Following intermission, Carlos & the Gang closed out 2012/13 with a classic, old-school gem: Brahms’ massive First Symphony. The oft-gruff composer took two decades to write this music, but it only took the Oregon Symphony about 45 minutes to knock it out of the proverbial ballpark and prove, once again, why they are Stumpland’s ultimate cover band. The stormy opening measures were underscored by the ominous timpani strokes of Jon “Animal” Greeney who (per the youzhe) held court with a kettle drum masterclass until the final roll of the rocking finale. Every freakin’ section demonstrated sublime moments of glory throughout… Captain Frank and the stand-up guys of the double basses… Mr. John Cox and the impressive array of alpine-infused horns… Evan ably leading the battalion of bassoonists… Jeffrey workin’ it with the sexiest line-up of brass you ever will witness. [Yowza!] And extra-special beavertail salutes go out to oboe god Marty Hebert, flute wonder Jess Sindell, and our kick-ass concertmaster Sarah Kwak: Um, y’all are simply brilliant. Period. Monday night proved to be the perfect capstone atop another transcendent Oregon Symphony season filled with surprises, loaded with talent, and chock-full of the most jaw-dropping music humanity has ever produced. I don’t know about you, but this rodent is already stoked for 2013/14 ~ YAY!
Posts Tagged 'Jonathan Greeney'
Tags: Carlos Kalmar, Jessica Sindell, Johannes Brahms, Jonathan Greeney, Martin Hebert, Oregon Symphony, Sarah Kwak, Symphony 1
Tags: bear, birthday, dvorak, haydn, Hugh Wolff, johnny weir, Jonathan Greeney, Joseph Berger, Martin Helmchen, piano concerto, schnitzer, symphony 82, triple salchow
compared to the titanic mahler 6 from two weeks ago, last night’s lean and clean symphony from papa haydn was practically chamber music. (which sure as hell ain’t a bad thing.) yep: franz joseph’s good ol’ number eighty-two is one of the earliest works the oregon symphony will play this season, and the band dutifully transformed itself into an elite force of classical technicians for the occasion. buzzing with exposed skill, the schnitzer stage hummed along in perpetual motion through a delightfully tight network of melodic lines. [yowza!] although #94 bears the official nickname, i swear to god every symphony by haydn could be accurately called a “surprise” – and last night’s composition was no exception. banging away on a smallish pair of old-school kettledrums, birthday boy jon “animal” greeney helped propel his comrades to a fun finish furnished with droning bagpipe basses, playful volume control, and unpredictable key changes. viva la papa! viva la papa!
antonín dvořák’s one and only piano concerto is so rare… [how rare is it?!] um, it’s so rare the last time our oregon symphony performed it was over 22 years ago! (compare that to Beethoven’s concerto #5 which we heard in 2010 ~ and we’ll hear it again later this season.) having the good sense that pdx was long overdue for a reprise of dvořák’s rarity, *martin helmchen flew in from berlin to give us a taste of what we were missing. unlike most other 19th-century concertos, uncle antonín discarded the prevailing piano vs. orchestra mentality and composed a truly collaborative piece of symphonic music that just happens to feature a giant-ass steinway front and center. like a figure skater performing a perfect string of triple salchows by candlelight, mr. helmchen’s digital skillz were often blurred beneath the band’s overpowering symphonic shadow. until the third movement, the beavs thought joe berger’s horn was the star of the program’s first half. ah, but then an assertive piano kicked off the finale and it was clear whose name was on the schnitzer marquee. with a dark, curly mop of hair bobbing above and a pair of black coat tails fluttering below, herr helmchen layed out some exquisitely wicked technique, his fingers dancing along the keyboard with slavonic joy and brutal virtuosity. oh, yes. viva la martin! viva la martin!
Tags: c-town, hazing, Jonathan Greeney, mallets, shaft, timpani, xalapa, yoko
jonathan greeney just joined the band at the beginning of this season… he’s the one in the back banging on those nifty kettledrums (“timpani” if you want to be all fancy-pants about it). he also responds to texted shout-outs very well. thanks jon! (frosh!)
what’s so awesome about timpani?
As far as orchestral percussion goes, I don’t think there is anything more satisfying than playing timpani with a great orchestra. For those who don’t know, timpani are “pitched drums” tuned on the fly by the use of pedals and cranks which alter the note each drum has to offer at any given time. They also “ring” a lot longer than most drums. On top of all of that, they are loud which puts the timpani in a leading position that can really drive the orchestra. And let’s not forget… chicks dig drummers!
could you talk a bit about the mallets you use?
