What on Earth?

On Monday, April 6, George Preston, director emeritus of the Carnegie Observatories, talks about that stuff that covers two-thirds of the Earth’s surface and rarely falls from the sky in LA. His Carnegie Astronomy Lecture at the Huntington Library is titled “How the Earth Got Its Water.” A reception begins at 7 p.m., and the lecture starts at 7:30 p.m. in Friends’ Hall. And, unlike water, this event is free.

The next lecture in this series, focusing on NASA’s Messenger probe that has made two flybys of Mercury, is scheduled for Monday, May 20.

Huntington Library, Art Collections, and Botanical Gardens, 1151 Oxford Road, San Marino 91108, (626) 405-2100, www.huntington.org.

A Play With Good DNA

James Watson and Francis Crick received the Nobel Prize for their model of DNA, but biophysicist Rosalind Franklin, whose research (specifically the X-ray diffraction image that gives this play its name) aided that scientific breakthrough, died in relative obscurity. It sounds like the stuff of good drama, and indeed it is in Anna Ziegler’s “Photograph 51.” Simon Levy directs and Aria Alpert (daughter of Herb Alpert and Lani Hall) stars in the West Coast premiere, which continues at the Fountain Theatre through May 3.

“Photograph 51” comes with a scientific and dramatic stamp of approval. The winner of the 2008 STAGE (Scientists, Technologists and Artists Generating Exploration) award for Best New Play about Science and Technology, Ziegler’s play was chosen from nearly 150 entries by a panel of judges that included Pulitzer Prize and Tony Award winner David Auburn; Tony, Olivier, and Obie Award winner John Guare; Nobel Laureate in physics Sir Anthony Leggett; Pulitzer Prize-winning playwright David Lindsay-Abaire; and Nobel Laureate in physics Dr. Douglas Osheroff.

The Fountain Theatre itself is no stranger to prestigious awards. It has won more than 160 for theater excellence, including every major theater award in Los Angeles.

Performances run Thursdays, Fridays, and Saturdays at 8 p.m.; Sundays at 2 p.m.
Tickets are $25 (Thursdays and Fridays), $28 (Saturdays and Sundays), $23 for seniors over 62 (Thursdays and Fridays only), $18 for students with ID (Thursdays and Fridays only). Parking is $5.

The Fountain Theatre, 5060 Fountain Ave. (at Normandie), Los Angeles 90029, (323) 663-1525, www.FountainTheatre.com.

photo of Graham Norris and Aria Alpert by Ed Krieger/courtesy of Fountain Theatre

Cool Science

NHM Celebrates “Darwin Year”
The Natural History Museum of Los Angeles County is doing it up right for Charles Darwin’s 200th with a series of First Fridays celebrating the famous discoverer of evolution. First Fridays feature tours, lectures, DJs and bands on, you guessed it, the first Friday of every month (January through June).

On April 3, arrive early (space is limited) for a tour of the entomology collections (that’s bugs to the rest of us) at 5:30 and 6 p.m. Then at 6:30 p.m., USC’s Dr. Michael W. Quick moderates a discussion with Dr. Michael Ryan, a scientist with the Smithsonian Tropical Research Institute and zoology professor at the University of Texas, Austin. The focus of the discussion is Darwin’s other theory, sexual selection, and Ryan will explore how males and females of various species (humans included) differ. Have your questions ready. Then grab some food and drink and enjoy the music from 7 to 10 p.m., as Phatal DJ and T-Kay spin tunes, and Bus Driver and Tim Fite perform.

The next First Fridays event on May 1 brings Dr. Donald C. Johanson, who as the founder of "Lucy," a 3.2-million-year-old hominid fossil, could definitely be called a science celebrity.

Tickets are $9, and $6.50 for students with ID.
Natural History Museum of Los Angeles County, 900 Exposition Blvd., Los Angeles 90007, (213) 763-DINO, www.nhm.org.

