Had a great reunion dinner with Greg Jbara last night. He told me that his webmaster called him and said she knew he was having dinner with me. He said my Blog goes to google and it came up as google news on his google alert. Wow! Better be careful what I say.
We met on the train and went downtown but couldn't get into the place he wanted to try. So we continued walking through little Italy but nothing struck our fancy. But we kept chatting the whole time. He told me all about Billy Eliiott which sounds exciting for him! Clearly an amazing part and I'm thrilled he's in it! And of course, Stephen Daldry is amazing! Machinal! Wow. We ended up eating at the Chelsea Cookbook. So good.
He was incredibly supportive about DR. T. Feels it's on the right track artistically, which of course, I know it is. Always loved the piece. Not surprised it finally may get on. I told him all about Brian's death. Which is a whole separate article unto itself. But again, he was so supportive.
Today I sent off the libretto to London. And started on the Milton song. I get the first bit which will represent God's expulsion. I couldn't quite figure out the time signatures. Even with finale playing it back to me. But i'm close enough for now. (There's a missing 16 note somewhere!)
Then I had a very nice meeting with the animation company that Peter Schneider set me up with for the Bunny. They were very positive about the piece and seems like they want to move forward. So off to the rights issue. We decided that they'll send me a package describing who they are and I'll forward it all to Harper's. Let's hope.
Tonight is Hamlet which I'm excited about.
Ray Colcord called and told me Alex is coming to NYC to look for a job and work and live. I'll try and help. He said he would help with some Grammy voters. So everyone wins. I plan to be VERY aggressive with my campaign.
A little ps to the convention: no one mentioned the Clinton/Biden face work. I guess I've spent too much time in Bev Hills cause I'll could see were their face lift scars. Good work, but work nonetheless. I wonder who did it? Harry Glassman?
Showing posts with label Runaway Bunny. Show all posts
Showing posts with label Runaway Bunny. Show all posts
Friday, August 29, 2008
Thursday, August 21, 2008
The BUNNY Meets Me in Saint Louis (or GOING OUT OF MY HEAD)
KFUO-FM, Classic 99 and Jim Althoff will be playing (or “spinning” in DJ parlance) my new Violin Concerto this Saturday at 10:00 AM and I couldn’t be happier. These days, with all the trials and tribulations facing classical music, --dwindling and aging audiences, the record companies’ uncertain future,--many composers (meaning me) have learned to accept the sad reality that actual live performances of their compositions will be rarer than a C chord in a Schoenberg symphony. A major label release will be even more atypical. These days composers (meaning me, again) have come to expect most performances will take place in the concert all of their (my) mind.
Luckily, my new piece, THE RUNAWAY BUNNY, a Violin Concerto for Reader, Violin and Orchestra, has been an exception. It was recorded by SONY/BMG (a big deal), performed by the Royal Philharmonic Orchestra, (a bigger deal) and narrated by the divine Brooke Shields, (a mega-watt deal.) I even conducted it at Carnegie Hall in April, with Glenn Close as the narrator and the American Symphony Orchestra. Plus, it’s been played by over thirty classical stations all over the country, KFUO being the latest.
Why is this piece different than all the rest? I’m very proud of my score but I’m also very sober about what has opened the doors: three words, The Runaway Bunny.
As every four year old in American knows, Margaret Wise Brown’s book is one of the most popular children’s books of all time. It annually sells almost a million copies and has been known to bring grown men to tears. In fact, when Brooke recorded the piece, she said to me she couldn’t get through it without crying. DJ’s and the usually heartless, stone-cold concert promoters turn to mush when they remember the book and their curiosity is peaked. Open-sesame, I get a consideration.
Plus, it doesn’t hurt to have Brooke’s name attached. (And Glenn certainly helped the sales at Carnegie Hall.)
This is not to say that getting from my mind to KFUO was an easy road. It took me two years of negotiations with HarperCollins, the publisher of the book, to secure the rights. Not to mention the legal fees. Then, it took SONY/UK two years to actually record it and SONY/US another two years to release it. Contracts, funding, schedules, record executives coming and going, all contributed to this time delay, which actually in music-industry time, is light-speed. I wrote the piece when my nephew, Myles, was born. He’s almost five. Composing is the easiest part of the process. Certainly, the most fun. The rest is where it gets dicey!
