June 3, 2025 • 47 mins
Join us on a melodic journey as we explore the upcoming Missouri Chamber Music Festival with executive director Nina Ferrigno! This year’s event is set to be a spectacular showcase of talent, innovation, and, of course, beautiful music, running from June 9th to 20th, 2025. Nina shares all about the festival's mission to educate and promote classical chamber music, which has been her passion for over a decade. It’s a celebration of both established works and new compositions, and Nina gives us the inside scoop on what to expect.
From world premieres to unique collaborations, each concert is designed to take the audience on a musical adventure. We dive deep into the festival’s themes, including the electrifying world premiere of “Hey, Mr. Drum Machine Man,” composed by Eric Moe. Nina gives us a sneak peek into what makes this piece special, blending the energy of rhythm with the spirit of creativity. Plus, she talks about her role as a pianist and how she collaborates with other talented musicians to create captivating performances.
This episode is packed with interesting anecdotes, including how Nina’s Calyx Piano Trio got its name and the importance of fostering a love for classical music in the community. We even touch on the challenges and joys of organizing such an event, especially in a post-pandemic world. So, whether you're a music aficionado or a curious listener, tune in for a delightful chat that will inspire you to appreciate the magic of live performances and the vibrant arts scene in St. Louis!
[00:00] Introduction to the Missouri Chamber Music Festival
[00:34] Meet the Hosts and Special Guest
[01:37] Return to Civility: Pronunciation Etiquette
[03:42] Interview with Nina Reno: Festival Highlights
[05:26] Exploring the Festival's Performances
[13:56] Concert Two: Bygone
[19:36] Concert Three: Naturally
[23:40] Special Free Event Announcement
[25:30] The Transformative Power of Music
[25:51] Messiaen's Inspiration and Composition
[27:13] Roles of the Pianists
[28:16] The Emotional Impact of Music
[29:10] Synesthesia and Musical Colors
[31:00] Performance and Audience Interaction
[31:40] Challenges of Playing Two Pianos
[33:25] Festival Details and Artist Backgrounds
[35:58] Fun Facts and Mental Floss
[39:02] National Days and Lighthearted Banter
[44:41] Closing Remarks and Credits
Takeaways:
- Nina Ferrigno, the executive director of the Missouri Chamber Music Festival, shares exciting details about the festival's upcoming performances and world premieres, showcasing the vibrant chamber music scene in St. Louis.
- The festival runs from June 9th through June 20th, 2025, featuring a variety of concerts that include not just established works but also new compositions that aim to engage and inspire audiences.
- During the episode, Nina discusses how the festival aims to balance classical music with contemporary pieces, emphasizing the importance of community engagement and education in the arts.
- The conversation highlights the significance of music's ability to evoke emotions and connect people, with Nina sharing her personal experiences of how certain pieces have profoundly impacted her life and performance.
- Nina also dives into the creative process behind choosing the festival's repertoire, focusing on thematic elements that explore spirituality and the human experience through music.
- Listeners are encouraged to attend the festival, not only for the music but for the opportunity to support local artists and enjoy a uniquely curated cultural experience in St. Louis.
Tickets: On sale now: www.mochambermusic.org
- 4-Concert Festival Passes...
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
What do these things have incommon? High quality concerts, nationally
recognized artists, chambermusic concerts as part of an annual
festival, new and commissionedworks, they all happen in St. Louis.
It's the Missouri ChamberMusic Festival, which is going to
take place June 9th throughthe 20th, 2025. More on St. Louis
in Tun. Welcome to St. Louisin Tune and thank you for joining
(00:37):
us for fresh perspectives onissues and events with experts, community
leaders and everyday peoplewho make a difference in shaping
our society and world. I'mArnold Stricker along with co host
Mark Langston.
Yeah. Hey, Arnold.
Greetings to you, Mark. Yeah.
Good to hear you. Good to see you.
It's good to be seen and goodto be heard.
Yeah. Yeah. Got quite a funshow today.
We do. We have a guest who hasbeen on the program. I think she
(01:01):
is pushing the limit as far aswho has been on the show the most
times.
Do we have to get her like ablazer or something? Colored blazer
on Saturday Night Live.
Maybe give her a sticker thatsays, I've been on St. Louis in tune.
I'm very excited about this.
Give her something. I know.
We're glad that you joined ustoday, folks. We want to thank you
(01:22):
for being here. Want to thankour sponsor, Better Rate Mortgage
for their support of the show.You can listen to previous shows@stlintune.com
please help us continue togrow by leaving a review on our website,
Apple Podcast or yourpreferred podcast platform. Our return
to civility today is abouttime. A very good one. Right?
Okay.
(01:42):
And I'm sure everybody willidentify with this. Everyone. If
someone mispronounces a word,politely correct them instead of
poking fun at them. Now, I'vebeen on the receiving end of no.
So here's the little addedthing. Some people say mispronouncing
words is a symptom of an avidreader who's read lots of different
(02:07):
words but just hasn't heardthem spoken. Or maybe you mispronounce
it. As we get a little olderand we buffer and we can't. What's
that word?
Buffer.
We say it wrong. I buffer alot. But there are people who like
to be the walking thesaurusand walking dictionary and the walking
correctionist.
I know that person.
Your mom was an Englishteacher, right?
(02:28):
She was at Webster College atthe time, so, yeah, she was. Yeah,
we were just talking about it earlier.
Yeah.
I'd say, I'm done, Mom. She'dgo, you're cooked. Done means you're.
You finished cooking it?You're finished, Mark. You need to
Say you're finished, not done.So she was always falls right in
with today's arts.
Can I do this? I don't know.Have you ever.
Yeah, that's right.
(02:48):
It's.
May I? Right, correct.
So when you mispronounce aword, there's always somebody who
will, you know, give it toyou. The correction. Some people
do it gracefully, and somepeople are not very graceful in delivering
the correction.
And sometimes it'scontroversial, like root and route,
or I actually think, when inbroadcast school, they told me it
was root, like Route 66. Sowhen they're on, okay, Route 3 in
(03:12):
Illinois, I'm always, like,cringing. It should be Route 3.
And in music theory class, theprofessor said, route, root, root.
The root. This is the root ofthe chord. And I was like, okay,
okey dokey. If someonemispronounces a word, be nice, politely
correct them instead of pokingfun at them. And you have to watch
(03:34):
what part of the countryyou're in because that's maybe how
they pronounce the word.
Here we go. That's a whole.That's a whole show right there.
Nina Ferrigno's in studio.Nina, welcome back to St. Louis in
Tune.
Thank you so much, Arnold.
She is executive director offestival and the pianist of founding
member of the Boston basedCalyx Piano Trio. Where'd the name
(03:55):
Calyx come from?
My colleagues Jennifer andKathy and I, when we were trying
to name ourselves, we werethinking of lots of different things,
but primarily, since we allformed out of playing contemporary
music, working with composers,and we knew that we wanted to have
balance in our programming, wewanted something to feel very organic.
(04:16):
And so calyx is a botanicalterm, and it has to do with the.
It's a protective pre flower.It's a bud, but that's in three.
That opens. Like, the mostprobably recognizable calyx is on
a fuchsia plant that hangsdown and it opens and then the flower
comes out. So we were thinkingabout that in terms of spiders. Yeah,
(04:39):
the three. And having naturalelements. And we also really like
the graphic nature of the L,the Y, the X. And we were. And this
was many years ago, over 22years ago now.
Wow.
Wow.
You learned something.
That's A wow.
Yeah.
20 years.
