Copious Notes

Julie Schindall (right) shows 8-year-old Isadora Koch the proper way to hold marimba mallets Saturday at the WEKU event at Joseph-Beth Booksellers. Photos by Rich Copley | LexGo.

After Lexington Philharmonic bassist Joe Tackett finished his chat with WEKU Morning Classics host Michael Carter at Joseph-Beth Booksellers Saturday, he pointed something out.

During the chat, part of a WEKU/Joseph-Beth Gives Back event at the book store, Carter had played several musical selections like one of Maurice Ravel’s Slavonic Dances.

“Every time Michael played a piece, kids would come over and stand,” Tackett said. “Some of them even started to dance. Kids innately recognize great art.” Then, noting some adults he saw rush their kids along, he added, “It the parents that try to tear them away from it.”

Particpating in the WEKU event were (clockwise from top, left) Joe Tackett, Julie Schindall, Michael Carter and Roger Duvall.

Did we mention Joe is the Phil’s education director, too?

Certainly there were some serious blocks of time in the afternoon event devoted to adults talking about music. I discovered both Joe and I share the same roots in our love for classical music. John Williams’ music caught Joe’s ear when his father took him to see The Empire Strikes Back (1980). So, when I sat down to chat with WEKU station manager Roger Duvall, I had to share my similar experience when my parents gave me the soundtrack to Star Wars (1977).

Classical music probably owes a lot to George Lucas commissioning those iconic scores.

Roger called our conversation Dancing about Architecture, a reference to the oft quoted but hard to attribute aphorism that writing and talking about music is sort of like dancing about architecture. And indeed, while we did have a good conversation about this highly transitory time in Lexington music, from my seat, the most fun was trading short passages of favorite works with Roger. He kicked it off with a segment of Aaron Copland’s Appalachian Spring, and I got to answer with Dawn Upshaw singing the opening passage of Samuel Barber’s Knoxville: Summer of 1915 – if there’s a more perfect representation of a Southern summer evening, I am not aware of it.

Michael and Joe also had a great chat, zeroing in on the idea that enjoying classical music is not so much something you learn as it is something that comes naturally.

And the best demonstration of that came in those children who wandered over from the kids book section to hear, and later in ones who were brave enough to step up and try their hand at marimba with musical guests Julie Schindall and Ian Meiman.

We came in to talk about the future of classical music. But in their faces, we got to see it.

Ian Meiman gives 5-year-old Annika Koch a high-five after she plays the marimba.

Note: I’ll be Twittering the Grammy Awards tonight, using the hashtag #grammys, if you want to join in the chat.

Discovering new music is often a matter of trust, particularly if you are interested in exploring something like contemporary classical music.

Osvaldo Golijov. Photo by John Sann | Deutsche Grammophon.

Yes, you can just dive in and start listening to any piece composed in the past 50 years - classical music is a field in which that would be considered “new.” But exploration is often more interesting if you find artists whose tastes you appreciate and you keep up with what they’re doing.

That’s how I discovered Osvaldo Golijov.

The Lexington Philharmonic audience will get its first chance to hear Golijov on Friday, when guest conductor Alastair Willis conducts the orchestra in a performance of Golijov’s Last Round, a piece that helped introduce the composer to many listeners in 1996.

“He looks to be a voice to be reckoned with,” London’s Independent wrote of the world premiere of Last Round, commissioned by the Birmingham Contemporary Music Group.

The group was created by conductor Simon Rattle, an artist whose contemporary tastes I started following many years ago when he was making ear-grabbing recordings with the City of Birmingham Symphony Orchestra.

But that is not where I found Golijov.

It was Kronos Quartet’s and Dawn Upshaw’s work with the composer that initially intrigued me, and when I heard it, I had to hear more.

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