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WOW10th!

What can I say that hasn’t already been said about the fabulous Chanticleer.  It is simply hard to believe that 12 men can produce the music, sounds, sheer entertainment that this group so ably can.  I sincerely hope you were at the San Antonio Chamber Music Society’s January 21st presentation of Chanticleer.  Only 500+ music lovers filled Temple Beth-El for this alternately moving, sentimental, humorous concert – and everyone left humming the encore presentation, “Bei mir bist du Schön.”

The true art of Chanticleer is the production of a musical fabric, in this case “Heart of a Soldier.”  The first songs dated from the 14th Century to the 20th, and covered battle-connected poetry and songs created through all those ages.  Chanticleer wove these into a fabric with voices blending and moving through scales of harmonies.  As I listened, I realized that what Chanticleer was weaving was a tapestry:  each thread with a voice, each voice with a color.  The whole cloth told stories of praise, of fear, of reliance on a greater power and of comradery.

Chanticleer was weaving was a tapestry:  each thread with a voice, each voice with a color.

Still keeping with their theme of soldiers’ hearts, the second half of the program moved into the 20th century with wartime popular music that (for some of us elders in the audience) brought back visions of the Andrews Sisters as well as of Peter, Paul and Mary.  Their rendition of “My Buddy” tugged at my own memories of military funerals, red poppies in lapels and the solemn white markers at Arlington.  “Where Have All the Flowers Gone” was a Vietnam-era song, so poignant in its simplicity and so meaningful to all the young men and young women who faced tragedy in those years.  Chanticleer made a hymn to peace out of Pete Seeger’s pop song.

As we all knew, this was a concert that would be special – and indeed it was.  It elicited a range of emotions just as the voices of these remarkable musicians created a range of harmonies.  The fact that they were also performing in several languages simply attests to their skill.  I hope you were there to enjoy this most remarkable vocal concert.

And don’t forget another concert that promises a wonderful afternoon of musical bliss:  the American Brass Quintet performs for our 75th season March 4th at Temple Beth-El.  Having experienced the magic of 12 incredible voices, you won’t want to miss the magic of these wizards of brass!  Remember, you can use any ticket from this season’s concerts or bonus tickets for either the American Brass or Orion String Quartet on April 15th at Laurel Heights United Methodist Church.  Hope to see you there!

– E Doyle

The Kings and I

I was enjoying myself in France the other day and while in the Loire Valley happened on some of the most gorgeous chateaus in all the world.  They had been the property, in the XIV Century, of two remarkable regents, their queens, their favorite ladies and an assortment of friends, progeny and others to whom was owed vast sums of money. The chateaus are filled with crystal chandeliers, tapestries and precious furnishings – and cold.  Really, it’s no wonder that progeny were so numerous:  everyone was just trying to stay warm!

In France, you could start in the 13th Century with Louis IX and work your way slowly (and painfully) through all the Phillipes, the Charles, the Louises and the Henris, but it is très confusing!  So for clarity’s sake, let’s begin with François1ierAn imposing person, he stood a smidge over six feet tall – and remember, s’il vous plait, this was the Fifteenth Century, when you were considered “tall” if you measured about five feet six.  How do I know this?  Well, about the fourth time I banged my head on a castle lintel, I figured it out:  either people walked around all bent over or very bruised; in fact, one of the French kings smacked himself on a lintel and died of brain injury.

 

Anyway, back to Francis I.  He was born two years after Columbus touched the shores of what would become the New World.  He married Claude of Brittany, his cousin, when he was 20 and upon the death of his uncle,  Louis XII, her father, became King of France.  Now ponder this:  here’s a very young man with very limited knowledge of his world and his times, not even raised to be a ruler, and suddenly, he’s one of the most powerful people in Europe and, arguably, much of the rest of the known world.  Furthermore, he may have been one of the first true “Renaissance Men.”  As he matured – and fathered seven children – his interests ranged across a wide spectrum:  art, architecture, poetry, foreign relations, philosophy and letters.

His dearest friend was none other than Leonardo da Vinci who accepted Francis’ invitation to come to Amboise, bringing with him a few paintings he had dashed off:   the Mona Lisa, Saint John the Baptist and The Virgin and Child with Saint Anne.