Although to your point,before, with pronouncing words, a
lot of people will say calyx.I don't know actually if it's a either
(05:04):
or pronunciation. I alwayssaid calyx.
Yeah. Some people would saythe phonet as they're doing, like,
the phonic portion of it. ItMay be short A because you got the
cal, pal, but Y is often usedas a vowel.
Wow.
I know.
This is educational.
It is.
It's also making me sleepy.I'm gonna need a break.
(05:26):
So you got. Interesting showcoming up here June 9th through the
20th. There are actually fourperformances and I would like to
go through those a little bit.And you've been doing this for obviously
15 years. And this one reallycaught my eye. It's a world premiere
performance of hey, Mr. DrumMachine Man. Hey, Mr. Drum Machine
(05:48):
Man. Play that drum for me.That's. I know. Is it something like
that?
It is. So this is a piece thatwas written by a composer out of
Pittsburgh named Eric Moe. AndI had a great good fortune of working
with Eric a bunch of years agothrough my connection with the Boston
Modern Orchestra project. Andwe had gone to U of Pitt where Eric
(06:12):
teaches. And we're doing kindof a music festival there. And Eric
writes. He's just a brilliantguy. He's a brilliant pianist and
he writes really just livelymusic. Lots of ironic and fun titles.
Like he's got a piano concertothat he. It's called Kicking and
(06:32):
Screaming. And so this piecereally caught my eye because a lot
of the thematic part of thefestival this year is about spirit
and what we think of with theword spirit. We can think of something
being spiritual or spirited inan energetic way or the spirit of
people. So that forms thebasis of the whole programming for
(06:56):
the festival this year. Andthis piece, hey, Mr. Drum Machine
man is really fitting intothat idea of rhythm and spirit and
getting up and moving. So Ericwrote this piece. I have a bit of
his program note here. Heasks, is it possible to write a good
piece that has a pseudo cannedDrumbeat? And hey, Mr. Drum Machine
(07:20):
man attempts to answer thisquestion in seven action packed minutes.
The world premiere. Thisactually is a world premiere performance
of it with two live humans. Hehas performed this piece with an
actual drum machine. Drum machine.
Okay.
But this is. And it's beenreally fun. He got very excited when
(07:40):
I asked him about doing thepiece and he said, this is going
to be a world premiere. Andthen he's been really working with
Kevin Rittenhauer who'splaying drum set and giving us reign
to change things to make surefit in with actually having humans
do it instead of machines. Sohe writes here the relationship between
(08:00):
the piano and the drumschanges in a larger time frame throughout
the piece. And it. Though itflirts with familiarity. Eric says,
I think most listeners willfind a number of surprises throughout
its course. And it is really.He uses a really well known rock
motive in the piano and it's.It's great.
He could have titled this.Let's see, what's a music A world.
(08:23):
Hey, mister. Hey. Twopercussion instruments. Piano's a
percussion instrument, Mark.
That's true.
What.
That's classified as a percussion.
Is that really?
Yes.
A piano?
Yes.
Because it's struck.
Yes.
Ah, the keys. You hit the keyand the hammer hits.
So it'd be really interestingto hear that.
I have never thought of it asa percussion instrument.
(08:47):
Most people don't.
Fascinating. Interesting.
You can use that on a trivia contest.
I will, let's say. Yeah, Iknow. That's good. I never.
So you're going to beperforming piano on that one.
Yes.
So what's. What, what can we.You gave us a little glimpse into
that. Give us a little bitmore. What are we. What do we expect
(09:08):
to hear? Is it more rhythmic?Is it more tonal in that piece or.
Yes. So the piece is. It'sreally. This is going to sound ridiculous
to say. It's very catchy. Thedrum set is just rocking out back
there the whole time andthere's a lot of dynamic shifting
and piano. It's a reallyvirtuosic part, but it's lyrical.
(09:30):
There's this sort of bass linethat's very. Really pulled right
from a Jimi Hendrix tune. Andthen the right hand of the piano
starts to set percolate. Ithink that's a good word for it.
Yeah.
In the middle of the piece, weall of a sudden get like kind of
(09:52):
a full blown lyrical melody.But the whole time this drum set
is pushing and urging and thenthe whole thing explodes at the end
with a. Goes. What was fastGoes Breakneck fast.
You know drummers, it's likeyou have to be in shape. Oh, you
(10:12):
just can't get up there and.Okay, I'm going to play the drum
set. Oh, it's like wearyourself out real fast. It's like
running 100 meter dash.
Yes.
You know, 15 times or something.
And Kevin Rittenhauer is justa fabulous musician and he's one
of the percussionists in theSt. Louis Symphony. And though I.
I knew I wanted to do thispiece, I actually had approached
(10:34):
Kevin about a year ago to seeabout having him curate the rest
of the program. I knew Iwanted this idea of what we talked
about before, just havingthings be rhythmically spirited.
But I also wanted to puttogether a performance, a concert
that was going to be makesense for a Percussionist. So Kevin
(10:58):
jumped in and.
Cool.
So Kevin brings a differentperspective, totally percussionist
to the whole thing.
Yes. And he. I had asked himto think about doing this, and. And
when he put this beautifulprogram together, really lovely.
He had mentioned to me he'slike, often percussion is presented
alone, and he wanted to do theexact opposite and program a lot
(11:21):
of mixed ensembles.
No drum solos, then.
No, there is that. We're doingthe Elliott Cole flower pot music,
which is for twopercussionists that are playing eight
flower pots. And that's quitea beautiful piece. They have a lot
of. They have a lot ofimagination and creativity built
(11:42):
into it because they get tochoose the timbre of the pots that
they're using.
That's a great way to put it.Imaginates. It really is. It's different.
Yeah.
How they do that.
Yeah.
And the sound that it makes isthat. That's what really pulls me
in.
Yeah.
I would be curious if some ofthose were all dry pots or some of
them had some moisture put onthem. If the. Change the timbre.
(12:03):
That's. No, that's. It's true.I think. I think they are all just
empty pots. But it's thedifferent material in the ceramics
and of that and the size.
This is for all those parentsout there and teachers who. Where
you've got that. Those couplekids that just were beaten on the
desk or something. They'realways percussionists.
When we go to the baseballgames and we've got some guys out
(12:25):
there with buckets and Lowe'sbuckets and they're beating on them,
they make a good sound. I'mlike, going, okay, this is all right.
There's some artistic valuegoing on here.
Yeah, absolutely. And we gofrom that, which is relatively unpitched,
playing that in that duetbetween these two percussionists,
to a piece by Anders Koppelcalled Toccata. And I think Anders
(12:47):
Coppell is very well known inthe percussion world, and he's written
this toccata, which iscontrapuntal music for melodic instruments.
So there's a. A duet betweenvibraphone and marimba.
Oh, that'd be nice.
Yeah. And then we feature thevibraphone in a piece by local composer,
(13:08):
I should say he's locallybased, Christopher Stark, called
Stars and Dead Reflection. Andthat has piano, double bass clarinet,
and vibraphone. And that'squite a beautiful. Again, timbre
or group sound.
And that's just the firstconcert you're talking about.
Yeah.
Wow. Yeah, that's the firstone, folks. And that's June 9th,
(13:29):
that's at Webster University.And I want to mention you can get
some information on the FourConcert Festival pass at mochambermusic.org
M O chambermusic.org so Nina,walk us through later on you have.
It's a very short season ifpeople aren't like if they're going
to be out of town orsomething. So it's June 9th to June
(13:51):
20th. So you have the 9th, the12th, the 19th and the 20th. So let's
go to the next one. Concertnumber two. Bygone.
