Accompanying other Musicians and Singers on the Piano. This is a special craft. For about 15 years I accompanied Rubinoff. I’ve blogged about him many times. Our 45 minute New York concert is on youtube. You can also find it as a thumbnail on our website:DSOworks.com. He was a master of detail. Today, I will blog and showcase my daughter, Kathryn Parks, singing with Matthew Ryder in promotion of their upcoming show. It will be staged August 25 and Aug 27 at the Venice Theatre Summer Caberet Festival in Venice Florida.Their song, Ten Minutes Ago, is from Rodgers and Hammerstein’s Cinderella.
The greatest difficulty facing an accompanist is finding well arranged music. With professional singers, doubling their melody is counterproductive. First, you most likely will cover the sound of their voice. Then, it’s impossible to exactly duplicate vocal inflexions. Any rate be sure to make your reservations for Matthew and Kathryn. singing together at the Venice Little Theater.
Large community theater showcasing plays, musicals & cabarets along with stand-up comedy & concerts.
Audition on the piano youtube. Enjoy six typical selections for free. Time for all 6 is 13.48 minutes. Most important factor: The two-note phrase. For auditions the proof of the pudding is in the tasting. What does tasting pudding have to do with piano playing? A well played two note phrase is the highest piano art. More on this in a moment. Piano makes dining more pleasurable. This only holds if the piano is played with a beautiful touch.
AUDITION – MASTERING THE TWO NOTE PHRASE KEEPS YOU IN THE RUNNING
Be it Bach, Beethoven or Brahms- the two note phrase is key. In this regard the size or quantity of what you know, speed and power mean little. This phrase is the smallest increment of piano playing. My own teacher was Mischa Kottler. He was a stickler about this tool. It took me a year and a half to master it. That was only under his constant supervision. Mischa studied in Paris and Vienna in the 1920’s. His teachers were direct descendants of Liszt and Chopin. They were Emil von Sauer and Alfred Cortot.
Many, if not all compositions, are only played properly with a plethora of such phrases. This is especially true on the piano. My own youtube sample is below. I do my best to demonstrate its effectiveness. Keys to long term employment as a pianist include beautiful tone production and such phrases. Unfortunately, too many students have turned piano playing into an athletic event. As Mischa would say about such crudely undetailed pianists. “They play like pigs.” This, of course, was in his fiery Russian accent.
For bookings I go through Jay Goodley Associates Inc. in Sarasota, Fl. (941 480-9600). They are wonderful to work with both as an employee and for you as an employer. Also, I am available for piano lessons in Sarasota- especially off season.
Arias- Sharon and I (David) collaborate on songs that are aria-like in nature. Our latest musical, Golden Roads, illustrates this. Of course, we all know that Golden Roads can lead to Broadway for musicals. Artist Harold Weiner(postcard above) saw us as headlining on Broadway. For a while we were called “The Ohs” – short for Ohrenstein. This artwork was given to us as a thank you for a fund raiser that we did: We performed our original works for the Sarasota Music Archieves. Can Broadway songs fit into this category? First, what are arias?
They are melodic songs in an opera, cantata, or oratorio.
Ususally they are written as a solo; but not always.
Often, a recitative, or musical speech, comes before it.
In the song, the character expresses inner most feelings.
Many musical forms might be used. However, the most common has the ABA form: (1) The main theme, (2) a different middle section and (3) a repeat of the main section (da capo). Sounds a little like a feature Broadway song, doesn’t it?
Here is a sample of how Sharon I (David) write concert “arias”. Our “We Are One” was written for soloists and the Sarasota Concert Band to honor our American veterens on Memorial Day. Enjoy!
SOME FUN FACTS ABOUT ARIAS
The 1st composer to populariaze arias was Alessandro Scarlatti (1659-1725).
For 100 years after A. Scarlatti, they were most commonly used form in operas.
In the 18th century everything would stop while the aria was sung. It was the stand out song. Even the drama stopped Almost like the “11:00” Broadway number.
Later Verdi, Mussorgsky and Wagner used the aria as part of a continuous flow of action and music.
Arias developed from having the background of a few chords to using an entire orchestra.
Sharon and I have collaborated on a number of new and original works. She as book writer and lyricist and me as composer. Our latest, Golden Roads, was very well received in Sarasota. The subject is the early life of Golda Meir. We have a booking in 2017 with this new show. It is literally filled with beautiful arias. They are in the 18th century standout song style, (A.K.A. the 11:00 number). More will be posted on this subject in the near future. Keep watching DSOworks to find out it develops.