Chris Craker, an English record producer and friend of mine didn’t know the book, but he responded to the music and, as a businessman, was attracted to the book sales. He owned a small record company, which was bought by a bigger company, which was bought by a bigger company, which was subsequently bought by an even bigger one. Finally, after all those big fish/little fish mergers and acquisitions, Chris ended up head of SONY/BMG Classical for the UK. And that’s when he was able to give the go ahead for the Royal Philharmonic. (A little side bar: When my composer friends heard that SONY was involved, the first thing they asked was, “How much are you paying them?” When I answered, “nothing,” they were as incredulous as I. Ah, the fiduciary fate of composers.)
Despite Chris’s exalted position, there was still no budget for an orchestra rehearsal. I had to hear the entire concerto in my head in NYC, e-mail the music to the Royal Phil in London, and then have the producer push the red button to record the piece for posterity. Even the greatest composers like/need to change certain things after hearing a piece played for the first time, but budgetary constraints denied me that luxury. I was, however, able to hear the score spit out by my computer program, so I had had a high-tech preview of the piece. Not perfect, but beggars and composers can’t be chooser and I was, at least, able to correct some wrong notes.
However, nothing really prepared me for the glorious sound of an orchestra, especially the Royal Phil playing my music. Live! Not in my head. In between takes, I frantically make some slight alterations, even though clock was ticking. And I did make further revisions for the Carnegie performance. By that time, I had heard the piece performed, counting the Royal Phil performance, once!
(A second side bar: Chris resigned one week after the CD was released in America. I dread to think what would have happened to the poor Bunny if he had resigned two weeks earlier.)
When the album came out, I did a phone interview with Canadian talk show host, Peter Anthony Holder. He talked about what the piece would be compared to (Peter and the Wolf, of course), the inspiration, (the book, of course), and how SONY came to record it, (see above.) Then, he played the main theme of the Concerto on the air. After that, he came back and asked me another question. I didn’t respond. Wondering if perhaps there were technical difficulties, he asked if I was there? I was unequivocally there, but as that was the first time I had heard the Concerto played on the radio, I was shell-shocked and honestly, tearing up. I couldn’t respond. It was a dream come true. Having the Bunny hop out of my head and reach all those people was more than I could bear.
So, people of St. Louis (and environs) enjoy the play on KFUO and Mr. Althoff’s interview. And if you want to buy a copy, I wouldn’t be upset!
Luckily, my new piece, THE RUNAWAY BUNNY, a Violin Concerto for Reader, Violin and Orchestra, has been an exception. It was recorded by SONY/BMG (a big deal), performed by the Royal Philharmonic Orchestra, (a bigger deal) and narrated by the divine Brooke Shields, (a mega-watt deal.) I even conducted it at Carnegie Hall in April, with Glenn Close as the narrator and the American Symphony Orchestra. Plus, it’s been played by over thirty classical stations all over the country, KFUO being the latest.
Why is this piece different than all the rest? I’m very proud of my score but I’m also very sober about what has opened the doors: three words, The Runaway Bunny.
As every four year old in American knows, Margaret Wise Brown’s book is one of the most popular children’s books of all time. It annually sells almost a million copies and has been known to bring grown men to tears. In fact, when Brooke recorded the piece, she said to me she couldn’t get through it without crying. DJ’s and the usually heartless, stone-cold concert promoters turn to mush when they remember the book and their curiosity is peaked. Open-sesame, I get a consideration.
Plus, it doesn’t hurt to have Brooke’s name attached. (And Glenn certainly helped the sales at Carnegie Hall.)
This is not to say that getting from my mind to KFUO was an easy road. It took me two years of negotiations with HarperCollins, the publisher of the book, to secure the rights. Not to mention the legal fees. Then, it took SONY/UK two years to actually record it and SONY/US another two years to release it. Contracts, funding, schedules, record executives coming and going, all contributed to this time delay, which actually in music-industry time, is light-speed. I wrote the piece when my nephew, Myles, was born. He’s almost five. Composing is the easiest part of the process. Certainly, the most fun. The rest is where it gets dicey!