Yes, so bygone I'm thinking ofas that guise of spirit where we
miss people who have gone. Andso we're playing, let's see the Ravel
Sonata for Violin and CelloRevel wrote. He was asked to contribute
(14:16):
to a special commemorativeedition of La Revue, which was dedicated
to the memory of ClaudeDebussy who had died in 1918. And
this was in 1920 when Ravelwas asked to do this. So the first
movement of this incrediblepiece was submitted for that. He
(14:38):
finished the rest. It's athree movement work and he finished
the rest of it in 22. And thenwe play the Debussy A string quartet,
which in and of itself waslike a dedication to Foray, but also
just to show just what wasgoing on in the composition. This
was in a particularly fertileera for Debussy. It was written in
(15:02):
the 1890s and it's reallywhere he establishes his creative
voice because he was just anincredible innovator.
And it's interesting what'sgoing on historically during that
time. If you're listening tomusic of 1890s, you would think because
we're Western, you wouldthink, okay, what's going on in the
(15:23):
United States? But what'sgoing on in Europe and what's going
on politically in Europe andthings like that, people are responding
musically and in literaryareas to the things that are going
on.
And the last piece on thatconcert is another homage work. It's
by modern composer Georgi Kurtog.
And.
And it's an homage to RobertSchumann. And this is played brilliantly
(15:48):
by clarinetist Su Ying Kuang,violist Chris Tantilo and pianist
Shen Wen. And it's a verycolorful work in six movements, I
believe. And each 1K kind oftakes on, in commemorating Schumann,
(16:11):
these alter egos that werevery present in Schumann's work.
So Schumann, when he wroteCarnaval, he always had the Florestan
and Eusebius and these kind ofconflicting, yeah, competing aspects
of personality. And so in thishomage K is also using this.
Wow.
(16:31):
And I should mention that thequartet and the Revelle duo are being
performed just by amazingmusicians that are right here in
St. Louis. Nathan Lowry, AnneFink, Chris Tantillo, and Bjorn Ranheim
on cello.
And these aren't pieces thatyou would normally hear in the area
(16:53):
except at the festival thatyou're doing.
Yes. Yeah. And it's just. It'sa thing that I love is this being
able to take while and dreamabout getting these pieces together,
seeing how they play off eachother in a concert format.
This is Arnold Stricker withMark Langston of St. Louis in Tune.
(17:13):
We're talking to NinaFerrigno. She is the executive director
of the festival and the one ofthe founding members of the Boston
based Calyx Piano Trio. Forfolks if you're not familiar with
the Missouri Chamber MusicFestival, they were formed in 2010
to educate, cultivate,promote, foster, sponsor, develop
and encourage understanding ofand public interest in classical
(17:36):
chamber music. Can you believe15 years?
Wow.
I can't.
That's a long time.
I know. It's really snuck up on.
I think it's working.
Yes.
And you have a lot of supportfrom area groups.
Yes, yes. So we are funded inpart by the Missouri Arts Council
(17:58):
and the Regional ArtsCommission. We have a robust community
of private donors. And throughthe years, we've also gotten some
national recognition throughcommissioning grants with Chamber
of Music America. And.
Yeah, that's cool.
We continue to try to bringour message or bring knowledge of
(18:19):
the festival to a wider audience.
Have you seen more peopleattend year after year?
Yes. I will be honest and saythat since COVID it's been a different
thing. We're still getting ourfeet back on the ground. Feet back
on the ground.
So all the more reason thatyou need to go, because they're close.
(18:40):
They're at Webster Universityor they're at Washington University.
Matter of fact, the one thatNina just mentioned is at Graham
Chapel on June 12, and it's agreat venue to hear music at.
Webster. Where are you atWebster University?
We are performing in twodifferent spaces. Three concerts
in two different spaces. Sothe first concert is at the concert
(19:03):
hall, which is part of thecommunity music school. That's that
modern building that is nearto opera Theater. Okay. And then
two of our concerts on the19th and 20th are at the Winifred
Moore Auditorium, which is offof Lockwood Avenue.
Okay.
That big old building off Lockwood.
(19:24):
Big old building.
Big old building.
Yeah. It looks like a castle.
Yes, does.
Okay. Yeah.
So we've had Concert one, Inotice on some notes here, get up.
And concert number two,bygone. Concert number three naturally
explores the spirit of our surroundings.
Yes. So here we have theJoaquin Torina Piano Quartet. And
(19:47):
Torino is a Spanish composer.And this piece is just. He's considered
one of our, like a nationalistcomposer. So this piece really captures
the spirit of a particularplace and time. And also on this
piece, on this concert, excuseme, is the Sariaho Cloud Trio. And
(20:10):
this is Kaya Sariaho. She'svery recently deceased, but was a
modern Finnish composer. Andthis trio is really dealing with
our physical surroundings, thespirit of clouds as they're changing
and moving. And so this, it'sa string trio that is really using
(20:31):
a lot of effects in their, intheir playing, extended technique
and creating atmosphere. Andthen on there, this concert is also
some solo piano worksperformed by Hugh Hinton, a couple
of Artie Matthews. They'recalled Pastime Rags. And Matthews
(20:52):
was a composer living andworking here in St. Louis.
Was he a contemporary of ScottJoplin? Yes.
And so these were really greatpieces. I had the great good fortune
of hearing them in the springwhen Hugh came to St. Louis and he
(21:12):
gave a presentation recital atWebster University where I'm on faculty.
And also on this concert isanother solo piano work by Florence
Price called the FantasyNegre. And that's another just shining
a spotlight on time and placeand our surroundings.
(21:35):
We're going to come back afterour break and talk about concert
number four because Nina'sgoing to be playing on concert number
four also. And we want to aska couple more questions here, but
don't go away, folks. This isArnold Stricker with Mark Langston
of St. Louis and Tomb. We'llbe right back. As strange as it may
(22:02):
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Foreign.
Welcome back to St. Louis inTune. This is Arnold Stricker with
Mark Langston. We are talkingto Nina Ferrigno about the upcoming
Missouri Chamber MusicFestival and that is taking place
from June 9th through the20th. And folks, you can get tickets@mo
(23:58):
chamber music.org mochambermusic.org and we've talked
about the first threeconcerts, but Nina just informed
me there's a special she's gotsomething up her sleeve right now
she's going to tell us about.
Really.
Thanks. We are offering a freeevent and this is on June 17th at
(24:21):
12 noon also at the WinifredMoore Auditorium of Webster University.
And what it is a chance to geta preview and delve inside a bit.
This last concert. So we'reperforming a very large scale work
for two pianos. Hugh Hintonand I will be the performers and
(24:45):
also handling this, I guessfor all intents and purposes, a lecture
demonstration by OliverMessiane. And it's called Visions
de la Main. And so what we'redoing is delving inside Visions and
presenting some of thethematic material that Messian builds.
This very large theperformance time of this piece, this
(25:06):
one piece is about 40 to 45minutes, a seven movement work that
is basically telling thecreation story. And it's a really
transformative piece of music.I played it about the first time
I played it maybe 17 yearsago, something like that. And it
(25:31):
really changed my life, honestly.
And in what way?
It's. Yeah, in what way, if Imay ask? Yeah, absolutely. It's.
You really journey throughthis, this music. You go through
something when you're playingit and hopefully when you're hearing
it too. And it's a piece thatis what he says about it. The piece
(25:59):
takes its inspiration from aQuote of Ernest hello. Which is Amen,
the word of Genesis, whichleads to Revelation. Amen, the word
of Revelation, which is theconsummation of Genesis. And he says
that this piece is composedfor all who give thanks are living
(26:22):
in gratitude for theirexistence, basically. And when he
wrote this piece, he had been.It was commissioned for the Concerts
de la Pleiade that were heldduring the German occupation of Paris.
