Just returned from Jackson Hole, Wyoming, where I spent five days singing Mahler’s Symphony No. 2 with the Festival Chorale of the Grand Teton Music Festival, hiking, biking, swimming and generally enjoying what must be one of the most beautiful places in the world.
I have a massive backlog of blog post ideas to catch up with, but I wanted to start with a few words about my experience there.
The Festival is 50 years old. It’s led by Donald Runnicles, the former music director of the San Francisco Opera, which explains why so many top-tier Bay Area-based musicians and choral singers make their way up each summer. Though the orchestra members and singers come from all over the country, the largest contingent for the Mahler came from San Francisco and nearby owing to already-established relationships with Runnicles and chorus director Ian Robertson (who also runs the San Francisco opera Chorus and San Francisco Boys Chorus) and have been performing at the Festival for a number of years.
I only managed to catch one concert other than the one I was performing in while I was there. But it strikes me from looking at the festival program and catching a glimpse of it in person, that the Grand Teton Music Festival is a gem of a summer music event.
The standard of the musicianship is very high. Another asset is the variety of the chamber music programming: Where else can you hear Bach’s Suite No 2 in D minor for Unaccompanied Cello on the same program as Joan Tower’s Fanfare for the Uncommon Woman? The chamber music concerts are one of the greatest delights of the festival. In the single concert I saw, I heard two of the Festival orchestra’s percussionists giving a lickety-split performance of Steve Reich’s Nagoya Marimbas, a quirky world premiere by David Vayo (a setting of the Robert Grave poem “Welsh Incident” for trombone, French horn and two unseen, amplified narrators), Bohuslav Martinu’s Duo for Violin and Cello No 1, a passionate song cycle by Fernando Obradors (Canciones Clasicas Espanolas) performed beautifully by soprano Leah Crocetto (one of my favorite up and coming opera stars and the soprano soloist for the Mahler 2) and pianist Adelle Eslinger, and Sergei Prokofiev’s Quintet in G minor Op 39 for the unusual grouping of violin, viola, double bass, clarinet and oboe. I particularly appreciated this little-performed quintet for its sinister sense of humor. However, I could have done without the long introductory notes given by the bassist, who insisted on telling us her group’s ‘interpretation’ of the work. Her attempt to make the audience listen to Prokofiev’s piece in a programmatic way — she said it was all about different goings on at a circus — was annoying and unnecessary. Still, the playing was lovely.
The Mahler itself went pretty well. It’s a formidable piece. I’ve sat in a Mahler orchestra before as an oboist, but this was the first time I’ve ever sung in one of the composer’s works. It was so much fun sitting behind the horns and trumpets and watching them go wild.
On the downside, schlepping to Wyoming to sing what amounted to about 10 minutes of music — most of it very quiet and contained — seemed like a lot of effort for relatively little musical reward. With so many great singers hauling ass from all over the country to sing the Mahler, why not have a special choral concert to showcase their talents? I gather this has happened in previous years, but I still don’t know why the chorus was so under-used this time around. Also, the Walk Festival Hall, the 700-seat space where the concerts take place throughout the festival, is drab. It reminds me of a high school gym. It’s tolerable for chamber music concerts, and even quite fun if you sit in the front row as I did where you are about a foot away from the musicians (there is no pit or raised stage). But it’s way too poky for big orchestral works.
On a final note, it’s easy to see why musicians and singers make space in their calendars to travel to Jackson Hole in the summer. Not only is the landscape spectacularly beautiful, but going there under the auspices of the Festival is like a free(ish) vacation. Even though choristers pay their own way to Wyoming, the accommodation, in well-appointed ski homes at the Teton Village resort, is provided at no cost. The musicians, some of whom come for the duration of the seven-week event while others come and go for parts of it, are paid an allowance, and receive the chance to play some wonderful music and be among different colleagues for a while. Everyone can bring their families and friends. It’s really a giant music camp for adults, though I’m grateful to violinist Holly Mulcahy for pointing out that the term “summer camp for adults” isn’t quite fair because the musicians are all professionals and prepare their music at the same standards expected in our home professional orchestras.
I’ll go again, if I get the chance. Rumor has it that we’ll be doing Verdi’s Requiem next time around which’ll mean less sitting on hard wooden risers and more singing. Hooray.
P.S. I’ve been receiving some rather heated comments in response to this blog post. I should stress the following as my words seem to have been misunderstood or taken in a very extreme way:
1. I had a great time at the Festival and enjoyed singing in the chorus immensely.
2. When I say that there was “little musical reward” I’m not criticizing the work itself (which is magical) or the festival’s interpretation of it, which was good. I even shed a few tears during the final movement on the second night, I was so moved. I enjoy singing all kinds of music at all volume levels, quiet music included. I do not think that music has to be loud and bombastic to be enjoyable to sing. I just think that relative to the amount of travel and time that most people in the chorus put into preparing and performing the work, the payoff was quite small. For the orchestra, Mahler 2 is an achievement. For the chorus, not so much.