Chris Craker, an English record producer and friend of mine didn’t know the book, but he responded to the music and, as a businessman, was attracted to the book sales. He owned a small record company, which was bought by a bigger company, which was bought by a bigger company, which was subsequently bought by an even bigger one. Finally, after all those big fish/little fish mergers and acquisitions, Chris ended up head of SONY/BMG Classical for the UK. And that’s when he was able to give the go ahead for the Royal Philharmonic. (A little side bar: When my composer friends heard that SONY was involved, the first thing they asked was, “How much are you paying them?” When I answered, “nothing,” they were as incredulous as I. Ah, the fiduciary fate of composers.)
Despite Chris’s exalted position, there was still no budget for an orchestra rehearsal. I had to hear the entire concerto in my head in NYC, e-mail the music to the Royal Phil in London, and then have the producer push the red button to record the piece for posterity. Even the greatest composers like/need to change certain things after hearing a piece played for the first time, but budgetary constraints denied me that luxury. I was, however, able to hear the score spit out by my computer program, so I had had a high-tech preview of the piece. Not perfect, but beggars and composers can’t be chooser and I was, at least, able to correct some wrong notes.
However, nothing really prepared me for the glorious sound of an orchestra, especially the Royal Phil playing my music. Live! Not in my head. In between takes, I frantically make some slight alterations, even though clock was ticking. And I did make further revisions for the Carnegie performance. By that time, I had heard the piece performed, counting the Royal Phil performance, once!
(A second side bar: Chris resigned one week after the CD was released in America. I dread to think what would have happened to the poor Bunny if he had resigned two weeks earlier.)
When the album came out, I did a phone interview with Canadian talk show host, Peter Anthony Holder. He talked about what the piece would be compared to (Peter and the Wolf, of course), the inspiration, (the book, of course), and how SONY came to record it, (see above.) Then, he played the main theme of the Concerto on the air. After that, he came back and asked me another question. I didn’t respond. Wondering if perhaps there were technical difficulties, he asked if I was there? I was unequivocally there, but as that was the first time I had heard the Concerto played on the radio, I was shell-shocked and honestly, tearing up. I couldn’t respond. It was a dream come true. Having the Bunny hop out of my head and reach all those people was more than I could bear.
So, people of St. Louis (and environs) enjoy the play on KFUO and Mr. Althoff’s interview. And if you want to buy a copy, I wouldn’t be upset!
Thursday, June 12, 2008
FANFARE REVIEW for RUNAWAY BUNNY
Barry Wordsworth: ROVEN, CHAPPELL, KLEINSINGER on SONY
Classical Reviews - Composers & Works
Written by William Zagorski
Saturday, 24 May 2008
ROVEN The Runaway Bunny. 1,3 CHAPPELL Paddington Bear's First Concert. 2 KLEINSINGER Tubby the Tuba 2 •Barry Wordsworth, cond; Brooke Shields (nar); 1 Stephen Fry (nar); 2 Ittai Shapira (vn); 3 Royal PO • SONY 22855 (66:42)
The Runaway Bunny/Paddington Bear's First Concert/Tubby the Tuba
Audio CD
Sony Classics
Buy now from Amazon
What follows may disqualify me as a reviewer of the above. First, I never grew up, and at age 62, I have no intention of doing so. Second, I still occasionally watch an episodeMr. Roger's Neighborhood solely on the grounds that he likes me just the way I am—one of the most empowering benedictions ever bestowed upon a child of any age. As the father of two grown and quite accomplished daughters who were daily regaled during their formative years by the choicest examples of children's lit that my late wife, a children's librarian, could obtain, I am well acquainted with the texts that so eloquently inform this release. The Runaway Bunny is from Margaret Brown's classic 1942 children's book of the same title; Paddington Bear's First Concert is based on Michael Bond's series of children's books about a marmalade eating bear "from Darkest Peru"; and Tubby the Tuba is the word-half of the 1941–1945 collaboration between author/actor Michael Tripp and composer George Kleinsinger, which over the years has been successfully disseminated via multiple recordings and film animations, and which has been cited by the Library of Congress in 2006 as a landmark in audio history.