Oh, wow.
So in 1943. And Messiah, Ithink people maybe do know that he
(26:45):
had been interned in a workcamp during the occupation. And that's
where he had written anothervery spiritual and deep work, the
Quartet for the End of Time.So the piece is. Yeah, it really.
It starts with the creation ofthe world, basically. And so the
(27:05):
way that comes up musically,and it's just something that really
sticks with you. He's writtenthe piece. He wrote the parts for
himself and his wife, YvonneLorio, who was also a fabulous pianist
to play. And he explains thateach of the pianists has a different
(27:26):
role. He assigned the primopart, which is usually considered
the first part, to have allthe rhythmic difficulties, chord
clusters, all that has speed,charm, and quality of sound. And
the second part, which in thepremiere he played, he assigned the
principal melody, the thematicelements. All that demands emotion
(27:48):
and strength. And so it'sinteresting that between the two
pianists, you have the headand the heart.
Right.
And it's. Yeah.
Did you. Are you playing thesame part that you played 17 years
ago?
Yes. Okay, so I'm playing the.I actually am playing the second
part.
Which is, Mark, what I find inperformance. And this is. This could
(28:11):
be for music, I'm just goingto identify as the musician part,
that when you are involved inthe music and you've got all the
technical portions out of theway, you can really focus on what
the composer is trying tocommunicate. And I think, Nina, as
you were talking about howthings can change you or move you,
and even listening to music,if you're listening to it carefully
(28:32):
at the right time, like somemusical scores who do this for movies,
they do this very effectively.I'm thinking of one of the last scenes
of the Godfather and where thedaughter gets murdered on the steps.
For those of you who hadn'twatched the Godfather 3. I'm sorry,
I just gave it away. There itwas. But how music can capture a
(28:54):
moment, and if you gotsomething visually to look at, but
even if you don't, if you'rejust closing your eyes and you're
just listening, how music canjust grab you and move you in your
emotion, a lot of it dependsupon where you are emotionally at
the time. You can havedifferent emotions with that.
True.
I think with Messian as well,he very famously had synesthesia,
(29:15):
which is like a little likewires get crossed in the brain when
it's like tasting a smell orsomething. So he would see. He would
hear music and see colors. Andas part of that, I think that it
informs his musical languagein a sense, because when he's clustering
(29:36):
pitches together incompositions, I always think of this
word colorful. He's creatingsounds that vibrate in a different
way. And we will be addingthat dimension of light to this performance.
We have for each of the sevenmovements, a different ambient light
(29:56):
that will change. I can tellyou that. Back to your original question
of how does it. How did itaffect me so deeply? And I started
to think of the word amen asthe truth of something. And so in
the different movements, it'sthe truth of creation, the truth
of the stars and of the ringedplanet, the truth of Jesus's agony,
(30:19):
truth of desire. ThoughMessian was very spiritual and religious
Catholic person, he also hadthis way of being able to never deny
the. What's happening inhumanity. You know what I mean? It
wasn't all. All for that. It'sso this way of putting the secular
(30:43):
and the spiritual togetherwas. Is just. Yeah.
Interesting. Be it the Amen.
Yes.
Question on is it going to be.When you talk about this with. I
want to get my name correctwith your cohort there, Hugh, who's
going to be performing withyou, Hugh Hinton. Hugh, is it going
to be like a. Not a masterclass, but you're going to be talking
(31:07):
about the piece and are yougoing to be demonstrating like this
is what you need to listen forand stuff like that? Okay.
Yes.
So those are fun, Mark.
Oh, yeah.
So we give a little bit ofbackground of the piece and then
we play a few of themovements, a few of the shorter movements
to. Because there's one themethat goes through the entire piece.
So musical theme. So we showhow that's appearing in different
(31:31):
parts of the piece. Yeah. Andwe had. We also give a chance to
ask questions and a littleaudience interaction there.
That's great.
Some people are reallyinterested in what does it take to
play two pianos together? Sogoing full circle from the first
and talking about the piano asa percussion instrument, it is what
(31:55):
makes it very difficult toplay two instruments, two pianos,
because the attack is veryspecific. So you either feel that
together or you don't.
Yeah.
I Totally get that.
Hugh and I have known eachother almost our whole lives where
we studied with the same pianoteacher in Boston in when we were
(32:17):
teenagers. So playing withhim, it's been.
And here you are together.
Yeah. Still, over the yearswe've played together. It's great
because we have the sameapproach technically. So I. It takes
very little by way of cueing.I know just where he's going to be
(32:38):
and I hope that he feels thesame way with me in terms of when
we're playing together, having the.
Same teacher, that really helps.
Oh, that's crazy. Now, arethese. These are grand pianos.
Yes.
Put together like end on end.
Yes. They nest in each other. Yeah.
That's okay. So you're lookingright at them. Okay.
But that's a little trickybecause we can't see each other's
(32:58):
hands.
Ah. And what kind of pianosare they?
They are Steinway grand pianos.
Steinways. Okay.
All right.
That's neat. Yeah, I played Baldwin.
Webster University is an allSteinway school.
Is that right? Okay.
Shameless plug for Steinwaypiano. Wow.
Actually this plug for WebsterUniversity. No, it's a plug.
(33:18):
And that concert, that freeconcert, folks. June 17th at 12 noon
at Winifred Moore Auditoriumin Webster University. So now we're
to the fourth concert. June20th is the last one.
Yes.
And that is going to be withHugh also.
Yes. And that is where weperform the whole piece of the Messiane.
And starting. It's reallytricky to just go right into that.
(33:40):
We have a solo viola piece byShulamit Ran, who is a composer for
a number many years. She wasteaching in Chicago. I believe she's
retired from that job. Butshe's incredible composer, very expressive,
very lyrical composer. Andthat piece will be performed by Sixto
(34:05):
Franco, who's a Spanishviolist who's been coming to the
festival last couple seasons.
Yeah, you get all theseinternational artists to come into
St. Louis to perform all thesepieces and it's. It's not an easy
thing, folks, to get toorganize this. You might think there's
only four concerts, fiveconcerts. You have to go out way
(34:27):
in advance to get the peoplewho are really good that you want
to have perform these things.Just not like calling somebody up,
hey, next week. What are you doing?
Come on by.
This is true.
It doesn't work that way.
Got to get that word out aboutthese things at this concert.
Mochambermusic.orgmochambermusic.org the four concert
festival pass is $80 singletickets or 25 student tickets. $5
(34:51):
with an ID. Is there a seniordiscount at all? And here's the thing.
If you can go to somethingthat's involving the arts every week,
go to a concert or go to amuseum or go to something. It keeps
you involved in what'shappening, supports groups that are
(35:15):
really striving to keep ourculture moving. And this is a great
festival to support. So it'sthe 15th year, folks, the Missouri
Chamber Music Festival. Youwant to go see one or all of these
concerts? Mochambermusic.orgNina, thanks for coming in again.
Thank you so much. I reallyappreciate the opportunity to speak
(35:36):
about the festival and hope tosee everyone there.
That's great. If you don'tmind staying for. You can stay and
hear our ending of the show orif that's all right.
Sure.
Okay.
Hang around.
You can even participate withsome of these things. It's a participatory.
No, I'm really intrigued.
She's probably perked up now.Mark, I have a new section segment
(36:00):
to the show.
Oh, good. All right.
I've gotten rid of the wordfor the day.
