March 20, 2022

I’m sure the word “phenomenal” has been attached to pianist Conrad Tao many times in his career. Beyond his artistry at the keyboard, he has also garnered significant attention as a composer and an advocate for music. But his performance of Mozart’s profound, yet mercurial, K. 491 with the Lansing Symphony last night brought a slightly different meaning of the word than its customary generic application in music.
 
The phenomenon came from his approach to this work that I can only describe as “spontaneous.” It felt as if he was composing the work as he played it and, by some magical connection, the orchestra knew what notes to play and when. This had to do with things like, how he tossed off ornamentation, not in some labored, affectual way, but it a totally natural, effortless way. It was from his pacing of the flow of the energy of the work, his use of tempo and atmosphere.
 
The irony, of course, is that to create the effect of spontaneity, we as artists usually have to work a piece within an inch of its life such that our understanding, technical tools and concept are so clearly formed that we can make it sound as if we are making it up. I didn’t get to ask Conrad about his preparation process, but it’s a conversation I would love to have with him some time.
 
The other two works on the program also had their own kind of spontaneity. We opened with Poulenc’s Suite Francaise, a Renaissance-inspired work for winds, percussion and harpsichord. I sat this one out as it seemed that a true chamber music approach (without conductor) would best allow the piece to blossom. I also think it’s good for our players to connect with each other in the way that chamber music requires. It was a beautiful performance. I could have listened to it again as soon as they finished.
 
The one work I actually conducted on the evening (Conrad conducted Mozart from the keyboard), was Haydn’s gem, the Symphony No. 90. Kudos to the players who brought such great energy and joy to this work, and kudos to the audience who didn’t fall for Haydn’s devious, but well-intentioned, applause traps that are but one part of this work's wit and charm.
 
Up next for us is the second installment of our prototype of what we hope will become a concert series next season, LSO at the Robin. These are programs of music of our time in a cozy used book store/concert venue in Lansing’s Reo Town. The bar next door, from which you can bring refreshments into the concert, does provide even more appeal to the concert. Our March installment was a huge success and sold out, so if you are interested in coming, you should get your tickets now. All of these composers have a Michigan connection, and some will be at the concert. I hope you will be there too!
 
NEXT UP
 
Lansing Symphony Chamber Players
Robin Theater, Lansing, Michigan
April 7, 2022
7:30 p.m.
 
 
Patrick Harlin                         Molasses
Alexis Bacon                          Capriccio
Michael Daugherty             Six Riffs after Ovid
Carlos Simon                         Catch on fire
Eve Beglarian                         I will not be sad in this world
Michael Daugherty               Walk the Walk
David Biedenbender            Refraction
 
#conradtao #lansingsymphony #alexisbacon #michaeldaugherty #carlossimon #evebeglarian #davidbiedenbender #patrickharlin