3. I stand by my words about Walk Hall. And a bunch of people I chatted with at the festival agreed with me so I know I’m not the only person who thinks the place needs an overhaul.
Ms. Veltman it seems, does not have a long suit in counting (which is perhaps why she is now kvetching from the hard bleachers as a chorus member rather than as an oboist). Out of a very large contingent of orchestra musicians from around the world, the roster lists 7 from the San Francisco Bay area, not the majority she suggests. Irritating misreports of data aside, Mahler Symphony no. 2 “Resurrection” is not the choral show piece of a Verdi Requiem, but as 90 minute knock-knock jokes go, the punch line of Mahler 2 is in the chorus and no where else. Enjoy it . Rarely does one wait through so much flapdoodle for such a reward. The complaint of “schlepping to Wyoming to sing what amounted to about 10 minutes of music — most of it very quiet and contained — seemed like a lot of effort for very little musical reward” is the kind of cynical “I’m-more-important-than-the-music” nonsense that makes spending a dime on schlepping a chorus to Wyoming seem like money poorly spent. There are myriad grand works by Mahler, Beethoven, Strauss, et al. that don’t require whiny warbler writers at all. I have schlepped out to play in the Festival years ago and many of my friends continue to do so. They barely, if at all, break even. It is about the music, the colleagues, and the scenic splendor. It is not about how much you perform as an individual.
William Barnewitz
Retired Principal Horn, Milwaukee Symphony Orchestra and Santa Fe Opera Orchestra
I have to disagree with your assessment that singing Mahler Symphony No. 2 brings “very little musical reward.” The “Resurrection” Symphony is a towering, emotional work made complete by the heavenly and powerful choral writing at the end of the piece. Judging from the tears running down a substantial number of audience, orchestra, and chorus members’ faces at the conclusion of the piece – and having felt the deep emotional impact of singing this work myself for hours after the performances ended – I would say that the musical reward of singing this work was extremely high. It surprises me greatly that you felt very little musical reward from participating in these stellar performances, although perhaps it has to do with your characterization that they only went “pretty well.” For me, having the privilege of singing a musical masterpiece with such a fantastic orchestra under Donald Runnicles’ nuanced and expressive interpretation as part of a thriving Festival in such an amazing part of the country will always resonate as a musical highlight in my life. If “schlepping to Wyoming” was not worth it for “10 minutes of music,” one has to ask why you chose to participate in the Festival. Yes, the length of choral singing is not long in Mahler Symphony No. 2, but it’s some of the most divine music ever written, and absolutely moves people in indescribable ways. It was an honor and privilege to sing it – and I felt completely and fully rewarded for the experience.
Additionally, I’m unclear as to what relevance “quiet and contained” music has to do with lack of musical reward. Does choral singing have to be loud, bombastic and extended to qualify as rewarding?
I also would not characterize Walk Hall as “poky” like a “high school gym” – while it is perhaps not as grand as some of the orchestral / choral performance spaces here in San Francisco, the acoustic is fantastic. Having sung multiple times in the venue, and having heard both large and small orchestral works from the audience, I feel like Walk Hall successfully allows the audience to listen to large symphonic works in a reasonably intimate setting. Mahler is loud – even in larger venues, one can feel the power of the brass when they really let fly. I think it is wonderful that concerts of such high caliber with fantastic musicians are accessible to residents of Jackson and the surrounding area in such an welcoming, intimate, and resonant venue.
Participating in the Festival for the past 5 years has been a very rewarding experience for me, both personally and musically. I volunteer my time to go because these rewards are so high and because singing top quality choral/orchestral repertoire in such beautiful surroundings is incredibly fulfilling.
Elaine, I could not have said that any better…. I TOTALLY AGREE and I can’t wait for the next time…It was AMAZING!
Thank you for mentioning what a gem the Grand Teton Music Festival is. I’ve enjoyed playing there the past 9 years in the violin section and look forward to performing the diverse programming with talented colleagues each year.
I’m glad you had an opportunity to experience the chamber concerts; they are a real treat since they offer a wide variety of genres. I did want to mention a few things that are not quite accurate, however. The largest contingent coming from San Francisco was during the Mahler and that was because of the chorus. There really isn’t a majority group from any section of the country; the list of musicians and places they come from is in the program book and can be found on the website. The festival is 7 weeks, but musicians stay anywhere from a week to the entire festival. A constant flow of musicians moves in and out from week to week. Musicians are not paid a salary, but receive a small per-week allowance. Housing for musicians is considered income, and we are taxed appropriately for it. I would hesitate using the simile “summer camp for adults” because we are all professionals and we prepare our music at the same standards expected in our home professional orchestras.
