Category Archives: Arts and Music

Jazz Rules the World

Contributed by John Menier

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F. Scott Fitzgerald famously called the 1920s the “Jazz Age,” and recent inventions such as radio and phonograph records helped to spread the popularity of two quintessentially American musical genres, jazz and blues, across the country and beyond our borders. In 1926 a Paris-based music magazine began its review of recorded jazz with the observation that “Jazz truly rules the world,” and a growing number of influential European composers were jazz fans, including Hindemith, Milhaud, Weill, Honegger, and Poulenc. Maurice Ravel spent several happy nights with George Gershwin at Harlem’s Savoy Ballroom listening to jazz, a testament to the music’s appeal.

For a time these foreign composers included jazz elements in some of their works, with varying degrees of success, but by the mid-1930s their ardor had cooled as new forms of modernism took hold on the Continent. It was left then to American musicians to continue nurturing the confluence of their native jazz and “serious” music that began in the early 1920s, and they did so brilliantly.

Three of the foremost practitioners of this hybrid form were George Gershwin, Duke Ellington, and Aaron Copland. Though they came from different backgrounds and training, and each developed a singular musical personality, they shared an interest in elevating the jazz/classical fusion from a novel experiment to a vibrant art form. They shared another quality, harder to quantify but nevertheless distinctive: their music was unmistakably American, with all that implies.

This characteristic is perhaps most evident in the Gershwin masterpieces on this program, “An American in Paris” and “Rhapsody in Blue.” In both pieces, the jazz/blues influences are on prominent display, as the music alternates in mood from contemplative to nostalgic to swaggering, and from Paris to Harlem. Gershwin insisted that both pieces are examples of sonata form, but whether sonata or tone poem or concerto or potpourri, it’s not important how it’s categorized. What matters is that this is fun music, as full of personality as anything you’re likely to hear.

It’s been said that Duke Ellington embodied the very soul of jazz. Ellington wrote some of the first extended jazz compositions to appear in the concert repertoire, and the two pieces on this program, “Mood Indigo” and “Solitude,” amply demonstrate his versatility and sophistication as a composer. Ellington was also an innovative, idiosyncratic orchestrator, and what became known as the “Ellington Sound” is a constant feature of his music – elusive, hard to define, harder still to imitate, but once heard, unmistakable.

Aaron Copland was a city boy who brought a certain polished urbanity to his work. After extensive studies in Paris Copland initially worked with then-voguish European styles, but gradually his native “Americanism” emerged and he established himself as the premiere American composer of his generation. “Quiet City” is a mood piece, a tone poem in miniature, originally written for a friend’s play. The play failed but the music lives on as a popular concert selection. The influence of jazz and/or blues is perhaps less overt in this haunting work than in the Gershwin and Ellington pieces, but it’s there in the tones and phrasings of the featured trumpet and oboe combined with the dotted rhythms of the string orchestra.

The program is rounded out with an exhilarating premiere work by Asher Tobin Chodos, “Concertino for Two Pianos and Orchestra.” Joining the composer on piano is Cecil Lytle, who also performs on “Mood Indigo,” “Solitude,” and “Rhapsody in Blue.”

Watch: Crossing the rue St. Paul – La Jolla Symphony & Chorus

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Nosferatu with Werner Herzog

Contributed by John Menier

32822“For such an advanced civilization as ours to be without images that are adequate to it is as serious a defect as being without memory.”
― Werner Herzog

The Carsey-Wolf Center at UC Santa Barbara has created a series entitled “Hollywood Berlin,” featuring screenings and discussions of films by five prominent German directors: Werner Herzog, Fritz Lang, Ernst Lubitsch, F.W. Murnau, and Billy Wilder. With the exception of Herzog these artists are representative of the wave of German exiles and immigrants who left Europe in the 1920s and 1930s to work in Hollywood, and counted among their number producers, directors, actors, writers, technicians, and cinematographers. In addition to their professional expertise that generation of émigrés brought European influences to American cinema, as reflected by film noir, increasing sophistication in comedies, and a willingness to address serious social issues.

In the inaugural program of “Hollywood Berlin” celebrated filmmaker Werner Herzog joins Carsey-Wolf Center Director Patrice Petro for a discussion of his film, “Nosferatu the Vampyre,” based on F.W. Murnau’s “Nosferatu, eine Symphonie des Grauens” (“Noserferatu, a Symphony of Horrors”). Upon the release of Herzog’s film in 1979 many critics expressed surprise at his choice of subject matter. Herzog was already well-known as the auteur of idiosyncratic art-house works based on his original screenplays. Pundits assumed that Herzog’s film was simply a remake of Murnau’s 1922 masterpiece, and they were puzzled. As Herzog explains in this program, that assumption was mistaken; his version of “Nosferatu” was intended not as a slavish imitation but as an homage both to Murnau’s film and to a seminal era of German filmmaking. In terms of plot and characters it falls midway between Bram Stoker’s novel “Dracula” and Murnau’s “Nosferatu” (which was an unauthorized version of Stoker’s novel), incorporating elements of both while adding the director’s well-known pictorial sense. Herzog sees his film as providing an explicit link between his generation, the “New German Cinema,” and what he calls “our grandfathers,” those movie-makers whose mass exodus left behind a German film industry that was moribund until the advent of Herzog, Fassbinder, Schlöndorff, Wenders, von Trotta, et al in the late 1960s and 1970s.

