![]() ![]() ![]() In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. Then both musicians took center stage – Figueroa with his baton and Reichert at the piano.This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). At the end, Figueroa smiled and quickly tossed in: “a little touch of Rachmaninov.” That remembrance morphed into a discussion about Gershwin’s rich mixture of musical genres, rattling off different influences from jazz to the great tradition of Russian classical music. The composer was born Jacob Gershowitz and Americanized his name later. In both cases, Figueroa said, a promising career abruptly stopped, and one could only wonder what might have followed.įigueroa handed the microphone to Reichert, who shifted to Gershwin’s Russian-Jewish heritage. Both composers died at young ages, Gershwin at 38 in 1937, and Schubert at 31 in in 1828. “We were just talking about Gershwin and Schubert, and we decided to bring our conversation out on stage,” Figueroa casually said.ĭuring intermission, the two men had fallen into a natural dialogue about both Gershwin and Franz Schubert, whose “Unfinished Symphony” the Festival Orchestra had just played. Last Sunday night, Music in the Mountains Conductor Guillermo Figueroa and pianist Avi Reichert surprised the audience with an impromptu conversation before performing Gershwin’s Concerto in F. Last Sunday, it may have been John Pennington’s emphatic timpani solo at the beginning of Gershwin’s Concerto in F or the main melodic line in Schubert’s “Unfinished Symphony.” Mack Berven highlighted both of those and sang the latter to her fans with a catchy lyric. Her audience responded on cue: What a guy!Īfter concerts, you’ll see people approach Mack Berven and thank her for highlighting something in the music of the evening. She signaled at least seven mantras at last week’s talk. Years ago, Mack Berven happened to make an aside when noting an achievement or challenge a composer faced: “What a guy,” or “What a gal.” Her followers picked that up, and it has become a mantra, an interactive, audience response. ![]() And I conclude with some musical tidbits to watch or listen for.” I have three anchors: something about the composer, usually a short bio, something about the circumstances surrounding the composition on the program. “I’ve used the same format, more or less, over the years,” she said. Ultimately, Mack Berven shapes content with a scheme she’s used through the decade or so since she began her talks. Linda Mack Berven delivers a pre-concert talk about Mozart in 2022. “I find treasures everywhere, especially in the toy bin at the Methodist Thrift Shop, from friends and, of course, there is good old ,” she added. Some people are visual learners, and that’s why I’ve chosen to dress up the talks with costumes and props. That’s when I usually start to work on the lectures,” she said. Once she gets a new summer schedule, sometime in the middle of winter, she begins planning and dreaming. Miraculously, Mack Berven concludes her 45-minute pre-concert lectures with just enough time for music lovers to wander over to the Community Concert Hall at Fort Lewis College, find their seats and settle in for opening announcements.Ī lot of preparation goes into these talks, Mack Berven said. Her 15-minute mini-lectures are akin to a trio of TED Talks enhanced by creative costuming to stimulate the visual learners in the audience, not to mention engaging everyone’s sense of humor. For her well-seasoned protocol, Mack Berven unspools short composer biographies, the circumstances of the works in question and things to listen for. ![]()
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