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October 2011
Utah's Art Magazine: Published by Artists of Utah
Page 5    
Chamber Music of Salt Lake City board members, (left to right beginning with back row) Gale Dick, Founding Member, Paul Griffin, Treasurer and Historian, Carter Foss, Talent Coordinator
Naomi Feigel, Publicity, Melissa Mullins, Board President

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Culture Conversations: Music
Trios and Quartets and Quintets, Oh My!
Chamber Music Society of Salt Lake City brings world class chamber music to your backyard.


For me, talking about chamber music is almost as inspiring as listening to chamber music -- especially with those who are passionate about it. I had the opportunity to spend a delightful hour with a group of dedicated individuals who demonstrate not only their love of chamber music, but an earnest desire to share it with all who will come and listen. Our community is indebted to this band of Chamber Music lovers who have unselfishly devoted themselves to bringing the best in the world to our own “backyard”.

It was a dark and stormy night
The Chamber Music Society of Salt Lake City was born at a Halloween party in the fall of 1966. Some friends had gathered in the Avenues and founding member Gale Dick recalls discussing chamber music with another guest at the party. Dick had just arrived in Utah from the University of Illinois and Bernadette Velick had recently moved from St. Louis. Both missed the chamber music concerts they found to be prevalent elsewhere and began discussing the possibility of bringing professional chamber ensembles to Salt Lake. As they explored creating such a series they were a bit “timid” because it was a huge commitment. Fortunately Velick had started just such a series in St. Louis and knew of a foundation that offered funds to music series just starting out. The original board members generously contributed personal funds to grant money and were able to underwrite the first season. Now embarking on their 46th season, the Chamber Music Society of Salt Lake City continues to select the world’s premiere chamber music ensembles and make it possible for Utah audiences to drive just a few miles and spend about 1/3 of the ticket price charged in other cities to experience the intimacy of music in its smaller forms.

Dick says that “of the original group [the founders] there was a large proportion that were themselves amateur chamber music players and knew how much fun this could be and how much we wanted to hear chamber music.” Former Deseret News writer Harold Lundstrom wrote a column promoting the Society’s first concert with the headline “A Rare Occasion: Founders Concert.” He admonished readers to acquire “memberships” which were limited to the 300 seats available in the venue – the “old” Salt Lake City Library -- and suggested the membership would “not only be a high privilege but prestigious.” The concert took place on February 7, 1967 featuring the Juilliard String Quartet who played Schubert, Bartok, and Beethoven. Works by Haydn and Debussy were also performed in that first season, as were “newer” chamber music works by Charles Ives and Elliot Carter.

Why Chamber Music?

“Chamber music” is difficult to define, but not to describe. It became known as such because hundreds of years ago music lovers wanted to listen and play music that could be performed in a chamber or salon. Music composed for these smaller spaces resulted in trios, quartets, quintets, and occasional sextets, septets and octets. People often have different ideas as to what Chamber Music is, but the word “intimate” frequently arises. Chamber Music Society board member Carter Foss prizes the “variety” heard in Chamber Music and often finds it to be a more interesting form of music. Dick emphatically points out that composers “lavished their attention” on Chamber Music and that the “greats were attracted” to composing music for small ensembles. (Haydn composed approximately 78 string quartets, 80 string trios, and 32 piano trios, Mozart introduced the newly invented clarinet into chamber work repertoire, Beethoven’s late string quartets are considered to be among the greatest and most profound of his works.) The Society’s Treasurer and Historian Paul Griffin describes a string quartet as “pure” music. He loves to “follow each of the four voices” and experience the lines that intertwine. Goethe described the genre as being akin to “four rational voices conversing.”

Moving Chamber Music into the 21st Century
As I talked with these Chamber Music enthusiasts I was impressed with the vision that launched the series and the drive that has kept it alive for forty-five seasons. Griffin calculates that over the course of the series’ four decades 169 ensembles have participated and audiences have enjoyed over 500 compositions. Occasionally the organization faced some challenges, but overcame them all with perseverance. They have maintained a level of enthusiasm, sense of purpose, and camaraderie that is rare. What began as a three-concert season has expanded to seven. The concerts moved from the Library to the Art and Architecture building on the U of U campus, but they now call Libby Gardner Concert Hall “home.” Ensembles from all over the world know of the reputation of Salt Lake’s Chamber Music Society and readily accept the invitations proffered. Carter Foss, head of the “Talent Committee” is already busy booking groups into 2013. The eight-member committee works to select primarily quartets and trios that they believe Utah audiences will enjoy. Foss transports the guests to and from the airport and is witness to the enthusiasm of the artists who marvel at the acoustic and inviting space of Libby Gardner Concert Hall. In recent years the Society has branched out a bit by presenting new music ensembles such as “eighth blackbird” and The Brazilian Guitar Quartet that proved to be one of the most popular programs they have presented.

The Society’s series has a devoted core audience, but eagerly seeks new listeners. Current board president Melissa Mullins represents a new generation of Chamber Music fans. An art and math teacher at Evergreen Jr. High, she finds Chamber Music to be the “perfect combination of math and music.” She generously gives of her time to maintain the quality of the series as well as implementing new programs to encourage younger music enthusiasts to understand and enjoy Chamber Music. Youth performers are invited to perform in the lobby before the concerts and then, along with their parents, stay to enjoy the featured artists. In addition, the guest artists offer master-classes for students at the University of Utah as well as local high school students. Melissa points out that audience attendance has grown due to the pre-concert talks presented by Ardean Watts who “packs” the room. The audience’s experience is enriched even more in-depth by program notes found in the printed programs. Assisting Mullins in promoting the series is Naomi Feigel who currently serves as publicist. She is a former board president and ideal example of one who came to Chamber Music “late.” She “knew nothing about music” but was delighted to find that after repeated experiences with the genre she discovered that she “loved it.” Now she relishes the sounds. Feigel contributes countless hours and is a perfect advocate, demonstrating that Chamber Music is for everybody.