Schiff Mesmerizes in His Final Recital

Last night, András Schiff wrapped up his complete cycle of Beethoven sonatas. Henry Schlinger, who has attended the recitals since the musical event began at Disney Hall in Fall 2007, provides a closing review.


On Wednesday, April 1, pianist András Schiff concluded his two-season odyssey through the complete Beethoven piano sonatas at Disney Hall with mesmerizing performances of the Op. 109, Op. 110, and Op. 111 sonatas.

In his last recital, perhaps more than any of the previous ones, Schiff became Beethoven, demonstrating not only the technical prowess necessary to play these pieces, but, much more rare, the intellectual and emotional understanding of the sonatas. As with the recital on March 25, Schiff played these three sonatas without intermission in a program that lasted only a little more than an hour. But what an hour it was.

It is difficult to describe Beethoven’s 32 piano sonatas without using superlatives. Collectively, they may be the greatest single musical achievement in Western music -- although the Mozart piano concertos and the Haydn string quartets may be a close second. Many of the sonatas are masterpieces in their own right, and the Op. 109-111 certainly stand on their own as pillars of the art form. But one probably cannot fully appreciate them either individually or as a group unless one is familiar with the 29 that preceded them.

Beethoven was a bit like Picasso; he continuously redefined himself in his music. He wrote revolutionary symphonies, concertos, string quartets, and, of course, piano sonatas. But Beethoven had to define what was revolutionary for himself because he had no contemporary equals and therefore could only rebel against his own musical standards. So it is with these last six sonatas, especially the last three. In each, Beethoven includes movements that are stripped down to their bare essentials with simple, controlled melodic lines that seem more appropriately written for voice and chordal accompaniment. In the Op. 109 and Op. 110 sonatas, the first movements end on the quietest piano and are immediately followed by dramatically contrasting second movements that display what Schiff described in a conversation with Martin Meyer as “demonically agitated energy” and “boisterous anger,” respectively. There are large intervals between the lowest bass and the highest treble keys. There are instances of contrapuntal writing and fugues, most notably in the third movement of the Op. 110, harking back to Bach and Handel. And there are sections in all three sonatas that are downright hymn-like, maybe because he was simultaneously working on his “Missa Solemnis” (Solemn Mass).

Schiff said to Meyer that his favorite movement in all 32 sonatas is the third (theme and variations) movement of the Op. 110. It’s hard to disagree with him on this, although my preference is for the second and final movement of the Op. 111. And it’s not just because it is the concluding movement of all the 32 sonatas. The movement is also a set of variations in C major (in contrast with the dramatic and fateful key of C minor [like the Fifth Symphony] in the first movement), including one that incorporates a jazzy rhythm. But the variations dissolve and the remainder of the movement is characterized by pure sonority, including trills and double trills at the piano’s high registers that become ethereal (and anticipate Ravel and Debussy) before concluding with a simple C major chord -- a fitting conclusion not only for this monumental sonata, but for all 32.

I wished that after each sonata, especially the Op. 109 and Op. 111, the audience wouldn’t have applauded for at least a few minutes so as not to disturb the profound and solemn mood. I know that Schiff agrees because he said to Meyer about the Op. 109: “After a conclusion of that kind, applause should really not be allowed.” One could tell that Schiff felt this way because in the Op. 109 and Op. 111 sonatas, both of which conclude very quietly, Schiff left his hands on the keyboard for several seconds after the last notes sounded. Unfortunately, at the conclusion of the Op. 111, the applause began before Schiff’s hands left the keyboard, but quickly subsided when he didn’t move his hands. It was clear that Schiff was still in the throes of the emotional struggle of not only that sonata but the totality of the three together and perhaps of all 32 he had performed over the last two seasons. This also explains why, despite a standing ovation and several curtain calls, Schiff did not include an encore. What, after all, can follow these three sonatas?

Master Chorale Inspires With Folk Songs

Classical reviewer Theodore Bell checked out the Los Angeles Master Chorale on Sunday.