His dearest friend was none other than Leonardo da Vinci who accepted Francis’ invitation to come to Amboise, bringing with him a few paintings he had dashed off:   the Mona Lisa, Saint John the Baptist and The Virgin and Child with Saint Anne.  Leonardo received 1,000 gold crowns each year, but his true worth during those years at Blois was the counsel and friendship he provided to Francis.  Leonardo may have been the mastermind behind one of Francis’ most extravagant projects, the magnificent Chateau de Chambord. He died at Amboise in 1519, leaving us to wonder what other marvels were percolating in his fruitful brain.

Francis died at the age of 52, and again one can only wonder what this most interesting man could have accomplished had he been given a few more years.

But on  (or, a continuer, as we say in France) with my new friends, the Kings of France.  Francis’ son, Henri II, succeeded Francis in 1547 – and here was another most interesting person.  As a child, Henri and his older brother were held hostage in Spain for four years in exchange for their father who had had the misfortune to lose a battle to Charles V.  His older brother, the Dauphin, purportedly died after a game of tennis (I’d love to know who he was playing, wouldn’t you?) and so Henri was crowned in 1547.  He was already married to Catherine of Medici – yes, one of those Medicis.  He spent a great deal of his reign in wars, intrigues and your basic 15th Century turmoil, but still found time to initiate a patent law to protect inventions, produce 10 children with Catherine plus three children with three mistresses.  But his long-time and most famous favorite was the beautiful (if a touch greedy) Diane de Poitiers, 15 years his senior, to whom he gave the Castle at Chenonceau, among other properties.  He also raised the future Mary Queen of Scots at his court:  at 15, she was married to Henri’s son, Francis Duke of Anjou.  So, you see how all of these fabulous people lived intertwined lives and politics and wars, marriages and liaisons make our own era seem a little anemic?

But I digress.  Excusez- moi.  Henri II also experienced an interesting leave-taking from this earth.  He was to joust with a Scottish knight and, in a show of disrespect for the Grim Reaper, he decided to do so without using the armor that covered his face.  Score one for the Reaper:  the knight’s lance went into his eye and a few days later, Henri II was no more.  And furthermore, Catherine de Medici extracted her revenge on Diane de Poitiers, turning her out of Chenonceau, but “awarding” her Chaumont, an estate heavily in debt.

Walking through these fairy-tale castles in the Loire Valley, I thought I caught a whiff of very old wood smoke every now and then.  It was probably my imagination, but there was also a very faint sound of viola de gamba and footsteps on the stairs.  As the chandeliers glistened and danced in an unfelt breeze, it occurred to me that these great homes are haunted – I certainly hope so!

On January 21st, as I enjoy the ethereal sound of Chanticleer, I am going to think of my kings and their lavish homes, their incredible lives that have resounded through the centuries and enriched imaginations for 500 years.  I think Chanticleer’s voices echoing through the Temple will fit right in, don’t you?

– E Doyle

The Mystery Program

I know you were shuffling through your program notes at Sunday’s concert.  I saw you.  You had no idea what Pacifica String Quartet – let alone Sharon Isbin – would be performing next, and, like me, you feel insecure when you don’t know who the composer is, how many movements there will be, when it will be time to applaud (or get caught out as the only person in the room who is doing so).  I know.  But I will let you in on a little behind-the-scenes wizardry/witchery that went on about an hour before the doors opened at 3:00.

You know that Pacifica and Sharon Isbin are incredibly talented musicians, right?  They don’t give those Grammys away like marshmallows at a camp out.  So about an hour before the concert began, first violin Simin Ganatra told a few of the board members that Pacifica and Ms. Isbin would like to make some changes in the program.  They would rearrange the sequences and could throw in a few surprises, if that would be ok.  And I’m standing there thinking, “Good grief!  What kind of versatility does it take to change a whole program only an hour before a  performance?!  How can they have practiced and prepared a whole basket of music that they can just draw out at will and perform?!”

... about an hour before the concert began, first violin Simin Ganatra told a few of the board members that Pacifica and Ms. Isbin would like to make some changes in the program. They would rearrange the sequences and could throw in a few surprises...

