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Jeff Kaliss

Jeff Kaliss has featured and reviewed classical, jazz, rock, and world musics and other entertainment for the San Francisco Chronicle and a host of other regional, national, international, and web-based publications. He holds an MFA in Creative Writing from San Francisco State University, and is the author of I Want to Take You Higher: The Life and Times of Sly & the Family Stone (Backbeat Books) and numerous textbook and encyclopedia entries, album liner notes, and festival program notes.

Articles by this Author

Upcoming Concert
June 7, 2009
Pride comes naturally when you’re a singer with the San Francisco Boys Chorus. Just ask eighth-grader Dominique Shaw about the delightfully eclectic program that he and fellow choristers will be presenting at Calvary Presbyterian Church in San Francisco on June 13.

“We take chances, we try different things,” Shaw points out. “We just don’t stick to regular old classics.”

“Which chorus gets to go to the Inauguration and sing in the presence of the first African-American president?,” adds fifth-grader Julian Moreno, another boy soprano in the SFBC’s advanced Concert Chorus Group. “That was a big honor!”

Several of the patriotic pieces from that historic performance will be showcased at the upcoming concert. But “I didn’t want to do an entire concert of Americana,” notes SFBC Artistic Director and Conductor Ian Robertson. “I wanted to broaden it to the American hemisphere.”

Opening the evening is the magnificent Missa Criolla, a setting of the Catholic mass in Rioplatense Spanish, the dialect of the piece’s Argentinian composer, Ariel Ramírez. (The dialectal pronunciation of the second word of the title is ‘Cree-o-ja’.) In place of the usual classical ensemble, the Missa makes use of Latin American percussion, a string bass, and piano, as well as unfamiliar rhythms based on regional Argentinian dances. Robertson was impressed with how “The opening movement [Kyrie eleison] and the final movement [Agnus Dei] draw from that sense of spiritual stillness which the people on those flat open grasslands feel. And there’s this rambunctious stuff in the middle, which takes these rhythms and thrusts them up to their God.”

Following the transcendent drama of the Missa and an interlude by the SFBC Bellringers will be a Mexican folk lullaby, a favorite of choristers Shaw and Moreno. “It’s peaceful,” says Moreno, who sang it for his grandmother’s funeral. Then comes a kalenda, a precursor of the calypso from Trinidad, sung in pidgin French. A second Argentinian selection, based on a poem, is “altogether more astringent harmonically, very expressive,” says Robertson. San Sereni is a Puerto Rican children’s song with hand movements depicting characters, and for El Barquito, a Venezuelan folk song, “you get to do your own percussion with your hands and feet,” notes Shaw, “and you have to keep the [separate] rhythm of your voice. It’s tough!” A contemporary Venezuelan song is accompanied on the four-stringed cuatro by voice coach Jimmy Kansau, who also sings tenor in this and some other selections. The Chorus closes out the first half of the program with its three souvenirs from the Inauguration, including a setting by Bay Area composer David Conte of words from Obama’s nomination acceptance speech.

After intermission, the younger members of the SFBC's Apprentice, Junior Apprentice, and Intermediate Choruses offer music from Central and North America, as well as France and England. The older Concert and Intermediate Chorus boys will rock out with hits from Bill Haley and the Beach Boys, and all 250 choristers convene for the finale, Irving Berlin’s perennial God Bless America, “With the purity of the boys’ voices,” Robertson says, “there’s always that extra frisson, if you will, of ‘I didn’t expect it to sound like this.’”

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Chamber Orchestra/Orchestra Review
May 19, 2009

“Shadows and Light” was the theme of the final four concerts of the New Century Chamber Orchestra’s current season, with the repertoire selected for references to the night. But what really shone through the five pieces on the variegated program was how wonderfully the music and the players were suited to each other.

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Upcoming Concert
May 11, 2009
Chatting with subscribers who have been with her for all of her ensemble’s 17 seasons, Barbara Day Turner had her mission confirmed. “They’re noting how much being constantly exposed to different things has changed how they listen to music,” Turner reports. “And how it’s changed their tastes.”

Her San José Chamber Orchestra’s May 17 concert at Le Petit Trianon assembles 17 string players in a breadth of emotion as well as chronology. The evening begins with 18th-century contemporaries Luigi Boccherini and Franz Josef Haydn, and continues with a pair of world premieres by the Bay Area’s William Susman and Anica Galindo, and for good measure a couple of 20th-century hits by George Gershwin and Dave Brubeck.

As music director and conductor, Turner’s success in championing new music (including more than 75 world premieres) last year earned the SJCO a first place ASCAP Award for Adventuresome Programming. Her advocacy of new music is also reflected “by the amount of scores that find their way to my front door, unbidden. It’s magnificent and sort of frightening at the same time.” That is, until she and the ensemble get familiar with the “language” of composers like Susman and Galindo, whom she has showcased before.

Their two new works are “actually sort of opposites,” says Turner. With Galindo’s Trinitas, the first part of a commissioned trilogy, “you have an extremely lyric piece that uses strings sort of in the way that Barber does in the Adagio, but not at the upper extreme so much. She uses larger blocks of sound, creating a really rich and warm texture.”

Zydeco Madness, in the words of Palo Alto composer William Susman, is “a response to and a reflection on Hurricane Katrina: the disaster, the tragic events that transpired during and after, and the lack of response to the people.” The title implies a connection to the popular music of the black Creoles of Louisiana, and to that music’s lead instrument, the accordion. The piece was presented in Chicago last month in a solo accordion setting, as performed by Russian virtuoso Stas Venglevski, and has been reset with the SJCO functioning “like a giant accordion on steroids,” in Susman’s words. The composer’s notations on the score reflect his approach to depicting the tragedy, setting out with rapid phrases of “Flowing Hell,” slowing with “Marooned,” and building to a “Hysterically Grinding” emotional high point. Susman, who had grown close to the bedeviled area during his student days at Tulane, evokes the funkiness of zydeco and the wail of Katrina through extensive use of Sul ponticello bowing, tremolo, and other dramatic techniques.

For Turner, the other pieces of her May 17 program are linked with the new compositions in that they all convey “the concept of spirit.” The Boccherini, arranged by Michael Touchi, reflects “the particular flair of Spanish dance” through the eyes and ears of a classical Italian. Touchi’s arrangement of Haydn’s “Emperor” Quartet transports the listener to the “incredibly elegant Austrian spirit” of the late 18th century. Gershwin’s Summertime (arr. William Zinn) and Brubeck’s Blue Rondo à la Turk (arr. Jeremy Cohen) will end the evening in “a quintessentially American spirit,” with evidence of the rewards of cross-pollinating genres.

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