The Runaway Bunny was originally conceived by composer Glen Roven as a piece for solo violin, singer, and orchestra—designed as a vehicle for Israeli violinist Ittai Shapira. In the course of the project's development, Shapira suggested substituting a narrator for the singer. Given the results, it was an excellent choice that spotlights the powerful eloquence of the seemingly modestly unpoetic words. I found the music coupled with Brooke Shields's narration deeply moving.
Most of the "audio product" aimed at children which has come across my desk over the years has been plagued by mawkishness, condescension, terminal cuteness—afflictions that most children I know find inherently repulsive. On that topic I recently had a conversation with my eldest daughter, who is currently continuing her anthropological studies of Central Asia on a Fulbright grant in Helsinki. I asked her if she, like me, ever felt embarrassed when adults spoke to us, when we were children, in baby talk. Her answer, "I felt more sorry and embarrassed for the adults than for myself."
The texts on this release are self-recommending and are delivered by Brooke Shields and Stephen Fry as one ageless human being speaking to another, and in ways that uncannily convey the metaphorically richness of the words. The music is witty, urbane, often ironic, and as sophisticated as all children inherently are until our adult-controlled world succeeds in dumbing them down. The music to The Runaway Bunny proves to be a fine ad hoc violin concerto that highlights Ittai Shapira's estimable skills.
One of this offering's agendas is to introduce children to the joys and richness of the symphony orchestra. To put this into a larger perspective, this offering is, in its own way, on the exalted level of Prokofiev's Peter and the Wolf , or Britten's The Young Person's Guide to the Orchestra.
The sound is up to the highest of current standards, and the performances by the Royal Philharmonic conducted by Barry Wordsworth show them in fine fettle, as have so many others by him that currently grace my library.
In searching for a way to close this piece, I was tempted to say something to the effect of "recommended to the child in all of us." Instead I will take my leave by saying that it helps us to respect the child in all of us, especially that which resides in our children.William Zagorski
Classical Reviews - Composers & Works
Written by William Zagorski
Saturday, 24 May 2008
ROVEN The Runaway Bunny. 1,3 CHAPPELL Paddington Bear's First Concert. 2 KLEINSINGER Tubby the Tuba 2 •Barry Wordsworth, cond; Brooke Shields (nar); 1 Stephen Fry (nar); 2 Ittai Shapira (vn); 3 Royal PO • SONY 22855 (66:42)
The Runaway Bunny/Paddington Bear's First Concert/Tubby the Tuba
Audio CD
Sony Classics
Buy now from Amazon
What follows may disqualify me as a reviewer of the above. First, I never grew up, and at age 62, I have no intention of doing so. Second, I still occasionally watch an episodeMr. Roger's Neighborhood solely on the grounds that he likes me just the way I am—one of the most empowering benedictions ever bestowed upon a child of any age. As the father of two grown and quite accomplished daughters who were daily regaled during their formative years by the choicest examples of children's lit that my late wife, a children's librarian, could obtain, I am well acquainted with the texts that so eloquently inform this release. The Runaway Bunny is from Margaret Brown's classic 1942 children's book of the same title; Paddington Bear's First Concert is based on Michael Bond's series of children's books about a marmalade eating bear "from Darkest Peru"; and Tubby the Tuba is the word-half of the 1941–1945 collaboration between author/actor Michael Tripp and composer George Kleinsinger, which over the years has been successfully disseminated via multiple recordings and film animations, and which has been cited by the Library of Congress in 2006 as a landmark in audio history.
The Runaway Bunny was originally conceived by composer Glen Roven as a piece for solo violin, singer, and orchestra—designed as a vehicle for Israeli violinist Ittai Shapira. In the course of the project's development, Shapira suggested substituting a narrator for the singer. Given the results, it was an excellent choice that spotlights the powerful eloquence of the seemingly modestly unpoetic words. I found the music coupled with Brooke Shields's narration deeply moving.
Most of the "audio product" aimed at children which has come across my desk over the years has been plagued by mawkishness, condescension, terminal cuteness—afflictions that most children I know find inherently repulsive. On that topic I recently had a conversation with my eldest daughter, who is currently continuing her anthropological studies of Central Asia on a Fulbright grant in Helsinki. I asked her if she, like me, ever felt embarrassed when adults spoke to us, when we were children, in baby talk. Her answer, "I felt more sorry and embarrassed for the adults than for myself."