Okay.
And I've gone to mental floss.Mental floss is a.
Is what?
It's. It's a little podcastkind of thing where. And I'm getting
this off a website, but theyhave some amazing facts. But I'm
trying to tune these things. Iused the word tune. I'm trying to
tune these things to theguests that we have and the topic
(36:22):
we're talking about.
Oh, good.
So the mental floss for todayis the Vienna. The Vienna Vegetable
Orchestra turns produce intomusical instruments. Wow. It's a
group recently set a worldrecord for the most concerts performed
by a veggie powered band. 344shows and counting.
Come on. I guess a gardenpots, but yeah.
(36:43):
They utilize instruments madeof carrots, leeks, pumpkins, artichokes,
etc. And like the carrot fluteand egg eggplant clap feature only
one vegetable. Others are morecreative. For example, the cucumber
fone is a bell pepper skeweredby a hollowed cucumber. The veggies
are typically hollowed withdrills and cut with knives and other
(37:03):
tools to create the desiredsound. And other instruments like
the celery guitar. They needto be plugged into sound generators
to produce tones. And you cango to YouTube and see some of these
food instruments demonstratedand the unexpected sounds that they
make.
I have to jump in and just saythat there's a barrier to performing
(37:23):
this because you can't fitpeople even into a Large scale freezer.
Because this has to berefrigerated. You can't play the
cucumber thing on a hot day.
Well said.
Oh, that's great. Because theydo say this. The musicians don't
let the edible equipment go towaste. They're only good for one
(37:46):
performance. They distributethem to the audience after each concert.
Oh, gross.
Either raw or cooked into a soup.
All right. Your hands andyou've been blowing on this. That
is gross.
So the unsalvageable produceis used for organic composting. And
they have a 10 personensemble. Recently set a Guinness
world record for the mostconcert performed by musicians who
(38:08):
play vegetable instruments.
I don't sure about this.
So there's mental floss forthe day. And it was. The Vienna Vegetable
Orchestra turns produce intomusical instruments. Now here's where
my mind goes. My mind goes toNew Year's Eve and the Vienna. The
Vienna Philharmonic plane.
(38:29):
Yeah. Are they going to playthe Magic Flute but turn it into
the Magic cuke.
Wow, that's really good for you.
The magic leak.
I like that.
I want to hear some Straussfrom the Vienna Vegetable Orchestra.
There you go. Ladies andgentlemen. Here they are.
All right.
You don't want them slippingon a banana field.
(38:53):
Yeah.
Wow.
You told me I could participate.
Absolutely. This is great.This is great.
I know.
Mark, you have a day for the day.
No. How can I follow any ofthat today? Interesting. Seeing how
you're talking about food.Today is national egg day. Do you
not have anything to say about that?
Eggs are going up again. Theywill be.
(39:14):
Oh, really?
We have a chicken producers I know.
In Arizona lost 95% of the chickens.
How did they do? Bird flu.
So you know eggs are going tobe going up.
So much for that campaign.
All right, what's next, Mark?We have national egg on your face
(39:36):
day.
Egg on your face day. Anational chocolate macaroon day.
Oh, do you like chocolate macaroons?
Yeah, I like any macaroon.
It's national repeat day.Repeating can be a wonderful thing.
Especially when it involves anactivity that we love.
Music.
Yeah. Going back to the samething. A world bicycle day. I know
(39:56):
you like to ride a bicycle.
Yes, I do.
I don't know. Yeah.
Electric bicycle.
World cider. Electric bike.
That's right.
Isn't that just called sitting?
Yes.
No, it's pedal assist. Or Ican turn it off. So it just depends
upon how my knees are feeling.
He doesn't ever turn it off though.
Or I could just. I could justthrottle the whole way.
(40:16):
Okay. Global running day.
Global Running day. Ask thosefolks where their knees will be at
age 60.
Cheese Day? You like cheese? Iam a big cheese. I love cheese. I
don't know what's wrong withme. How about national hug your cat
day?
Hug your cat day?
Sometimes they scratch. Theyhave those.
My cat got the pillow thrownin him this morning.
(40:38):
Is that right?
Scratched my foot hanging offthe side of the bed. Woke me up at4.57.
National Old Maids day. Thecard game. Card game, not the Old
Maids. That's terrible. ANational Cognac day. You like cognac?
Never really had it.
No. Shopping cart day. Checkthat shopping cart. Do you have stuff
in shopping carts that younever bought?
(40:58):
No, no.
I got a few things in my shop.
So it's not a physicalshopping cart, it's the virtual shopping
cart.
Yeah, the virtual shoppingcart. Yeah, I've got a couple of
those. Just a couple left.This is one of Arnold's favorites.
A national Moonshine day. Hewaits all year for the national Moonshine
Day.
Just wait. I've got the jokesfor you, Mark.
(41:20):
Oh, no. Let's see. I don'tknow if I have a hot air balloon
day. Have you ever been up ina hot air balloon?
I've not love it.
Been up many times.
Really?
I was even in the hare andhound race. And I was the hare.
Really?
That was spectacular. It's SixFlags. When I was at another radio
station, we did a promotionwhere I was on that first balloon
and we went up and it wasspectacular to look back and see
(41:44):
all the balloons rise up andtake off. I got hooked there for
a couple of years. I'd takelittle balloon rides. Has to be.
The winds have to be 10 milesan hour or less to go on a hot air
balloon.
And you have to have a lot of insurance.
Yeah, it's tough. Yeah. Whenyou hit them. But of course. What.
How do you land hard?
Yeah, but the chase crew, theyhave a chase crew that chases you.
(42:09):
But the tradition is theybring champagne. So you got to get.
Have some champagne as soon asyou hit the ground. Gotta look. Yeah,
it's tough. You gotta look forthose power lines. You can't really
steer a balloon very much.They can go up and catch a wind and
go down and catch a differentwind. So that's how they try to move
(42:31):
it.
Power lines that freak me out.
Power lines are the. Yeah,that's the scary thing. But and one
last thing. National thank you day.
It should be every day.
Yes. Yeah. I don't know whyyou just pick one day.
Should Be every day.
That's about all I got.Probably more than I need.
You like ballooning? Soskydiving. I went skydiving today
for the first time. This guystrapped himself to me. We jumped
(42:52):
out of the plane, and as wewere plummeting, he said, so how
long have you been an instructor?
Oh, no.
Have you been in one of thosemoods where you. You don't really
know what's wrong, but youfeel really irritated with everyone
and everything?
Yep.
(43:13):
This morning I talked aboutthe cat, but this morning I saw a
neighbor talking to her cat.It was obvious they. Obvious that
she thought her cat understoodher. I came to my house, I told my
dog, and we just laughed a lot.
Have to put up with this allthe time. Time. That's what I'll
let you know.
Let's see here.
(43:33):
Oh, there's more. That's too bad.
There we go. Out of all mybody parts, my eyeballs are in the
best shape because I rollthem, like, 342 times a day.
There you go. Thank you. Takea bow. Okay. That's great.
Oh, and how do people go tosleep as soon as they close their
eyes? Have you ever found thatout? Some people, boom. It takes
(43:54):
me three hours, 11 pillowflips, seven different positions,
two trips to the bathroom, anda partridge in a pear tree. Wow.
Tough road, isn't it?
And I need everyone to wish meluck because I have a meeting later
at the bank, and if all goeswell, I will be out of debt. I'm
so excited, I can barely putmy ski mask on.
(44:16):
One more time.
And let's see. Here we go.Last one, Mark. No, he goes. Thank
goodness.
Thank goodness.