The Chamber Music Society of Salt Lake City was created by those who loved music, who volunteered their time, and who donated their money to create a world-class series. Still an all-volunteer organization, the series is nearing its 50 year mark and going strong. There will always be new interpretations of familiar works, new ensembles, and new compositions to discover. We are fortunate to have such a resource available to us. The price is right, the venue exquisite, the artists are the best of the best and it’s all in our own backyard.


Book Review
Death and Violins
A review of Gerald Elias' Danse Macabre


Some people object to mystery novels because they are formulaic. The plot follows a predictable pattern, and the characters, while changing from one author to the next, come from a common stock. Others like mysteries for some of the same reasons. They like the familiarity of the pattern, because, like with blues songs, it's what the artist does with the formula that excites them. They are interested in who the accidental sleuth will be, what setting will enliven the investigative trail and what types of twists and turns will get us, finally, back to the beginning, where the murderer was all along.

With the publication this year of Death and the Maiden, his third novel featuring amateur detective Daniel Jacobus, author Gerald Elias has created a bona fide mystery series, and he has begun to do for the classical music world what Iaian Pears (see our review) did for the art historical world. Elias, a violinist who has served as Associate Concertmaster at the Utah Symphony and a long-time professor of music at the University of Utah, turned to writing during a recent sabbatical, and in 2009 published his first book, Devil's Trill . The novel introduced the world to Daniel Jacobus, the blind and curmudgeonly violinist turned pedagogue whose desire to increasingly withdraw from the modern music world he disdains is thwarted when he is accused of stealing a famous violin and murdering a rival teacher. To clear himself he must find the real villains.

The second novel in the Daniel Jacobus series, Danse Macabre , is a finalist this year -- with Craig Lancaster's The Summer Son and Jacob Paul's Sarah/Sara -- for the Utah Book Award. It would be surprising if a work of genre fiction were to beat out the more contemplative, literary works, but in Danse Macabre Elias has created a solid mystery novel and brought his knowledge of the classical music world to liven up a known formula.

When famed violinist and beloved humanitarian René Allard is found murdered outside his apartment door on the night of his final concert, the case seems easily solved when an eyewitness reports that she saw BTower, the violinist's estranged protegé, stooping over his bloody body. Our protagonist Jacobus, a great admirer of Allard, is happy to testify against BTower, someone he likes neither as a person nor, because of his crossover antics on stage, as a musician.

The novel would have been very short if the story ended there. The week before BTower's execution, the condemned man's lawyer convinces Jacobus to help him look into the murder, convincing the unwilling detective by reminding him that he was also once wrongly accused. Bumping around creaky elevators, creeping through subway tunnels and surviving a poisoning attempt, the blind Jacobus uses his heightened four senses and keen analytical mind to unravel the mystery, confronting the murderer in a climactic scene that puts his own life in danger. Along the way he delves into some of the less seemly aspects of the cultured music world, and learns his dearly departed friend Allard was not as good a man as he was a musician.

Throughout Danse Macabre Elias weaves his knowledge of the classical music repertoire, shifts in modern performances and the nuances of musical technique. It is knowledge that is both culturally interesting and crucial to solving the mystery, so both mystery lovers and music lovers will appreciate the unique talents Elias brings to the novel.

Locals may also enjoy the novel's detour to Utah, an excursion that is unnecessary for the plot but which allows Elias to make comments on his adopted state. Following a lead, Jacobus comes to Utah very briefly, but long enough for the author to poke fun at Utah's liquor laws, point out the nuances of its local dialect, and place a couple of plugs for the local culture community - including the fictional but alluring idea of an Antelope Island Music Festival.

Danse Macabre will not make believers of the skeptics hoping to find literary greatness in genre fiction. Elias' pitch is not always perfect. He is not an excellent stylist, and at times his dialogue can seem off key, and his characters two-dimensional. Yet he makes up for his weaknesses with his musical strengths. You could even say he is like the crossover artists his Daniel Jacobus complains about. What he lacks in literary style, he makes up for with his flashes of detailed knowledge of the classical music world. So, Danse Macabre will delight mystery lovers with its knowledge of music subculture and may draw music lovers into a new literary genre.

Musician and author Gerald Elias in his Salt Lake City home

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Culture Conversation
Utah Book Festival

During the month of October the Utah Humanities Council presents the Utah Book Festival. The month-long celebration of the book will occur in venues across the state, with readings, seminars, films and other activities featuring local, regional and national authors.

The event hosts a number of nationally and internationally recognized authors, included Pulitzer Prize winning novelist Marilynne Robinson, who will discuss her book Gilead at the Orem Public Library (October 20); poet W.S. Merwin, who speaks tonight (October 5th) at the SLC Main Auditorium; and short fiction writer Anthony Doerr, who speaks at the same venue October 22nd.

These events are happening all over the state. On Sunday Robert Fulghum, author of All I Really Need to Know I Learned in Kindergarten, was in Moab to read stories about Grand County and the Moab area from his new collection What on Earth Have I Done. Local photographer Bruce Hucko joins collaborator David Lee, a poet, to discuss their new book, Entrada, on October 7 in Boulder.

Tomorrow night, October 6th, at Westminster College you can catch Jacob Paul, another finalist for this year's Utah Book Award (7:30). Keep an eye on our Daily Bytes blog (on the 15 Bytes homepage) for coverage of the festival throughout the month, including reviews of books up for this year's Utah Book Award. For a full list of events visit utahhumanities.org

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