Program Notes Mountain Laurel

THAT’S ALL FOLK


Before Stravinsky, before Wagner, before Bach, Beethoven, and Brahms, even before Pope Gregory had his holy boys sing his Greg-orian chants, there was music. And it was made by the people, the common people, the folk. Thus, folk music.

While prehistoric cavemen were carving out their bison on the walls, they were also discovering they all got rhythm; although none of their music survives today, it is safe to assume they were sitting around the campfire singing of the day’s conquests or chanting fervently for good weather tomorrow.

Throughout history, people would make up little tunes and pass them down to their children or teach them to neighbors. And the tunes spread and spread even without MTV. In fact, during the middle ages, when there were no newspapers, people would get the 411 from strolling singing minstrels who offered the headlines sung to popular tunes. One of the chief differences between folk music and classical music is that classical music is written down, while folk music remains in the collective memory of the people.

As musical performances became more formalized, the so-called serious composers discovered they had a wealth of material at their fingertips, if they incorporated these folk tunes into their compositions. This had nothing to do with being lazy (Mozart could clearly compose an original melody); rather by using a tradition tune, the composer could imbibe his compositions with a national fervor. Imagine a 120 piece orchestra playing a huge symphony by Mahler and suddenly a traditional German folk tune makes an appearance. It practically whipped the audience into a nationalistic frenzy.

Composers loved doing it. Even Stravinsky’s quintessential 20th Century composition, The Rite of Spring, is filled with Russian folk music.

In today’s program, Ittai Shapira and I will explore music inspired by folk music. The Dvorka Sonatina is a piece he wrote for his children, aged 10 and 12 at the time. It is full of Czech and Native American melodies. David Heath’s, Lochaish, is named after a train station in Scotland. This piece is heavily influenced by Celtic elements.

The American Rag, a traditional folk style, is explored in a classical style with the composer, John Novacek playing his Ragtimes with Ittai.

And, as always, we bring you a world premier. Ittai has composed the Virtuoso Variations based on a children song that he grew up with.

Once again, we wish to thank our loyal and dedicated Mountain Laurel Audience for their support. The last concert with the Berlin Philharmonic was a triumph. The players were ecstatic about their reception and look forward to returning many times. They said you were their best audience ever. Quite a compliment, indeed.

Glen Roven