Ravel Has Novelty, Always in Good Taste. The Golden Encyclopedia of Music by Norman Lloyd confirms my thoughts. His music is “rarely emotional.” It is as though he wrote waltzes, minuets or sonatas with amusement or affection. Lloyd brings out his contrast with Debussy:
Debussy drew much of his inspiration from nature.
Ravel received his creative impulses from dance.
The Background of Ravel
Ravel’s mother was a Basque. That defines a region located around the western end of the Pyrenees (the part shaded red). It is on the coast of the Bay of Biscay. The Bay straddles parts of north-central Spain, and south-western France.
Part of his soul was Spanish. His masterpiece, Bolero, is an affirmation. Again, we see a prime example of his affinity for dance. Here’s my favorite story. I set it up by contrast to a story about John Cage. The theme for Bolero is only 8 bars long. Its treatment by variations with orchestra is 17 minutes long. But, it builds to one of the greatest climaxes ever. In his humble manner, Ravel called it: “17 minutes of orchestration without any music.” By contrast John Cage wrote a piece of music that he calls 4’33”. It refers to the time of actual silence. Not one tone is played. You can “hear” it on youtube.
My Upcoming French Piano Concert
I am planning a full piano concert of French piano music from the late 1800’s and early 19oo’s. My instructor, Mischa Kottler, asked me to do such the concert just before he passed away. He studied in Paris under Alfred Cortot in the 1920’s. Below is a sample of him playing Chopin’s Minute Waltz.
The entries of my own concert will include the following works:
by Claude Debussy: Deux Arabesques, the entire Suite Bergamasque, Reverie. the Sarabande from Pour le Piano, Estampes, and La Cathedrale engloutie
By Gabriel Faure: Pavane
By Maurice Ravel: Sonatine
I will be arranging a date and place in the near future. It will be announced as an event on DSOworks.com. Below is a sample of the concert taken from from my upcoming Debussy CD. It is his Claire de Lune. from the Suite Bergamasque. Click on the title.
Take Five was composed by Paul Desmond. He was the alto saxophonist of the The Dave Brubeck Quartet. The meter is in an unusual 5/4 meter. It was one of the first Jazz numbers with a time signature other than the more common 4/4 beat or 3/4 waltz time. In the late 1950’s the Dave Brubeck quartet was touring Eurasia under a grant by the state department. On a personal note, these grants were not unusual. I ( pianist, David Ohrenstein) worked with David Rubinoff and His Violin as his arranger and accompanist. Rubinoff played in Vietnam for general Westmoreland’s troops with a grant from a U.S. State Department. You can hear one of our 45 minute concerts on Oquaga Lake in New York (played in 1984) on DSOworks.com for free. It is a thumbnail on the page “Lost Concert Found”. Rubinoff was 86 years of age at the time. In between numbers he talked about his personal friendships with Victor Herbert, Carouso, Irving Berlin, Fritz Kriesler and John Phillip Sousa. Don’t miss this once in a lifetime treat!The special twist was at the end of the night, they got up and left one at the time.
Creative and Artistic Inspirations, Like Take Five, Come from Exotic settings
While on tour, the David Brubeck quartet heard the music of Hungarian street musicians, They were playing Bulgarian songs in unusual meters. That is what prompted Paul Desmond to compose Take Five. When they returned to America, the group gave the song an extra special twist. “Take Five” was first played by The Dave Brubeck Quartet to a live audience at the Village Gate nightclub in New York City in 1959. At the end of the evening, they musicians would end their gig with Take Five. They would pack up and leave one at the time while play it. This was in the style of Haydn’s Farewell Symphony written almost hundreds of years earlier. Speaking of travel and music, I also have blogged about how a rich Russian widow sent Debussy to the exotic Far East so he could enlarge his own musical palette.
My Own Experience Playing Take Five Over the Past Seven Years at My Gig at the Gasparilla Inn on Boca Grande, Fl
In one word, Take Five is “magic.” Guests and diners discuss romantic subjects or simply the affairs of the day. Then, the moment the two chords of distinctive rhythm begin (Eb minor and Bb minor) I’m amazed at what happens: People from all around the room stop talking and actually say “Take Five.” It is certainly a real audience -pleaser.
Gilbert and Sullivan’s search for Schubert’s Rosamunde: Good stories make good blogs. One of my favorites is about Gilbert and Sullivan’s discovery of the music for Schubert’s Rosamunde. Rosamunde, Fürstin von Zypern (Rosamunde, Princess of Cyprus) is a play by Helmina von Chézy. It is mainly remembered for the incidental music by Franz Schubert. The play premiered in Vienna’s Theater an der Wien on 20 December 1823.