The Los Angeles Master Chorale presented an inviting folk anthology on Sunday, March 29, in Walt Disney Concert Hall. Grant Gershon led a fascinating musical exposition on themes sampled from Béla Bartók’s “Slovak Folk Songs,” Veljo Tormis’ “Forgotten Peoples Cycle,” Francis Poulenc’s “Chansons Françaises,” and Aaron Copland’s “Old American Songs.” Assistant Conductor Ariel Quintana added the complete “Zigeunerlieder” of Johannes Brahms.

In a pre-concert discussion with KUSC’s Alan Chapman, Gershon explained that because the musical traits of folksong are intimately tied to the language and culture where they originated, they do not translate so well. Thus, the Choir had the additional technical challenge of singing in five languages (including Slovak and Karelian).

Bartók’s four “Slovak Folk Songs” (Sz. 70) fit the Master Chorale to perfection. The gently flowing “Thus Sent the Mother” was ethereal at times, having a blend that was organic in a way one can only feel. As Gershon noted, Bartók took these folk melodies and “raised them to the level of art song.” The 5/8 meter of “Where the Alps Soar so Free” comfortably flowed with graceful balance, and the lively “Food and Drink” and sanguine “Bagpipes Are Playing” snapped nicely with their brisk cadence.

Tormis’ “Forgotten Peoples’ Cycle” was based on the ancient songs of vanishing Baltic and Finnic cultures. Only one of the six groups of the larger work was sung on this program, “Karelian Destiny.” This novel regional musical argot contains harmonic and rhythmic components that sound arcane to the Western ear, but Tormis’ contemporary style easily accommodates. “The Weeping Maidens” was melancholy but warm, and the altos gave a solid performance as they were featured here and in several other songs. Alicia Kirwin Murray sang the closing lullaby so sweetly that there was no need to follow the translation to understand its sentiment.

Brahms was less the musicologist and more the entertainer in the 11 songs of his faux-folk “Zigeunerlieder” (“Gypsy Songs”), Op. 103, with its distinctively Hungarian-flavored melodies. Quintana capably guided the Master Chorale through the homeland, squeezing every bit of the intensity packed in this pithy passion-filled trek through mania and melancholy, and all of the twists between. The piano accompanist, Lisa Edwards, was outstanding, deftly supporting the Chorus at every turn while navigating Brahms’ demanding virtuosity. The ideal acoustics of Disney Hall faithfully transmitted every syllable of the sumptuous “Lieber Gott” through every forte and piano, and the sullen text of “Horch, der Wind” had nary the least bit of sibilant muddle.

Quintana and the Chorus delivered an inspired performance. But in the overall modernist context of the program, “Zigeunerlieder” somehow felt out of place; relative to the other selections it was like a musical first cousin once-removed. Also, the turning of pages in awkward unison as the audience followed the translations was distracting at some critical moments in the first half of the program, and the undimmed lights significantly diminished the ambiance.

The house lights were dimmed for the second portion of the program. Gershon skillfully painted Poulenc’s saturated colors and horizontal harmonies as he leaned into the composer’s surrealist manners. The Chorale flickered bright and dim, evoking moods light and dark, as they sang the eight a cappella “Chansons Françaises.” Gershon had earlier portrayed the music of Poulenc as “unpretentious,” and “distilled down to the essence.” The solo bass unfortunately was overwhelmed at times in the rhythmic male-only march, “Clic, clac, dansez sabots,” although the men sang “La Belle si nous etions” with a rapid, deliberate rhythm, detaching each syllable, and impressing a penetrating earthy quality.

Copland’s collection of "Old American Songs” was obviously the most linguistically and culturally accessible. I lamented that the iconic “Simple Gifts” was not included on the program, but I found myself delighted to be “in that place just right” anyway, as Abdiel Gonzales sang in the “Boatman’s Song.” The sheer horsepower of his piercing voice shook you in your seat without distracting from the simplicity of the text. Gershon’s tempos were familiar and seamless in transition, and the lovely "Little Horses" lullaby was sweet, without a trace of saccharine sentimentality. The minstrel tunes, "Long Time Ago," "At the River," and especially "Ching-A-Ring Chaw" were vigorously expressive in a vernacular the audience understood – iconic Americana.