I helped my neighbor out withsomething this morning, and she said
to me, I could marry you. Icouldn't believe it. You do something
nice for someone, and theythreaten to ruin your life in return.
Take a mile, please. Allright. Take a mile.
(44:38):
Not really, folks. Not really.Thanks for listening. That's all
for this hour. If you'veenjoyed this episode, you can listen
to additionalshows@stlintune.com consider leaving
a review on our website, ApplePodcast, Podchaser, or your preferred
podcast platform. Yourfeedback helps us reach more listeners
and continue to grow. I wantto thank Bob Berthasel for our theme
music, our sponsor, BetterRate Mortgage, our guest, Nina Ferrigno,
(45:01):
and co host, Mark Langston.And we thank you, folks, for being
a part of our community ofcurious minds. St. Louis in tune
is a production of Motif MediaGroup and the US Radio Network. Remember
to keep seeking, keeplearning, Walk worthy and let your
light shine for St Lucian tilltuned I'm Arnold Stricker.
(47:03):
It.
What do these things have incommon? High quality concerts, nationally
recognized artists, chambermusic concerts as part of an annual
festival, new and commissionedworks, they all happen in St. Louis.
It's the Missouri ChamberMusic Festival, which is going to
take place June 9th throughthe 20th, 2025. More on St. Louis
in Tun. Welcome to St. Louisin Tune and thank you for joining
(00:37):
us for fresh perspectives onissues and events with experts, community
leaders and everyday peoplewho make a difference in shaping
our society and world. I'mArnold Stricker along with co host
Mark Langston.
Yeah. Hey, Arnold.
Greetings to you, Mark. Yeah.
Good to hear you. Good to see you.
It's good to be seen and goodto be heard.
Yeah. Yeah. Got quite a funshow today.
We do. We have a guest who hasbeen on the program. I think she
(01:01):
is pushing the limit as far aswho has been on the show the most
times.
Do we have to get her like ablazer or something? Colored blazer
on Saturday Night Live.
Maybe give her a sticker thatsays, I've been on St. Louis in tune.
I'm very excited about this.
Give her something. I know.
We're glad that you joined ustoday, folks. We want to thank you
(01:22):
for being here. Want to thankour sponsor, Better Rate Mortgage
for their support of the show.You can listen to previous shows@stlintune.com
please help us continue togrow by leaving a review on our website,
Apple Podcast or yourpreferred podcast platform. Our return
to civility today is abouttime. A very good one. Right?
Okay.
(01:42):
And I'm sure everybody willidentify with this. Everyone. If
someone mispronounces a word,politely correct them instead of
poking fun at them. Now, I'vebeen on the receiving end of no.
So here's the little addedthing. Some people say mispronouncing
words is a symptom of an avidreader who's read lots of different
(02:07):
words but just hasn't heardthem spoken. Or maybe you mispronounce
it. As we get a little olderand we buffer and we can't. What's
that word?
Buffer.
We say it wrong. I buffer alot. But there are people who like
to be the walking thesaurusand walking dictionary and the walking
correctionist.
I know that person.
Your mom was an Englishteacher, right?
(02:28):
She was at Webster College atthe time, so, yeah, she was. Yeah,
we were just talking about it earlier.
Yeah.
I'd say, I'm done, Mom. She'dgo, you're cooked. Done means you're.
You finished cooking it?You're finished, Mark. You need to
Say you're finished, not done.So she was always falls right in
with today's arts.
Can I do this? I don't know.Have you ever.
Yeah, that's right.
(02:48):
It's.
May I? Right, correct.
So when you mispronounce aword, there's always somebody who
will, you know, give it toyou. The correction. Some people
do it gracefully, and somepeople are not very graceful in delivering
the correction.
And sometimes it'scontroversial, like root and route,
or I actually think, when inbroadcast school, they told me it
was root, like Route 66. Sowhen they're on, okay, Route 3 in
(03:12):
Illinois, I'm always, like,cringing. It should be Route 3.
And in music theory class, theprofessor said, route, root, root.
The root. This is the root ofthe chord. And I was like, okay,
okey dokey. If someonemispronounces a word, be nice, politely
correct them instead of pokingfun at them. And you have to watch
(03:34):
what part of the countryyou're in because that's maybe how
they pronounce the word.
Here we go. That's a whole.That's a whole show right there.
Nina Ferrigno's in studio.Nina, welcome back to St. Louis in
Tune.
Thank you so much, Arnold.
She is executive director offestival and the pianist of founding
member of the Boston basedCalyx Piano Trio. Where'd the name
(03:55):
Calyx come from?
My colleagues Jennifer andKathy and I, when we were trying
to name ourselves, we werethinking of lots of different things,
but primarily, since we allformed out of playing contemporary
music, working with composers,and we knew that we wanted to have
balance in our programming, wewanted something to feel very organic.
(04:16):
And so calyx is a botanicalterm, and it has to do with the.
It's a protective pre flower.It's a bud, but that's in three.
That opens. Like, the mostprobably recognizable calyx is on
a fuchsia plant that hangsdown and it opens and then the flower
comes out. So we were thinkingabout that in terms of spiders. Yeah,
(04:39):
the three. And having naturalelements. And we also really like
the graphic nature of the L,the Y, the X. And we were. And this
was many years ago, over 22years ago now.
Wow.
Wow.
You learned something.
That's A wow.
Yeah.
20 years.
Although to your point,before, with pronouncing words, a
lot of people will say calyx.I don't know actually if it's a either
(05:04):
or pronunciation. I alwayssaid calyx.
Yeah. Some people would saythe phonet as they're doing, like,
the phonic portion of it. ItMay be short A because you got the
cal, pal, but Y is often usedas a vowel.
Wow.
I know.
This is educational.
It is.
It's also making me sleepy.I'm gonna need a break.
(05:26):
So you got. Interesting showcoming up here June 9th through the
20th. There are actually fourperformances and I would like to
go through those a little bit.And you've been doing this for obviously
15 years. And this one reallycaught my eye. It's a world premiere
performance of hey, Mr. DrumMachine Man. Hey, Mr. Drum Machine
(05:48):
Man. Play that drum for me.That's. I know. Is it something like
that?
It is. So this is a piece thatwas written by a composer out of
Pittsburgh named Eric Moe. AndI had a great good fortune of working
with Eric a bunch of years agothrough my connection with the Boston
Modern Orchestra project. Andwe had gone to U of Pitt where Eric
(06:12):
teaches. And we're doing kindof a music festival there. And Eric
writes. He's just a brilliantguy. He's a brilliant pianist and
he writes really just livelymusic. Lots of ironic and fun titles.
Like he's got a piano concertothat he. It's called Kicking and
(06:32):
Screaming. And so this piecereally caught my eye because a lot
of the thematic part of thefestival this year is about spirit
and what we think of with theword spirit. We can think of something
being spiritual or spirited inan energetic way or the spirit of
people. So that forms thebasis of the whole programming for
(06:56):
the festival this year. Andthis piece, hey, Mr. Drum Machine
man is really fitting intothat idea of rhythm and spirit and
getting up and moving. So Ericwrote this piece. I have a bit of
his program note here. Heasks, is it possible to write a good
piece that has a pseudo cannedDrumbeat? And hey, Mr. Drum Machine
(07:20):
man attempts to answer thisquestion in seven action packed minutes.
The world premiere. Thisactually is a world premiere performance
of it with two live humans. Hehas performed this piece with an
actual drum machine. Drum machine.
Okay.
