Performance Report Stephen Kerr 2/19/2013 Sarah Ehle, Master's Recital Music 101, Professor Eisenstein

The piece played by Sarah Ehle and accompanying piano player Nicholas Shaneyfelt was "Symphonic Dances from 'West Side Story,'" the well known Leonard Bernstein musical. The music was later arranged by Bernstein for Orchestra, and is further adapted here for 2 pianos by John Musto. The music is difficult to define, as Bernstein worked in a largely unprecedented area; his fusion of classical aspects with 'show tune' and popular music influences was wildly popular, and to this day, unique. The first production of West Side Story was in 1957 on Broadway, and arranged to this concert's format in 1961. The musical is a classic american production, and earned Bernstein a place in the growing history of U.S. music. This particular arrangement gave the music a particularly vibrant life. The two pianos working together built a sound comparable in intensity to a full orchestra or theater production. The music was pseudo-romantic in feel often, but occasionally used neoclassical and popular aspects. There was considerable call and response between the two pianos. It opened with the introduction of a number of later recurring themes in the prologue, in particular a tritone leitmotif, most recognizable on the lyric "ma-ri-a," the syllables being 1-flat5-5. The opening is a reflection of the building tensions between the Jets and the Sharks, opposing gangs alluding to the Montague and Capulet families from Romeo and Juliet. The music then moves more hopefully from the previous chaos; here, the Jets and the Sharks are at peace with one another. The music makes extensive use of silence, allowing each small melody and chord sequence ring out and leave its color. Soon, as dance feel returns, the joyous hope of these opposing gangs being united keeps the music enlightening. Alas, we are brought back to reality, as the two groups engage in the Mambo, dancing in contest against each other. Many modern musical devices are implanted here, most notably the heavy influence of jazz voicings and a considerable swing feel. During the dance, Tony and Maria witness one another, and the cha-cha begins. Words cannot do this entrance justice; just like the 'love at first sight' between the two, the music speaks pristinely in a lilting yet playful melody.

In the ensuing meeting scene, we hear for the first time the most important musical theme, subtly quoted. As tensions reach breaking point, the Jets and the Sharks are brought at last to battle. Atonal clusters, heavy low voiced chords, and chaotic chopped melodies ride this syncopated, swung, but twisted scene. That earlier tritone lays about in nearly every chord through this section, and it is truly anguishing to behold. At long last, the battle finishes, but at a cost. The two gang leaders are murdered. The profoundly sad music threatens to procure tears, as all question why it had to come to that. The finale returns us to the hope of peace, in a world so fraught with unnecessary violence. Indeed, the emotional performance of these symphonic dances was a pleasant surprise. Ehle and Shaneyfelt treated the music as if the story lived in their very hearts, and because of that, the audience was able to allow the music into their hearts. The rapt attention across Bezanson Recital Hall attested to this. Upon completion, minutes of clapping ensued. The hall is an excellent size that balances dignified grandeur with attentive intimacy, and at the most beautiful and terrible points in the music, Once could feel the thrum of energy flowing about. I was seated in the back of the hall and was able to hear and perceive fine. Personally, I was deeply moved by the performance. Seeing the musical years earlier lent me an extra connection, but had I not known the story, I would have known the music was telling a story of powerful love amidst violence. Maybe it is in the nature of the music to relate easily to anyone's experiences. Hence, a magnified response from myself and the rest of the audience. I admittedly do not spend a lot of time listening to this general area of music. I enjoy it thoroughly, though, and was very happy to stumble upon such a touching piece. I particularly liked the beautiful melodic sections, which were made all the more beautiful in contrast with the more chaotic sequences. The arrangement must have had some percussive parts that were difficult to translate from orchestra to 2 pianos, and the performers finger snapped a few times. That had a distinct effect on the timbre and it reminded me that these were all dances, chock full of visuals, movement, and interaction in the play. That energy was embodied very purely in this performance. This concert was a foil to another, more recent concert I attended. Again, at Bezanson, I saw the student jazz combo recital hour. The recital hour was a compilation of different groups playing different individual tunes, giving the impression of a musical 'potluck.' In contrast, the Symphonic Dances formed a cohesive, standalone piece. Both were enjoyable in their own way, however. The jazz recital seemed to fuse music with the 'creative game' of musical improvisation and interaction. It also required the listener to shift his focus often, thus uprooting one from much deeper musical

reaction. This is not a bad thing, though, as the uprootedness allows you to do the dancing yourself. A lot of the pieces had me bobbing my head. This was a lesser contrast, as the Bernstein music even has 'dance' in the name, and some of the sections were rhythmic and movement inducing, despite the overall aim of storyline and thematic development. They were both fabulous concerts!

Citations Notes and Synopsis by Jack Gottlieb, 1993