The texts on this release are self-recommending and are delivered by Brooke Shields and Stephen Fry as one ageless human being speaking to another, and in ways that uncannily convey the metaphorically richness of the words. The music is witty, urbane, often ironic, and as sophisticated as all children inherently are until our adult-controlled world succeeds in dumbing them down. The music to The Runaway Bunny proves to be a fine ad hoc violin concerto that highlights Ittai Shapira's estimable skills.
One of this offering's agendas is to introduce children to the joys and richness of the symphony orchestra. To put this into a larger perspective, this offering is, in its own way, on the exalted level of Prokofiev's Peter and the Wolf , or Britten's The Young Person's Guide to the Orchestra.
The sound is up to the highest of current standards, and the performances by the Royal Philharmonic conducted by Barry Wordsworth show them in fine fettle, as have so many others by him that currently grace my library.
In searching for a way to close this piece, I was tempted to say something to the effect of "recommended to the child in all of us." Instead I will take my leave by saying that it helps us to respect the child in all of us, especially that which resides in our children.William Zagorski
Wednesday, March 5, 2008
Creating The Bunny
Brooke Shields will star in the New York premiere concert of The Runaway Bunny, a concerto by Glen Roven, for reader, violin and orchestra at Carnegie Hall on Tuesday, April 29 at 7:30PM in the Stern Auditorium/Perelman Stage; conducted by Glen Roven. Tickets are on sale now at www.carnegiehall.org
Presented by Medical Development for Israel with the Ilona Feher Foundation, The Runaway Bunny will be featured as part of the Schneider Children's Medical Center of Israel Benefit Concert.
Taking the audience through the journeys of the wayward bunny, this special one-night only, star-studded concert introduces both children and adults alike to the beauty and power of classical music. Filling a much-needed gap in the symphonic repertoire for family audiences, The Runaway Bunny touches the hearts of anyone who has had a mother or is a mother. As an organization dedicated to improving the well-being of children, SCMCI is thrilled to be joining hands with fellow child advocates Brooke Shields and the ASO.
In 2006, Emmy award-winning composer Glen Roven collaborated with violin supernova Ittai Shapira to produce The Runaway Bunny recording with Brooke Shields and the Royal Philharmonic Orchestra in London. Since its UK release on the SONY/BMG label, millions of listeners have embraced it. Following its recent success across the pond, SONY/BMG is slated to release The Runaway Bunny/Paddington Bear's First Concert/Tubby The Tuba children's classics album in the United States April 8.
The program will include American Symphony Orchestra with conductor Glen Roven and Brooke Shields. Plus violinists Ittai Shapira, Shmuel Ashkenasi, Netanel Draiblate, Arnold Steinhardt, Hagai Shaham and Itamar Zorman.
As this is the World premiere of The Runaway Bunny, as it's Roven's Carnegie Hall conducting debut and as Brooke Shields is graciously appearing as the soloist, Roven discussed how he and Shields got to Carnegie Hall...
How did you get to Brooke Shields?
Actually, that was just about the easiest piece of the "collaborative" puzzle. We had the SONY/BMG deal in place, I had already recorded the orchestra with the Royal Philharmonic and we were looking to add the narrator. We had a list and Brooke's name was at the top. The whole thing with Tom Cruise had broken and Brooke seemed like the perfect mother figure. I had a friend who knew her and one Friday night he went to her dressing room; she was performing in Chicago. She was a huge fan of the book (as is almost everyone!) and twenty minutes later, he called and said she would love to do it. I was thrilled, of course. And just to make me even happier, her agent called that very night to make the deal. I've been in the business long enough to know no Hollywood agent EVER calls at 10PM on a Friday night to say his client was NOT going to do a project.
You mentioned 'almost' everyone loves the book. Who couldn't possibly love this book? Barbarians?
Shrinks! They think it's about a predatory Mother. Ridiculous!
A total pleasure, beginning to end. When she came to the studio she brought her beautiful daughter Ronan, and Ronan's grandmother. I actually didn't put two and two together until after the session when I realized that was Brooke's infamous mother, Terry! That was exciting in retrospect. It was a wonderful performance because Brooke knew the book so well. And obviously loved it. As did her daughter. When she started to record, her daughter screamed out to her mom, "That's my Bunny book!"
