Reflections on the Aspen Music Festival and School’s 2021 Season

Reflections on the Aspen Music Festival and School’s 2021 Season

As Joni Mitchell so aptly put it in her 1970 song “Big Yellow Taxi,” you don’t know what you’ve got ’til it’s gone. If the pandemic (and the year 2020 in general) taught us anything, it’s that very lesson. Though the year was abysmal for numerous reasons, for many people—myself included—the gradual cancelation and ultimate absence of live music was one of the more disappointing casualties of that raging dumpster fire. As the months dragged by, I couldn’t wait to sit in a darkened concert hall once again and even surmised what the experience might look like in a post-COVID world.

The cover of our 2021 program book The lovely artwork is by the Aspen-based artist Isa Catto.

Although we’re not in a post-COVID world quite yet, live music has once again become a reality. (At least, for now… PLEASE get vaccinated, people!!!) Because of this, I recently had the opportunity to spend a third summer working as the Assistant Program Book Editor at the Aspen Music Festival and School. While program book and various other work responsibilities took up a sizable portion of time—i.e., lots of proofreading—I was still able to attend several concerts during the Festival’s eight-week season. This was, in a word, wonderful. After spending well over a year getting my music fix from live streams and Spotify, it was so, so refreshing to hear in-person concerts again (and in the gorgeous mountaintop setting of Aspen at that). Though concert protocols looked a bit different than normal years—mask wearing, distanced seating, etc.—it was nonetheless a memorable summer filled with some incredible performances.

I’ve always wanted to do some sort of post-season wrap-up of my summers at the Festival, but the looming responsibilities of grad school always (rudely) got in the way. Well, since I’m now solely writing my dissertation—not that this isn’t a looming responsibility in itself!—and don’t have to worry about classes, I thought this would be the perfect year to compile some thoughts on Aspen’s 2021 season. That said, here are a few of my favorite concerts and performance highlights from the summer:

Favorite discovery: Fanny Mendelssohn Hensel’s String Quartet in E-flat major

While the music of Felix Mendelssohn is justly celebrated, it has too often eclipsed the output of his just-as-talented sister, Fanny Mendelssohn Hensel. This is slowly starting to change, though, as musicians begin to grant Hensel a rightful place in the spotlight. One such case occurred at a recital presented this summer by the Pacifica Quartet. Alongside quartets by Florence Price and Sergei Prokofiev (both marvelous works), the program featured Hensel’s sole String Quartet in E-flat. I only became aware of Hensel’s output several years ago, but this piece eluded my radar for some reason. Hearing it for the first time at this concert was a delicious surprise—it’s a brilliant work packed with craft, lush beauty, and charming wit. My favorite moment: in the second movement, Hensel throws in a short fugato as if to say to her nineteenth-century haters, “Oh, so you think women composers can’t write counterpoint? Well, how does it feel to be wrong?” (There’s also a fiendishly difficult cello part in this movement that actually made me chuckle out loud.) A truly wonderful discovery.

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A Playlist for Holy Week 2.0

A Playlist for Holy Week 2.0

What a difference a year makes! This time last spring, the existential dread was starting to sink in as we hunkered down for the initial surge of the COVID-19 pandemic. Now, several vaccines are being administered by the hundreds of thousands each day, businesses and schools are beginning to reopen, and there’s a general tone of optimism in the air. Of course, we still have a long way to go to reach normalcy (the multiple COVID variants are slightly worrisome…), but for the time being, hope is on the horizon.

Speaking of hope, another Holy Week is upon us. In April 2020, I created a Holy Week playlist on Spotify (which you can check out here) and enjoyed the process so much that I decided to make an entirely different one this year. This time, though, I had some input from my good friend Geoff Nelson, Director of Liturgy and Worship at New City Presbyterian Church. After some discussion, Geoff and I assembled a 3-hour playlist that brims with some amazing sacred music. Like last year’s version, this one presents an aural “journey” through the days of Holy Week and encompasses a spectrum of classical sounds along the way, from Renaissance polyphony to modern Passion settings. (You can view the lineup below; the Spotify playlist itself can be found at the bottom of this post.)

No matter your creed or belief system, we hope that this music will provide you with peace, hope, and encouragement for this time of year, as we look forward to brighter days in the future.

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A Twentieth Century Christmas (Part I)

There’s a ton of great classical Christmas music and carols out there but to be honest, there’s only so many times that I can hear “Dance of the Sugar Plum Fairy” or the “Hallelujah Chorus” before wanting to kick a Christmas tree over (OK, not really!) Feeling the same way? Well, as the angel Gabriel said, “Do not be afraid!” In this post (which will be split into two parts), I will bring to light eight lesser-known classical Christmas pieces from the twentieth century, which are sure to provide some variety to your Christmas playlist and help ignite the spirit of the season. Here are the first four:

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1. John Tavener: Today the Virgin (1989)

Not to be confused with the Renaissance composer John Taverner, the twentieth century English composer John Tavener is often labeled as a “holy minimalist” alongside his contemporaries Henryk Górecki and Arvo Pärt. While the accuracy of that label is debatable, Tavener’s music is, without a doubt, steeped in spirituality. Specifically, his deep love of the Russian Orthodox religion and subsequent conversion in 1977 informed much of his creative output; many of his pieces set texts from the Orthodox liturgy and evoke the sounds of the church’s rich choral tradition (such as his frequent use of static vocal drones). Tavener (who died in 2013) is probably best remembered for his choral piece Song for Athene, which was heard by over two billion people worldwide during the broadcast of Princess Diana’s funeral in 1997.

Eight years prior, in 1989, Tavener penned the short a cappella choral work Today the Virgin. The piece is a delightful setting of a text by Mother Thekla, which celebrates the wondrous mystery of Mary giving birth to Jesus Christ. Throughout the piece, a single-note vocal drone resonates underneath the words and the repeated refrain – “Rejoice, O World, with the Angels and the Shepherds, give glory to the Child!” – is punctuated by a melismatic “Alleluia,” which increases in length and joyfulness as the work progresses.

Continue reading “A Twentieth Century Christmas (Part I)”