But this is. And it's beenreally fun. He got very excited when
(07:40):
I asked him about doing thepiece and he said, this is going
to be a world premiere. Andthen he's been really working with
Kevin Rittenhauer who'splaying drum set and giving us reign
to change things to make surefit in with actually having humans
do it instead of machines. Sohe writes here the relationship between
(08:00):
the piano and the drumschanges in a larger time frame throughout
the piece. And it. Though itflirts with familiarity. Eric says,
I think most listeners willfind a number of surprises throughout
its course. And it is really.He uses a really well known rock
motive in the piano and it's.It's great.
He could have titled this.Let's see, what's a music A world.
(08:23):
Hey, mister. Hey. Twopercussion instruments. Piano's a
percussion instrument, Mark.
That's true.
What.
That's classified as a percussion.
Is that really?
Yes.
A piano?
Yes.
Because it's struck.
Yes.
Ah, the keys. You hit the keyand the hammer hits.
So it'd be really interestingto hear that.
I have never thought of it asa percussion instrument.
(08:47):
Most people don't.
Fascinating. Interesting.
You can use that on a trivia contest.
I will, let's say. Yeah, Iknow. That's good. I never.
So you're going to beperforming piano on that one.
Yes.
So what's. What, what can we.You gave us a little glimpse into
that. Give us a little bitmore. What are we. What do we expect
(09:08):
to hear? Is it more rhythmic?Is it more tonal in that piece or.
Yes. So the piece is. It'sreally. This is going to sound ridiculous
to say. It's very catchy. Thedrum set is just rocking out back
there the whole time andthere's a lot of dynamic shifting
and piano. It's a reallyvirtuosic part, but it's lyrical.
(09:30):
There's this sort of bass linethat's very. Really pulled right
from a Jimi Hendrix tune. Andthen the right hand of the piano
starts to set percolate. Ithink that's a good word for it.
Yeah.
In the middle of the piece, weall of a sudden get like kind of
(09:52):
a full blown lyrical melody.But the whole time this drum set
is pushing and urging and thenthe whole thing explodes at the end
with a. Goes. What was fastGoes Breakneck fast.
You know drummers, it's likeyou have to be in shape. Oh, you
(10:12):
just can't get up there and.Okay, I'm going to play the drum
set. Oh, it's like wearyourself out real fast. It's like
running 100 meter dash.
Yes.
You know, 15 times or something.
And Kevin Rittenhauer is justa fabulous musician and he's one
of the percussionists in theSt. Louis Symphony. And though I.
I knew I wanted to do thispiece, I actually had approached
(10:34):
Kevin about a year ago to seeabout having him curate the rest
of the program. I knew Iwanted this idea of what we talked
about before, just havingthings be rhythmically spirited.
But I also wanted to puttogether a performance, a concert
that was going to be makesense for a Percussionist. So Kevin
(10:58):
jumped in and.
Cool.
So Kevin brings a differentperspective, totally percussionist
to the whole thing.
Yes. And he. I had asked himto think about doing this, and. And
when he put this beautifulprogram together, really lovely.
He had mentioned to me he'slike, often percussion is presented
alone, and he wanted to do theexact opposite and program a lot
(11:21):
of mixed ensembles.
No drum solos, then.
No, there is that. We're doingthe Elliott Cole flower pot music,
which is for twopercussionists that are playing eight
flower pots. And that's quitea beautiful piece. They have a lot
of. They have a lot ofimagination and creativity built
(11:42):
into it because they get tochoose the timbre of the pots that
they're using.
That's a great way to put it.Imaginates. It really is. It's different.
Yeah.
How they do that.
Yeah.
And the sound that it makes isthat. That's what really pulls me
in.
Yeah.
I would be curious if some ofthose were all dry pots or some of
them had some moisture put onthem. If the. Change the timbre.
(12:03):
That's. No, that's. It's true.I think. I think they are all just
empty pots. But it's thedifferent material in the ceramics
and of that and the size.
This is for all those parentsout there and teachers who. Where
you've got that. Those couplekids that just were beaten on the
desk or something. They'realways percussionists.
When we go to the baseballgames and we've got some guys out
(12:25):
there with buckets and Lowe'sbuckets and they're beating on them,
they make a good sound. I'mlike, going, okay, this is all right.
There's some artistic valuegoing on here.
Yeah, absolutely. And we gofrom that, which is relatively unpitched,
playing that in that duetbetween these two percussionists,
to a piece by Anders Koppelcalled Toccata. And I think Anders
(12:47):
Coppell is very well known inthe percussion world, and he's written
this toccata, which iscontrapuntal music for melodic instruments.
So there's a. A duet betweenvibraphone and marimba.
Oh, that'd be nice.
Yeah. And then we feature thevibraphone in a piece by local composer,
(13:08):
I should say he's locallybased, Christopher Stark, called
Stars and Dead Reflection. Andthat has piano, double bass clarinet,
and vibraphone. And that'squite a beautiful. Again, timbre
or group sound.
And that's just the firstconcert you're talking about.
Yeah.
Wow. Yeah, that's the firstone, folks. And that's June 9th,
(13:29):
that's at Webster University.And I want to mention you can get
some information on the FourConcert Festival pass at mochambermusic.org
M O chambermusic.org so Nina,walk us through later on you have.
It's a very short season ifpeople aren't like if they're going
to be out of town orsomething. So it's June 9th to June
(13:51):
20th. So you have the 9th, the12th, the 19th and the 20th. So let's
go to the next one. Concertnumber two. Bygone.
Yes, so bygone I'm thinking ofas that guise of spirit where we
miss people who have gone. Andso we're playing, let's see the Ravel
Sonata for Violin and CelloRevel wrote. He was asked to contribute
(14:16):
to a special commemorativeedition of La Revue, which was dedicated
to the memory of ClaudeDebussy who had died in 1918. And
this was in 1920 when Ravelwas asked to do this. So the first
movement of this incrediblepiece was submitted for that. He
(14:38):
finished the rest. It's athree movement work and he finished
the rest of it in 22. And thenwe play the Debussy A string quartet,
which in and of itself waslike a dedication to Foray, but also
just to show just what wasgoing on in the composition. This
was in a particularly fertileera for Debussy. It was written in
(15:02):
the 1890s and it's reallywhere he establishes his creative
voice because he was just anincredible innovator.
And it's interesting what'sgoing on historically during that
time. If you're listening tomusic of 1890s, you would think because
we're Western, you wouldthink, okay, what's going on in the
(15:23):
United States? But what'sgoing on in Europe and what's going
on politically in Europe andthings like that, people are responding
musically and in literaryareas to the things that are going
on.
And the last piece on thatconcert is another homage work. It's
by modern composer Georgi Kurtog.
And.
And it's an homage to RobertSchumann. And this is played brilliantly
(15:48):
by clarinetist Su Ying Kuang,violist Chris Tantilo and pianist
Shen Wen. And it's a verycolorful work in six movements, I
believe. And each 1K kind oftakes on, in commemorating Schumann,
(16:11):
these alter egos that werevery present in Schumann's work.
So Schumann, when he wroteCarnaval, he always had the Florestan
and Eusebius and these kind ofconflicting, yeah, competing aspects
of personality. And so in thishomage K is also using this.
Wow.
(16:31):
And I should mention that thequartet and the Revelle duo are being
performed just by amazingmusicians that are right here in
St. Louis. Nathan Lowry, AnneFink, Chris Tantillo, and Bjorn Ranheim
on cello.
And these aren't pieces thatyou would normally hear in the area
(16:53):
except at the festival thatyou're doing.
