aaron Copland (who did not quite fit into yesterdays time frame).
During his first meeting with Agnes de Mille to discuss her plans for the ballet “Rodeo,” de Mille told him that she wanted him to compose music for “the real America.” Copland replied that, if she wanted to make a ballet about “the real America,” she should set it on Ellis Island (hyperlink added for those that do not know the reference), rather than in the American West. The response from de Mille was immediate: she told him to go to Hell!
I suspect that the success of last night’s overall experience had much to do with establishing just the right amount of content and the balance between that content and the musical examples. The fact is that there were any number of names and musical examples that were overlooked. However, had they not been overlooked, the event could have gone on for (at least) another hour; and “information fatigue” would have been inevitable. More important is that further opportunities to experience that blend of conversation and music should be forthcoming.
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