The familiarity and unmistakable appeal of Copland’s music provided the highpoint of the concert, yanking at the heartstrings. The encore, Copland’s moving “Shenandoah” (Across the Wide Missouri), was especially fine. The delicate sound of lapping waves pulsed from the a cappella counterpoint, and as the rhythmic flowing melodies wound down to a precise pianissimo, we were left with a most gentle comfort to savor.

The Master Chorale, Gershon and Quintana clearly succeeded with this folk-based program. The inherent humanity of this repertoire resonated loud and clear. We left just a bit closer to each other than when we arrived. Bartók, the applied ethnomusicologist – and the other composers for that matter – would have been pleased.

photo by Steve Cohn Photography/courtesy of LA Master Chorale

"Spamalot"

The Center Theatre Group hosts a Spam fest on April Fool's Day from 11:30 a.m. to 2 p.m. at the Music Center Plaza downtown. Not only will tickets go on sale for "Monty Python's Spamalot," the comic musical that lands at the Ahmanson Theatre July 7 through Sept. 6, but Spamwiches, Spam tacos and mead will be available for purchase at the Patina Spotlight Cafe. That's right: Spam at Patina. It may be the first time in history Spam gets a gourmet pricetag. Be sure to dress accordingly for the Fool's Faire, as 98.7 FM's Josh Venable will host the King of Fools Costume Contest with a grand prize of $350 and a little something for all who enter. Of course, the whole reason for celebrating is the box office grand opening, when for one day (and only in person) you can buy tickets at a discounted rate and get a free gift. We hope it's not Spam.

Music Center Plaza, 135 N. Grand Ave., Los Angeles 90012
For more information, (213) 972-4400 or www.CenterTheatreGroup.org.

Weird, Wild Stuff

"TOKYO!"
Head over to the Regent Theatre, get a ticket to "TOKYO!," and let the surreal visions of three filmmakers rain over you. Michel Gondry ("Eternal Sunshine of the Spotless Mind"), Leos Carax ("Lovers on the Bridge"), and Bong Joon-Ho ("The Host") direct three very different variations on a theme (in Japanese and French with subtitles).

Gondry's short, "Interior Design" -- by far the most elegant -- is grounded in the very real struggles of a young couple who have just arrived in Tokyo. Hiroko is there to screen his first film, an esoteric, stylized piece that goes overboard in trying to be original -- and emphasizes how the very triptych we're watching is surreal but still intelligently crafted. While he is excited about his imagined prospects, Akira is upset that she can't even get a job gift-wrapping packages. One morning, she awakes alone in the friend's apartment where they have outworn their welcome, and a dreamlike sequence reveals her newfound usefulness in life.

Carax's "Merde" takes an immediate plunge into the absurd and metaphoric, when a creature (played by Denis Lavant) resembling a devil, terrifying leprechaun, or evil troll emerges from the Tokyo sewers. At first innocently consuming money, cigarettes, and flowers, he sets off a media frenzy, heightened when he disovers grenades left over from World War II in the sewer and wrecks havoc on Tokyo like a human Godzilla. The gibberish exchanged between the creature and his twin-like lawyer in the prison and courtroom can get tiresome, but the symbolic messages of the film win over.

Joon-Ho's "Shaking Tokyo" returns to the more naturalistic bent of the first short, following a shut-in, or hikikimori, who expereinces an unlikely spark of love at the moment of an earthquake. The hikikimori seems far too mentally healthy for someone who has isolated himself from the world for the past 10 years, and he somewhat easily crosses the threshold when he finds out the pizza delivery girl he fell for has become a hikikimori herself. Despite its flaws, the ages-old story of the lover out to rescue his trapped sweetheart serves as a soothing close to the triptych.

Regent Theatre, 1045 Broxton Ave. (between Weyburn & Kinross) in Westwood, (310) 281-8223, www.landmarktheatres.com.

photo from Carax's "Merde"/courtesy of Liberation Entertainment