Using “Nosferatu” as a jumping-off point for conversation, Herzog elaborates on a variety of topics including his writing process, his relationships with collaborators, the importance of music, and his philosophy concerning the primacy of the image. He also addresses some of the myths and misconceptions (mythconceptions?) that have arisen from his storied career, most of which cast Herzog as an uncompromising artist who undertakes his projects with a humorless, single-minded zeal bordering on madness. While it’s true that the prolific Herzog is passionate about cinema – he once said that “we are starved for images, and it’s my duty to provide them” – he displays a healthy sardonic humor regarding himself and his public image. (“I am not Teutonic. I am Bavarian.”)

Witty, articulate, intellectually rigorous, and disarmingly honest, Werner Herzog is the perfect introduction to a series celebrating the work of German filmmakers past and present.

Watch Nosferatu with Werner Herzog

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Simply Fun

Contributed by John Menier

32822In his remarks from the podium, La Jolla Symphony & Chorus Conductor Steven Schick notes that the 2017 edition of the “Young People’s Concert” features music by two composers with differing influences, temperaments, and styles: George Gershwin and Aaron Copland. While acknowledging the contrasts Schick also points out some surprising similarities shared by the two men: both were born to Russian-Jewish parents in Brooklyn, both studied in Paris, both had an interest in jazz and popular music, both experimented with different genres, and both came to prominence in the Jazz Age. First and foremost, Gershwin and Copland were American, with all that implies; as Gershwin put it, “True music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today.”

Perhaps the best expression of what’s been called “the American touch” may be found in two of Gershwin’s most popular scores, “Rhapsody in Blue” and “An American in Paris.” Both pieces reflect Gershwin’s abiding interest in jazz and blues, two indisputably American art forms, and both touch glancingly upon some of the conflicts and contradictions of American life (then and now). Ultimately, though, the most profound and appealing quality shared by the compositions is that, in the words of the Conductor, “they are simply fun.”

By comparison to the high-stepping confidence of the Gershwin tunes, Copland’s “Quiet City,” originally written for a failed play, reflects another, more contemplative aspect of the American character. One reading holds that the longing and unfulfilled aspirations evoked by this piece warn of the consequences of not being true to one’s self, an ever-present danger in a fast-moving, ambitious society. Perhaps. However one interprets “Quiet City” (if it needs any interpretation at all) there’s no denying the work’s beauty, the result of a perfect balance between string orchestra and two soloists on trumpet and oboe.

Throughout his remarks, Steven Schick notes the empathy and intricate interplay between the various sections of the orchestra, by turns tempestuous and serene as required by the score, and the absolute need to serve the music and the composers.

Watch Young People’s Concert 2017 – La Jolla Symphony & Chorus

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UC San Diego Jazz Camp

8232Since its inception 15 years ago, UC San Diego Jazz Camp has stayed focused on a single goal: ensuring the continued vitality of jazz music by identifying, instructing, and nurturing new talent. The camp accepts students ranging in age from 14 to adult, and from a variety of educational or vocational backgrounds. Prior to attending the camp, students attend placement auditions based upon which they are assigned to one of two proficiency levels, intermediate and advanced. Most of the camp’s instruction is designed for one of these levels.

The camp’s faculty is made up of internationally renowned musicians who are experts in a variety of jazz stylings, from be-bop to contemporary open-form. The rigorous and immersive curriculum covers a broad range of topics and techniques, including Jazz Improvisation, Listening to Jazz, Master Classes, and individual lessons. There is a particular emphasis on jazz as a performance-oriented art form through participation in small ensembles and informal jam sessions, and attendance at faculty concerts.

The week’s activities culminate in a finale concert in which all students perform as a member of an ensemble under the supervision of a faculty member. Concert sets feature an assortment of instrumental combinations and an eclectic repertoire that includes standards as well as new compositions by faculty and students. Each student gains valuable performance experience and an opportunity to shine in front of a supportive and appreciative audience. In turn, audience members have the opportunity to witness some fine young musicians at the start of their career and older musicians embarking on a new chapter.

Watch UC San Diego Jazz Camp 2017 and explore the archive.

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Trans Media Makers

8232Transgender issues have been represented on film for some time and have an enormous impact on society because it is through media that most Americans learn about transgender people. This series from the Carsey-Wolf Center at UCSB looks at contemporary media work in television, feature documentaries, and fiction films that explore the dreams, challenges, successes and everyday lives of trans people. These unapologetic films challenge the often rigid binary view of the world.

Take a look at these fascinating discussions:

Raising Zoey
The film follows 13-year-old Zoey and her family as they navigate Zoey’s transition from boy to girl, highlighting the legal battles they wage against discrimination in Zoey’s public school. This Q&A session with the film’s director Dante Alencastre is moderated by Abigail Salazar of UCSB’s Resource Center for Sexual & Gender Diversity.

Transparent
The critically-acclaimed comedy-drama series debuted in 2014. It strives to demystify the trans experience and make it visible. Amy Villarejo, professor of performing and media arts at Cornell University, joins Patrice Petro, professor of film and media studies at UCSB, for a discussion of transgender emergence, Jewish identity and queerness within this TV series.

Free CeCe
The documentary confronts the culture of violence surrounding transwomen of color. CeCe McDonald survived a brutal attack, only to be incarcerated for defending her life. A Q&A session featuring director Jacqueline (Jac) Gares and CeCe McDonald is moderated by Lal Zimmerman, assistant professor of linguistics at UCSB.

Still Black: A Portrait of Black Transmen
Director Kortney Ryan Ziegler’s documentary centers on the stories of six diverse transmen. This Q&A session with Ziegler is moderated by Jennifer Tyburczy, a professor of feminist studies at UCSB.

Tangerine
The critically acclaimed indie film offers a compelling and unique look trans street culture rarely seen on film. The Los Angeles sex trade story was entirely shot using modified iPhone 5S cameras. This Q&A session with actress and transgender woman Mya Taylor is moderated by professor of film and media studies Patrice Petro.

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