THE CLIFF HANGER QUEST OF GILBERT AND SULLIVAN
Gilbert and Sullivan had many quests. They had heard of Schubert’s Rosamunde which was lost. They traveled to Germany to find the music. There, they caught wind of a certain Doctor Snyder who may have been in possession of the score. The rest of the story reads like a cliff hanger. When they arrived at his home, Dr. Snyder told them he had had a number of Schubert’s manuscripts in his attic. Unfortunately, he placed them in the trash bin. The operetta duo ran to the trash. There, they not only discovered the score to Rosamunde, but numerous other symphonic works by Schubert. The rest of the story goes, they were so excited at the find, that they immediately played leap frog with each other.
Creators Come First, Not Concert Halls
I find this story quite significant to blog about. So many composers had had to have patrons or backers. It the baroque era, it was the Church. In the classical era, it was the nobility. In the romantic era, donors and backers were rich patrons. They helped composers to live and thrive not only for a day, but for decades. This is leading up to another upcoming blog: It will present the premise that without the support of musical creators by patrons, our concert halls will be without quality, vision or direction. The old names only serve us for so long. Only God is eternal. I personally have heard nothing but belittling comments and disapproval on my being a composer. “When are you going to make a living?” “Composing is fun. Life is hard work.” My question in return has always been. “Where does quality in life come from?”. Without the arts, life is short and brutish. I ask my public to please take an interest in something more than buildings. First, we must support the creators who give the musicians in the concert hall new music. After all, there might not be a Gilbert and Sullivan around at the right moment to save another poor Schubert-like composer.
Rose and Lily Point to our Floral New Opera:The Cup of Cleopatra
A key element of ancient philosophy was based on the fusion of numbers 5 and 6 and the flowers these numbers represented. The rose has 5 outlining petals. The lily has 6 petals. The rose is yin, and 5 is a yin number. The Lily is yang as six is a yang number. How is it that these numbers are fused? By the ubiquitous use of the megalithic yard by the goddess cultures. Here’s how:
5 x 6/ 5 + 6 (or 30/11) = 2.7272…which translates to one megalithic yard
Another megalithic standard is the megalithic mile of 2.727272… English miles or 14, 400 feet. Thus, 14,400/5280 =2.72727…English miles
John Michell, in his City of Revelation, further discusses the fusion:
The six sided figure of the hexagon symbolized the macrocosm
The five sided figure of the pentagon represented the microcosm.
Thus 272 represents the successful fusion of heaven and earth. the model of this fusion is the “Heavenly Jerusalem”.
AN EXCERPT FROM THE BEAUTIFUL FLORAL CLOSING TO OUR OPERA, THE CUP OF CLEOPATRA
Click on the 4.:47 number and then youtube to sample our production at the Palladium Theater. I must share with you a part of Sharon’s beautiful lyrics in this segment. Cleopatra realizes that her being alive would jeopardize the life of her children. This was true especially due to Roman politics. Octavian already had promised to give her children a home in Rome. To Cleopatra, that was more important than her own life. Sharon writes and sings as Cleopatra the following. You will hear it sung on this youtube presentation, “It is time to end this life. All that can be done was done. This goodbye is expressed with all my love. We shall meet after today, when we’ve sent you on your way. In the next world, we shall be close as we have ever been.” For the ladies, reincarnation was real.
We are merely the creators. If benefactors had not helped our operatic and instrumental composers, our culture would the the poorer. Verdi, Berlioz, Tschaikovsky, Debussy, Haydyn, Mozart…… all received the help of generous patrons. Music adds beauty to life.- David.
Dance Steps of Canoes v. Motor Boats. You ask, how can canoes and motor boats dance? They “imprint” dance. That is they leave either ripples, waves or rough water behind. Of course, that depends on the dance style. A favorite summer activity on Oquaga Lake is watching the boats in the water go by. You’ll see everything including:
Motor boats stopping to pick up their fallen water skiers in the middle of the lake.
Rubber rafts being towed by a speedboat going dragging 4 or 5 children screaming in delight
Show offs that ski holding only one rope with one hand (see picture below)
The real show off that places a stand up ladder in the water and manages to ski on that
SCOTT’S EXCELLED IN DANCE
Of course, the Catskill Mountains were known for ballroom dancing. Scott’s Oquaga Lake House, where Sharon and I resided, was approached to film Dirty Dancing with John Travolta. The owners turned the offer down. At the time, they were already quite busy.When we were there, the Oquaga Spirit chimed on the dancing thing. She definitely prefers a calm lake. The spirit whispered the following quatrain to me.