I’m sorry you didn’t feel the 10 minutes of choral obligation wasn’t musically gratifying for the length of time you had to wait. I wonder how many audience members truly appreciate what it is to sit and wait for an hour before an important entrance. It would be interesting to get this very perspective from the trombones and tubas who sit through 3 movements of Symphony Fantastic or Brahms 1 before they have their 5-10 minutes of glory.
I have been fortunate to perform with the Grand Teton Music Festival for the past 18 years. Each summer, when I leave this place, I cannot wait to return.
“I just think that relative to the amount of travel and time that most people in the chorus put into preparing and performing the work, the payoff was quite small. For the orchestra, Mahler 2 is an achievement. For the chorus, not so much.”
I think you knew what you were getting into when you agreed to sing on this concert in terms of the amount of time the chorus would be singing. If you did not get the fact that the 10-minutes of music you traveled to sing made the entire piece worthwhile, then the meaning of the work was lost on you, and it would be impossible to explain. You shed a tear? Good for you. It’s a start. I, on the other hand, felt that it was one of the most musically rewarding concerts of my career, and I will carry it with me for the rest of my life.
Regarding the cost and length of your travel, I would only compare it to those musicians who bring their families with them–at great personal expense—either because of extra plane tickets, additional lodging expense or child care, none of which is reimbursed by the festival. Those of us from the east coast travel many more miles and days than those of you from the Bay Area. I think your complaint is ridiculous. Jackson, Wyoming is a remote place. The same festival in the Bay Area, for example, would be more convenient for some, but would not have the same impact or the same meaning as it would in these mountains so similar to those where Mahler lived and composed.
“I stand by my words about Walk Hall. And a bunch of people I chatted with at the festival agreed with me so I know I’m not the only person who thinks the place needs an overhaul.”
If you had asked the people truly associated with the festival over many years, you would have found out that the hall did have an “overhaul” several years ago. The wooden floors were replaced with the EXACT material and size planks as the original. The inside was barely touched because of the incredibly wonderful acoustic. If it ain’t broke, don’t fix it. If you want fancier visual, don’t come back. Those of us who love this place know the magic that is created in Walk Festival Hall and wouldn’t have it any other way.
Kristen – very well said. I sing in the San Francisco Festival Chorale, and agree that the Mahler 2 concerts were some of the most musically rewarding of my life as well. Everybody that I have spoken with from the Chorale felt uplifted, fulfilled, and rewarded. Please know that the majority of us had an incredible experience. It was a great personal honor to sing with such a fantastic orchestra in one of my favorite places in the world.
Taking Elaine’s comments in mixed order, I judged the concert hall on it’s contribution to the music, not its aesthetics. Maybe because I’m nearsighted… but performing is performing. It’s not about the dress or suit one wears–it’s who wears it !
This is the fourth time I have sung this piece, each occasion with a renown conductor. I never tire of it. This, and the Bach B minor are at the top of my “hits.” My words could not describe what the Mahler does to me. Only a 10 minute reward, you say? Did you not get anything from being privileged to sit and listen to the orchestra perform this colossal work in “fine fiddle?” That, too, is a huge reward. Being able to watch a superior conductor work his heart out in front of us. Did that do anything for you? I could not, for one minute, take my eyes off him… except watching some audience members cry on and off through the entire work.
This is my first time at GTMF. I have never met Donald or Ian. I thought Ian was a wonderful preparer; I thought Donald was a fabulous leader and interpreter. By the second day, between the heat (I suffer over 80 degrees) and the expense of getting there, I thought, “I won’t do this again.” By the forth day, I hoped I would be asked back the next time !
It is very difficult explaining to my friends, even my singing/acting colleagues, the experience. This is what I posted on FaceBook:
[Just returned from Grand Teton Music Festival in Jackson Hole, Wyoming. Performed Mahler’s incredible “Symphony #2–The Resurrection.” The location under the snow-capped mountains–a heaven on Earth. The music and performance… if one’s soul could speak (and it can), the words would pour forth with tears and fulfillment. Indescribable. And all at the baton of Maestro Donald Runnicles, whose every pore exudes this music and so fed our every note. A life experience.]
But this is just MY opinion.
So sorry, Elaine… I meant Chloe 🙁
No worries, Jay. I too couldn’t take my eyes off the Maestro for the whole performance. The whole thing was, as you say, indescribable and a life experience!