So that’s how the program got shuffled.  Now you know.  And I’ll bet you know something else, as well.  Pacifica has earned its stellar reputation for precision, lyricism and, yes, pure enjoyment.  Theirs is an almost ethereal  joy in performance, and tell me you didn’t really feel the pathos of the third movement of the Haydn.  The composer himself would have cried.

And then there’s Sharon Isbin.  It’s difficult for me not to repeat what’s been written time and time again about her uncanny ability to elicit thoughts of a Spain that we all imagined:  white marble, the scent of oranges, the swirly of color in dancers’ skirts and the haunting loneliness of a midnight street in Barcelona.  All of these and more ran through my mind as I listened to the brilliant tones and the smoky echoes of her truly magical guitar.  Centuries of exquisite sounds and rhythms tumbled out.  It was pure magic, don’t you agree?

I’m so glad you were there to enjoy this extraordinary concert with me, and I hope you’ll come back for more.   The New York based ensemble, Rebel Baroque, will weave more magic with the help of flutist Matthias Maute November 12.  I promise enchantment.

– E Doyle

Female Guitarists

Try Googling “female classical guitarists.” You will find a few dozen citations of people you’ve probably never heard of. I wondered why. There are female pianists and violinists by the score, but classical guitarists? The citations sooner or later descend to pop icons. It’s not that Janice Joplin wasn’t capable of playing, say, an andante, but the washboard style of playing is not really conducive to cantatas. I looked through the names and photos and found that many of the women were also composers, lauded for their talents during their eras, but not particularly well known now. For example: Have you ever heard of Ida Presti? Neither had I, I am ashamed to admit. She was that vanishingly rare person, a female classical guitarist. She was 10 in 1935 when she played her first professional concert at the Salle Pleyel in Paris; she continued to perform and compose music for the acoustic guitar until her death in 1967. When she was 16 years old, she had the singular honor of playing Paganini’s guitar in a commemoration of his death in 1940. She appeared in films and was widely known for her prodigious talent. Do you recognize the name yet? No?

When you check out lists of classical guitarists, you will find not one woman’s name until you come to Catherina Josepha Pratten, identified only as a German guitar virtuoso, born in Mulheim in 1821 and laying her guitar to rest in 1895. Certainly you’ve heard of Mme. Pratten?

In the early 20th Century, we come to Maria Luisa Anido, better known for her compositions than for her performances. She was born in Morón, Argentina in 1907, and died in the “mid 80’s” in Tarragona, Spain. The only concert mentioned was her debut in Wigmore Hall in 1952.

At last, in this century, we begin to see a few female names among the listings of classical guitarists, but the vast majority of names are male.

The guitar is the quintessential musical instrument for a woman to play. It can shade emotion, it can soothe or scream. It can express a range of feelings that go far beyond six strings.

Makes you wonder. Are women not able to play an acoustic guitar? Perhaps their fingers are not strong enough – but have you ever watched a female harpist at work? Perhaps they constitutionally have trouble focusing on two hands doing different things at the same time. Ever seen a female pianist – or, for that matter, a mother with two-year-old twins? Perhaps the violin is more suited to female musicians. After all, the movements are graceful, the music is sweet. But the guitar is an instrument of passion, an accompanier of flamenco and wild Gypsy dances. The guitar is the quintessential musical instrument for a woman to play. It can shade emotion, it can soothe or scream. It can express a range of feelings that go far beyond six strings.

So I hope you remember, as you listen to Sharon Isbin, a modern guitar virtuoso, that this particular woman understands the guitar. You will hear an instrument singing unlike any you have heard before, an instrument capable of expressing connections between the artist and the audience. And that’s the whole point, don’t you agree?

Don’t miss Sharon Isbin, multiple GRAMMY Award winning guitarist, in concert with the Pacifica String Quartet on Sunday, October 15th, 2017, 3:15 p.m. at Temple Beth-El. You will wish the concert never ends.

– E Doyle

Opening The Curtain

Ta-dah!  No, not big enough.  Ta-DAH!!  Better, but not there yet.
TA-DAH!!!