Canoes waltz the water
Speedboats are cha-cha choppy
Canoes gently promenade
Waves from motors are sloppy
The fun at Scotts never stopped. So many of the regular patrons, and even the Oquaga Spirit hopes it will continue for many years to come.
https://www.youtube.com/watch?v=ymHT-2qiPEc– Uploaded by Rudder3218
Lesley and Ohrenstein’s Elizabeth of Russia (now called The Princess and the Peasant) follows in the tradition of the great Broadway hits South Pacific … Directors and conductors have unanimously termed it a hit song! What is a Gypsy Czardas? A dance of Hungarian origin. The opening is played slowly. The next part is quicker and uplifting. Often it is written in duple meter. As of today, Friday, January 15, 2016 the Drinking song has had 4,200 views.
Our czardas breaks with tradition, slightly. It begins slowly, as is tradition. Our uplifting part, however, is in triple meter. Then it returns to the slow section once more in duple meter. Finally, the quicker triple meter section repeats with a flashy ending.
(our new version of Elizabeth of Russia now called The Princess and the Peasant- see products page)
Book and Lyrics by Sharon Lesley Music by David Ohrenstein
Musical operetta in Two Acts
Our show is about one year in the life of party-girl Elizaveta Petrovna – daughter of Czar Peter I and Empress Catherine I. When Elizabeth gets backed into a corner and faces the possibility of being arrested and possibly executed along with her friends and the man she loves for supposed treason – all because of the beautiful gown she wore to a party, Elizabeth has three choices. She can go to a nunnery, marry a German Prince, or take the throne which is legally hers. To protect her love Alexei, a peasant she has secretly married, she knows what she must do. Yet, she pauses because she does not want to have to be like other royalty . She asks, “Can a ruler rule without killing anyone?” Alexei replies, “It must be possible.” She vows to God that, if she is successful, she will abolish executions and avoid war. She leads the Preobrazhensky Guards to the palace on the one condition that no one is to draw blood. Her overthrow is bloodless and a new Empress is crowned.
St Petersburg Times with Rubinoff’s Stradivarius violin played during the show, to an uproarious standing ovation. The violin in the 2003 production was played by the then concert master of the Florida Orchestra- Amy Schwatz- Moretti. We are currently looking for angels so we can mount and tour another production. We firmly believe that solid gold values and beautiful melody are returning. This show will be both a musical and financial hit! The Princess and the Peasant spearheads the way. And yes, we have a video of the production. We would be happy to show it to potential angels. Four years of intense work without pay went into this monumental project by Sharon and myself . We need help. Please pass this blog on to friends and let’s see if we can all rally together. Remember, without the financial kindness of a Russian widow, Mme. von Meck, it is doubtful that we would even have heard of Debussy or Tschaikovsky. Note: Please click on youtube picture to hear the Drinking song. Also, click the picture on the St Pete times release to read about the violinist and violin.
In 2003, Elizabeth of Russia was performed as an official event for the centennial anniversaries of St. Petersburg, Russia and Florida.
How about Great Caesar’s ghost for Halloween? When was the last time you heard the expression, Great Caesar’s ghost? For me, it was on the old Superman TV show that played in the 1950’s. The newspaper editor of the Daily Planet, Perry White, would exclaim to Lois, Lane or Jimmy Olson or Clark Kent every time he was frustrated: Great Caesar’s ghost! In our opera,Octavian and Cleopatra, we did one better than that. We actually have great Caesar’s ghost appearing on the stage. He sings to Cleopatra a beautiful aria that I and Sharon wrote called: My Lily of the Nile.
HOW ABOUT TWO GHOSTS FOR HALLOWEEN?
Of course, a second ghost shows up: The ghost of her other Roman husband, Mark Antony. The ghosts of Caesar and Antony immediately argue about what would be the proper course of action to take over Cleopatra’s conqueror, Octavian. Caesar says Cleopatra should trust Octavian. Mark Antony takes a totally opposing point of view. Of course, Cleopatra makes a scene where she screams over the arguing ghosts. Her two ladies in waiting witness her demise and try to calm her down with a potion. They think that Cleopatra’s totally lost her mind over the grief she has for her husband, Mark Antony, who has just killed himself.
Our thrilling opera was performed in Sarasota and St Petersburg, Florida with a cast of seven. We have a complete piano-vocal score and the performance was recorded on DVD. Sharon Lesley Ohrenstein wrote the book and lyrics and I wrote the music. We are in the process of arranging this for a chamber orchestra. My favorite musical moment in the show is a trio which features the Ghosts of Caesar and Antony singing with a living Octavian. They ghosts urge Octavian to go back to Cleopatra and show her that he loves her. Octavian rejects their plea, saying that his motto and words he lives by are; “make haste slowly”. Reserve this show for your theater season so your patrons can be thrilled by the glory that was Rome and Egypt!