Sculpt

Augusta Read Thomas (read about her here) came to UNM for the Robb Composer’s Symposium in late March. The women of my beloved Chamber Singers gave a “world premiere” of a version of her piece, “Plea for Peace,” which had its world premiere in its original version just in the fall of 2017. 

Our version (which I really adored, as did she) was for unison women and string quartet. There isn’t a text, which she explained when she met with us and discussed the history a bit. It was commissioned to commemorate the Chicago Pile-1, the first artificial nuclear reactor. 

In addition to her amazingly warm spirit and generosity in the rehearsal and working session, I also loved her use of the word “sculpt.” when she was advocating for a more slender opening, for example. She had the women come in one at a time, and one or two with a different vowel. Those were things that I wouldn’t have thought to do.

Photo: With Ms. Thomas, post-performance.

We are grateful for her collaboration and the chance to perform her music!  

Count-down

I forever love the quote from a book I read about the Guarneri String Quartet. They (jokingly) make light of the fact that there is rarely any money in chamber music, and when there is any money, it certainly isn’t much. I am determined to solve this problem. 

The arts don’t sustain themselves financially. In the days when Bach would have been alive, he was essentially writing “pop music,” much in the vein of how a praise band would write a chart for a contemporary worship service. Back in those days, we didn’t have “early musicians,” rock musicians,” “pop musicians,” or “classical musicians.” 

We had musicians.

And we need to go back to that. There is just as much to learn from Jimi Hendrix’s “Star Spangled Banner” improvisation and Billy Joel’s amazing piano lick in “Scenes from an Italian Restaurant” (the one in G Major, right before the “Oh-oh’s,” and before the great re-transition to F Major) as we can from studying the cadenza to … basically any instrumental concerto in the canon.

I have long worked on the precision and cleanliness in my playing, and it has come along way. Any musician who plays classical music needs to then swing the pendulum in the other direction, as to call upon the spirit and presence of the original. As if to say, “Bach is in the room. Let’s groove it.”  

 

 

PHOTO: Lukens Trio and Friends, from “Bach by Candlelight 2014"

Or another way to think of it is to “transcend” the instrument. Beethoven, in speaking to Schuppanzigh, said, 

“Do you think I worry about your lousy fiddle when the spirit speaks to me?” 

(this was after Schuppanzigh complained about the difficulties that he encountered when playing one of the quartets).

My goal in playing the d minor Bach concerto coming up will be to (of course) play accurately … 

but even much more than that ...

to make the listeners feel like we have taken a time machine back to Leipzig, and we are listening to some of the greatest music ever written and enjoying the thrill of the idea that it “could” have been created on the spot.

If you would like to attend our concert on 12/19/15, please consider reserving your space in advance. You might even consider a CD! You can click here (Lukens Trio Kickstarter) to learn more about that. Thank you! 

Portraits and Dedications

Coming to Europe has always felt like a homecoming. Many Americans certainly can lay claim to European heritage: my own ancestors came from Italy, Wales, Switzerland, and (former East) Germany. Moreover, much of the music and literature which classical music students in the USA study comes from continental Europe. Even the cuisine of Germany has permeated the area of the country where I was raised. 

Part of the "Albuquerque meets Darmstadt" project is to present composers who are currently living and working as composers in Germany (and that have a tie in some way to either city). I had the distinct pleasure of meeting with composer Cord Meijering, director of the Akademie für Tonkunst, DA. 

His pieces are called "Portraits and Dedications." I got to hear the full story about his time at the Macdowell artist colony (New Hampshire, USA) and the people he met. I loved the tales - artists creating things out of frozen spiders; a Pulitzer Prize elderly author going for walks in the rain and hiding in the mist (she also often repeated herself - her "piece" shows it); a literature professor from the Pacific Northwest who had a quirky, wonderful sense of humor. 

Composers need a "point of entry" and why not start with living, breathing, people? 

PHOTO: the Akademie für Tonkunst (musical arts) sign.