So you’ve got three main ingredients: the shaft, the core, and the covering material on that core. Any change in any one of these categories changes the sound. The shaft can be made of wood, bamboo or plastic of all different lengths and sizes. The core, which is attached to the end of the shaft, can be made of very hard pressed felt, wood, cork, or leather. The covering material over the core is usually felt. With different combinations of shafts, cores, and covering, you have a lot to play with to achieve the tone you want. Then you can alter the tone even more by how you hit the drum, but that’s a whole other subject.
you realize how difficult it is for me not to make a “shaft” joke here?! jeez. your graduate work took place in cleveland – what do you miss about c-town?
Hands down, the Great Lakes Christmas Ale! I love Portland beers, but god do I miss that Christmas Ale around the holidays! I thought I’d miss the iron chef Michael Simon’s restaurants but I gotta say Portland has the best restaurants I’ve ever been to. We lived on the east side in Shaker Heights and it was a really nice place to raise a family…. then again so is Portland. I can tell you I don’t miss the snow in the winter and the humidity in the summer.
after the christmas ale, the pitcher of dortmunder gold is on me. ahh, memories. okay, um… it’s not like i’ve seen a ton of orchestras play, but it’s obvious you get into your performance and seem a bit more physically expressive than what i might expect from a symphony musician… am i imagining this?
My instrument is a pretty physical one, so that might explain some of it. I feel like a lot of classical musicians in general reserve body movement to achieve a great sound, but for timpani, movement is a big part of it. That being said, I also just really enjoy playing, so I guess I just get into it. I mean, if you take the “prestige” out of this genre and actually “hear” the music, it freakin’ rocks… how can you not get into it???
if you could invite 3 composers to dinner, who would you choose?
Mahler, Stravinsky and Sibelius, for no other reason than they’re my favorite composers. I’d probably have them over to dinner so they could meet my family… and then probably drink a LOT and ask them a million questions about drums!
i understand if you can’t talk about it, but could you shed some light on the hazing you have experienced as a freshman symphony member?
My colleagues will pretend to pay their bills at the bar, leave and then I find out I have to pay for all of it… They’ll have me ask questions to conductors they’re too embarrassed to ask… If I didn’t hear where we are starting in rehearsal they’ll tell me another spot to make me look bad…. They’ll sneak coins on my timpani heads when I’m not looking so when I play they start bouncing all over the place…
your wife is a pianist – how often do you play together?
We never play together actually. There’s not much rep for piano and percussion. It’s probably better for our relationship anyway 🙂 She’s a really amazing player though, and absolutely loves to teach. My name’s Jon and hers is Yoko… don’t worry, I don’t think she’ll be breaking up the band this time!
if i were to buy you a drink, what would you order?
Depends on my mood, Portland has awesome beers and amazing wine, but if you caught me on a typical night I’d order a double Basil Hayden’s bourbon neat.
you were with a mexican orchestra for 2 years before coming here… how are you surviving your first portland winter thus far?
Xalapa was pretty far south but 5,000 feet above sea level so humidity was usually 60-70% and the temp was usually in the 70’s. It was basically perfect weather. Having Cleveland as a buffer made Portland actually really nice.
are you getting stoked for colin currie’s performance?
I’m super stoked! I’ve heard nothing but amazing things about him and the Higdon concerto is a really cool piece! I’m really looking forward to it!
thanks jon! oh, and btw, the classical marmot up in seattle bet the beaver he couldn’t post back-to-back percussionist interviews… we’ll see who’s laughing tomorrow. fucking marmots.
Tags: Alicia DiDonato Paulsen, fresh meat, Jonathan Greeney, new seasons market
i’ll tell you what – the oregon symphony seems to have more fresh meat than the butcher counter at new seasons market. just this week the band added matthew on percussion, ted on bass, and emily and ryan on violin. this is on top of the newbies who joined the symphony’s ranks at the start of the season… kyle on oboe, silu on viola, and the absolutely fabulous jonathan on timpani [jon – zup? plz txt me 4 interview 10x, cb]
oh yeah, technically the band still needs an official flute leader. the classical beaver is of the opinion that alicia d-to-the-d-to-the-p has been filling that role so goddamn perfectly, she can continue to be the “acting” principal ad infinitum. word.