That’s more like it. Ladies and gentlemen and all the ships from Canyon to Woodlawn Lake, the San Antonio Chamber Music Society of San Antonio, Texas will soon open the curtain on a season unlike any in our 75 (yes, 75) years! You have enjoyed the music we have presented for many, many seasons, I hope, but this season’s programme (yes, it deserves the double-m and the e) is the best yet. Hang onto your hats, get out your credit cards and calendars and order your tickets for this diamond jubilee season.

October 15, 2017

Pacifica String Quartet with Sharon Isbin, guitarist

During their two decades of stellar performances, the Pacifica has earned its international stature with its virtuosity and style.  We have had the pleasure of their company in past seasons and are delighted to welcome them back.   Performing with them is the incomparable Sharon Isbin,  often called “the Monet of classical guitar”,  multiple Grammy Award winner and founding director of the Classical Guitar Department at Juilliard.  This will be an opening concert to remember!

November 12, 2017

Rebel Baroque with Matthias Maute, flute

Bearing the name of French Baroque composer, Jean-Féry Rebel, this quartet began in the Netherlands and has performed in every corner of the world since then.  They are known and admired for their interpretations of 17th and 18th Century music performed on period instruments.  Matthias Maute is a virtuoso performer, conductor and composer who won a JUNO Award in the category of year’s best classical music. This concert promises Baroque music at its finest.

January 21, 2018

Chanticleer

Twelve incredible male voices comprise the “world’s reigning men’s chorus” (according to The New Yorker).  They’ve won Grammys, they’ve traveled the world and they consistently delight audiences with their seamless blends and original interpretations of the classical genre.  We thoroughly enjoyed their dazzling performance a few years ago, as they quite literally filled the house with song.  Chanticleer founder Louis A. Botto was born in Texas and was a graduate of Incarnate Word College here in San Antonio. In the early 1970’s he was the director of the First Repertory Company of San Antonio. We look forward to having  Chanticleer in our midst to celebrate San Antonio’s Tricentennial.

March 4, 2018

American Brass Quintet

Five remarkable musicians, two trumpets, a horn, a trombone and a bass trombone combine to form a glorious sound.  They have premiered – premiered – more than 150 contemporary brass works and won Chamber Music America’s highest award in the process.  They have been in residence at the Juilliard since 1987, and at Aspen Music Festival since 1970.  They definitely know how to polish brass to a gleaming, lustrous brilliance. To make this concert extra special – San Antonio Chamber Music Society, as a partner in SA300, the Tricentennial celebration of our city, have commissioned beloved San Antonio composer James Balentine to write a special work for this auspicious occasion. Be there to hear this gift from SACMS to you,  San Antonio!

April 15, 2018

Orion String Quartet

Closing out a season you’ll wish could last forever, our dear friends, the Orion.  The Quartet in Residence at Lincoln Center, the Orion is known for standing ovation evoking performances.  They are famous  for the diversity of their programs, their blending of classical and contemporary – and the devotion of their fans (count us in!).  You can plan on an afternoon of textures, surprises and just beautiful sounds.  (Note:  this concert will be at Laurel Heights United Methodist Church, 227 W. Woodlawn at Belknap Place.)

Are you ready to celebrate with us our Diamond Jubilee?  This San Antonio Chamber Music Society season will be extraordinary, over the top, fabulous, gorgeous – where’s my Roget’s when I need it?  But you get the picture, so get your tickets, better yet, get a season subscription because you won’t want to miss even one of these concerts.  Tickets are always available here at sacms.org,  or drop us a check at San Antonio Chamber Music Society, PO Box 12702, San Antonio, TX 78212.  And don’t forget – students and active duty military are admitted free to all concerts.

– E Doyle

Blanca Stella

How do you feel about summer?  Not the sweltering, where’s-the-next-air-conditioned-space summer, but perhaps the summers you remember from your past .  What about the summers that the song, “Summertime” bring to mind?  You know:  “Summertime,  and the living is easy…”  That kind of summer.  Think, for a minute, about the summers that included, perhaps, a beach, lazy surf, sandy towels, sand castles that were presented to the tide and, of course, seashells.  Is there a better occupation than strolling along an early morning beach, eyes downward, checking out the treasures the night tides have brought ashore?

You might have surmised by now that I am deep in beach reveries – and why not?  It’s summer, after all!  With Debussy’s beautiful melody in the recesses of my mind, I would like to share with you my very favorite beach reminiscence.