So her second baby wasn't born yet?
No. But she was pregnant. And on the EPK (Electronic Press Kit which I believe is on YouTube) you can see her holding the headphones to her belly and letting her unborn daughter hear the music. We were all in tears.
How did you come to write the piece? Did you grow-up with the book?
No. I actually was probably one of the only people in America who didn't know the book. Which explains a lot about me, unfortunately. I was watching the movie Wit one night in bed. When Emma Thompson is about to die, her first grade teacher comes to visit her and she reads her "The Runaway Bunny." I was immediately touched by the few verses read and ordered the book on Amazon. It came a few days later and I simply loved it.
How did the book become a violin concerto?
I was looking for a piece to write for a very well-known Violinist friend of mine, Ittai Shapira. We had recently started doing things together and I figured if I wrote him a piece, he might play it. I'm just another composer trying to get his music played. I figured I had an in.
What about the story suggested a concerto?
The book is extremely episodic. The Bunny wants to run away and become a trout, or a bird, or join a circus. I knew instantly that it could be musicalized. I would "make" the bunny swim, fly, walk the tightrope. And I knew the sound of a Violin would be the perfect soloist in a concerto. The perfect Bunny.
Did Ittai respond to the idea right away?
Oh, yes. But originally I thought about writing it for Violin, Orchestra and Singer. But Ittai suggested I do it for Narrator as it would be easier to find and rehearse a narrator as opposed to a singer. Our talent pool for the narrator would be larger.
What's your favorite part of the piece?
Hard question. I'll tell you the part I'm most proud of. It's the very opening motif. What we call the Hopping Motif. Ba dum, de dum. Ba dum, de dum. After Brooke says, "Once there was a little bunny," the violin plays those eight notes and everyone gets it immediately: that's the bunny. I think that's an amazing thing. That lateral connection. A little piece of wood with strings on it makes a sound of eight notes and it's immediately recognized as the bunny. I love that little kids as well as adults get that.
Is the piece for children?
Well certainly children will enjoy it, I hope. But I know the adults will find it enjoyable. Or at least I hope they will.
How did you get Sony to record the piece?
Actually that's the question all my composer friends ask. Happily, I didn't pay a thing! They wanted to do it. A friend of mine, who started out as a clarinet player in the London pit of Chess, Chris Craker, had his own small label at one time, and that label was bought out by a bigger label, and that label by a bigger one, and after a few years he ended up head of SONY Classical UK. So I went to him and he made it happen. Now he's head of SONY worldwide, so maybe I can get some other stuff recorded.
What was it like hearing it played for the first time?
What do you think? Thrilling, of course. Actually we recorded it on July 13, 2005, my birthday. In London. Sadly, we didn't have the money to rehearse it or even play it down before we went to the recording studio. So I had to hear everything in my head. And I was lucky. When I finally heard the orchestra, I had very few changes to make.
Did the Royal Philharmonic enjoy playing the piece?
Well, when they first saw the title, The Runaway Bunny, I think they figured, "Another boring CD for kids." But once they started playing it, I could see them all lean into their stands more and more. They realized they had to work a bit. It's a very challenging piece for an orchestra. As I guess the American Symphony – the orchestra performing at Carnegie – will find out as well.
You've never conducted the Carnegie orchestra… Are you looking forward to it?
Of course! I didn't conduct the album. Barry Wordsworth did and he really did a great job. So this is my first time conducting the piece, my Carnegie debut, and the first performance of the Concerto.
What are your hopes for the piece?
I'd like every orchestra in the country to play it, what do you think?! And I'd love it to become a ballet. Do you know anyone at NYC Ballet?Ticket proceeds for The Runaway Bunny benefit the Schneider Children's Medical Center of Israel. The Benefit Concert featuring the World Premiere of The Runaway Bunny is Tuesday, April 29 at 7:30PM at Stern Auditorium at Carnegie Hall (57th St./7th Ave
General Tickets $50-$100. To buy tickets, call 212.247.7800, or visit www.carnegiehall.org. To purchase Gala Tickets, call Schneider Children's at 212.759.3370 or visit www.mdinyc.org
For more information visit www.runawaybunnymusic.com
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