I was living in Brazil, a country whose coast is decorated with some of the world’s most beautiful beaches.  Specifically, I’m remembering the beaches closer to Sao Paulo than Rio, not the giddy revelry of Copacabana nor the bikini exhibitionists of Ipanema.  No, the beaches I’m thinking about have wonderful, silly names like Ubatuba.  There are no – or few – tourists and sometimes, no one at all.  The water is an unbelievable aquamarine (hence, the name of that gorgeous stone from Brazil) and it is just the right temperature for an utterly lazy summer float.  The sand is golden and, if you’re lucky, studded with sand dollars and little bright pink slipper shells.

So the stage is now set for the arrival of Blanca Stella.  Her family set up shop near my personal stretch of beach and soon, I heard Spanish being spoken – specifically Spanish with a distinctive Chilean accent.  As you know, Portuguese is the language of Brazil, so to hear Spanish on this rather remote Brazilian beach caught my notice.  Among the family members was a little girl, maybe four or five years old, who was called (often and sharply) Blanca Stella.  Now this is one of my very favorite names:  it means “white star” and the few people I’ve known who have carried it have been unfailingly interesting.  This little Blanca Stella was clearly a miscreant:   she didn’t want suntan lotion, she didn’t want a hat, she wanted only to get into that aquamarine water.  She flipped her long, black hair in an emphatic “NO!” when her mother suggested waiting a bit, and she was off like a shot, her father trudging through the sand in her wake.
Among the family members was a little girl, maybe four or five years old, who was called (often and sharply) Blanca Stella. Now this is one of my very favorite names: it means “white star” and the few people I’ve known who have carried it have been unfailingly interesting.

I went over to say hello to her mother.  I asked where they were from and, indeed, the answer was, “Chile.”  But she added that they were living in Brazil, owing to her husband’s military assignment.  Friends had told them about this wonderful beach on the kind edge of the Atlantic, and they decided to come see it.  Of course, Blanca Stella was very excited about a day at the beach.   It had been a long time since they’d been to a beach, and in Chile, the beaches tend to be very rocky and the water very cold.  So here they were – at “my” beach, but I was glad to share it with the family of beautiful, ecstatic Blanca Stella.

As the day settled into one of those bright, golden days that only happen on a Brazilian beach, picnics were eaten and everyone settles into a post-prandial languor of listening to the tide and watching the sea birds stitch the water.  Everyone, of course, except for Blanca Stella – and she wanted to run back to the water.  By now, her black hair was spangled with sand but she still resisted any attempt at a hat.  I offered to walk along the beach with her.  I was hoping we would see a little rivulet down the beach a way where I knew there was a colony of sand crabs.  I was thinking everyone likes to watch sand crabs as they scurry into their holes, then cautiously peek out, then ever so carefully emerge to grab a pebble or a bit of sand.  I think sand crabs are wonderful, but Blanca Stella lost interest at crab three or four.  So we headed back towards her family, but were stopped in our tracks by a conch shell that the tide had just brought in.  Still shining from the water, it was a rare jewel to find on this beach.

Blanca Stella lost interest at crab three or four.  So we headed back towards her family, but were stopped in our tracks by a conch shell that the tide had just brought in.

Of course, Blanca Stella ran over to it, picked it up fearlessly and asked, “Que es esto?” (What’s this?) I took it from her, checked it carefully for occupants, then held it to my ear. I said to Blanca Stella, “This is how you hear the sea.” Her dark eyes widened, partially in disbelief and partially in wonder, and she held out her hands to hold the treasure. She put it to her ear, and I asked her, “What do you hear?” After a moment of intense concentration, she sang to me what she heard.

“La cucaracha, la cucaracha, ya no puede caminar…” and then she danced to her own music, the shell still clasped to her ear.

So here is a beach treasure for you. I hope you enjoyed Blanca Stella and her personal shell music as much as I did. And while on the subject of treasures, of course: have you sent in your subscription for the treasure of a stellar music season that’s on the horizon from the San Antonio Chamber Music Society? This is our 75th Anniversary season, you know, and it will sparkle like the shells and the beautiful water of Ubatuba.

– E Doyle

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