Yes. Yeah. And it's just. It'sa thing that I love is this being
able to take while and dreamabout getting these pieces together,
seeing how they play off eachother in a concert format.
This is Arnold Stricker withMark Langston of St. Louis in Tune.
(17:13):
We're talking to NinaFerrigno. She is the executive director
of the festival and the one ofthe founding members of the Boston
based Calyx Piano Trio. Forfolks if you're not familiar with
the Missouri Chamber MusicFestival, they were formed in 2010
to educate, cultivate,promote, foster, sponsor, develop
and encourage understanding ofand public interest in classical
(17:36):
chamber music. Can you believe15 years?
Wow.
I can't.
That's a long time.
I know. It's really snuck up on.
I think it's working.
Yes.
And you have a lot of supportfrom area groups.
Yes, yes. So we are funded inpart by the Missouri Arts Council
(17:58):
and the Regional ArtsCommission. We have a robust community
of private donors. And throughthe years, we've also gotten some
national recognition throughcommissioning grants with Chamber
of Music America. And.
Yeah, that's cool.
We continue to try to bringour message or bring knowledge of
(18:19):
the festival to a wider audience.
Have you seen more peopleattend year after year?
Yes. I will be honest and saythat since COVID it's been a different
thing. We're still getting ourfeet back on the ground. Feet back
on the ground.
So all the more reason thatyou need to go, because they're close.
(18:40):
They're at Webster Universityor they're at Washington University.
Matter of fact, the one thatNina just mentioned is at Graham
Chapel on June 12, and it's agreat venue to hear music at.
Webster. Where are you atWebster University?
We are performing in twodifferent spaces. Three concerts
in two different spaces. Sothe first concert is at the concert
(19:03):
hall, which is part of thecommunity music school. That's that
modern building that is nearto opera Theater. Okay. And then
two of our concerts on the19th and 20th are at the Winifred
Moore Auditorium, which is offof Lockwood Avenue.
Okay.
That big old building off Lockwood.
(19:24):
Big old building.
Big old building.
Yeah. It looks like a castle.
Yes, does.
Okay. Yeah.
So we've had Concert one, Inotice on some notes here, get up.
And concert number two,bygone. Concert number three naturally
explores the spirit of our surroundings.
Yes. So here we have theJoaquin Torina Piano Quartet. And
(19:47):
Torino is a Spanish composer.And this piece is just. He's considered
one of our, like a nationalistcomposer. So this piece really captures
the spirit of a particularplace and time. And also on this
piece, on this concert, excuseme, is the Sariaho Cloud Trio. And
(20:10):
this is Kaya Sariaho. She'svery recently deceased, but was a
modern Finnish composer. Andthis trio is really dealing with
our physical surroundings, thespirit of clouds as they're changing
and moving. And so this, it'sa string trio that is really using
(20:31):
a lot of effects in their, intheir playing, extended technique
and creating atmosphere. Andthen on there, this concert is also
some solo piano worksperformed by Hugh Hinton, a couple
of Artie Matthews. They'recalled Pastime Rags. And Matthews
(20:52):
was a composer living andworking here in St. Louis.
Was he a contemporary of ScottJoplin? Yes.
And so these were really greatpieces. I had the great good fortune
of hearing them in the springwhen Hugh came to St. Louis and he
(21:12):
gave a presentation recital atWebster University where I'm on faculty.
And also on this concert isanother solo piano work by Florence
Price called the FantasyNegre. And that's another just shining
a spotlight on time and placeand our surroundings.
(21:35):
We're going to come back afterour break and talk about concert
number four because Nina'sgoing to be playing on concert number
four also. And we want to aska couple more questions here, but
don't go away, folks. This isArnold Stricker with Mark Langston
of St. Louis and Tomb. We'llbe right back. As strange as it may
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Foreign.
Welcome back to St. Louis inTune. This is Arnold Stricker with
Mark Langston. We are talkingto Nina Ferrigno about the upcoming
Missouri Chamber MusicFestival and that is taking place
from June 9th through the20th. And folks, you can get tickets@mo
(23:58):
chamber music.org mochambermusic.org and we've talked
about the first threeconcerts, but Nina just informed
me there's a special she's gotsomething up her sleeve right now
she's going to tell us about.
Really.
Thanks. We are offering a freeevent and this is on June 17th at
(24:21):
12 noon also at the WinifredMoore Auditorium of Webster University.
And what it is a chance to geta preview and delve inside a bit.
This last concert. So we'reperforming a very large scale work
for two pianos. Hugh Hintonand I will be the performers and
(24:45):
also handling this, I guessfor all intents and purposes, a lecture
demonstration by OliverMessiane. And it's called Visions
de la Main. And so what we'redoing is delving inside Visions and
presenting some of thethematic material that Messian builds.
This very large theperformance time of this piece, this
(25:06):
one piece is about 40 to 45minutes, a seven movement work that
is basically telling thecreation story. And it's a really
transformative piece of music.I played it about the first time
I played it maybe 17 yearsago, something like that. And it
(25:31):
really changed my life, honestly.
And in what way?
It's. Yeah, in what way, if Imay ask? Yeah, absolutely. It's.
You really journey throughthis, this music. You go through
something when you're playingit and hopefully when you're hearing
it too. And it's a piece thatis what he says about it. The piece
(25:59):
takes its inspiration from aQuote of Ernest hello. Which is Amen,
the word of Genesis, whichleads to Revelation. Amen, the word
of Revelation, which is theconsummation of Genesis. And he says
that this piece is composedfor all who give thanks are living
(26:22):
in gratitude for theirexistence, basically. And when he
wrote this piece, he had been.It was commissioned for the Concerts
de la Pleiade that were heldduring the German occupation of Paris.
Oh, wow.
So in 1943. And Messiah, Ithink people maybe do know that he
(26:45):
had been interned in a workcamp during the occupation. And that's
where he had written anothervery spiritual and deep work, the
Quartet for the End of Time.So the piece is. Yeah, it really.
It starts with the creation ofthe world, basically. And so the
(27:05):
way that comes up musically,and it's just something that really
sticks with you. He's writtenthe piece. He wrote the parts for
himself and his wife, YvonneLorio, who was also a fabulous pianist
to play. And he explains thateach of the pianists has a different
(27:26):
role. He assigned the primopart, which is usually considered
the first part, to have allthe rhythmic difficulties, chord
clusters, all that has speed,charm, and quality of sound. And
the second part, which in thepremiere he played, he assigned the
principal melody, the thematicelements. All that demands emotion
(27:48):
and strength. And so it'sinteresting that between the two
pianists, you have the headand the heart.
Right.
And it's. Yeah.
Did you. Are you playing thesame part that you played 17 years
ago?
Yes. Okay, so I'm playing the.I actually am playing the second
part.
Which is, Mark, what I find inperformance. And this is. This could
(28:11):
be for music, I'm just goingto identify as the musician part,
that when you are involved inthe music and you've got all the
technical portions out of theway, you can really focus on what
the composer is trying tocommunicate. And I think, Nina, as
you were talking about howthings can change you or move you,
and even listening to music,if you're listening to it carefully
(28:32):
at the right time, like somemusical scores who do this for movies,
they do this very effectively.I'm thinking of one of the last scenes
of the Godfather and where thedaughter gets murdered on the steps.
For those of you who hadn'twatched the Godfather 3. I'm sorry,
I just gave it away. There itwas. But how music can capture a
(28:54):
moment, and if you gotsomething visually to look at, but
even if you don't, if you'rejust closing your eyes and you're
just listening, how music canjust grab you and move you in your
emotion, a lot of it dependsupon where you are emotionally at
the time. You can havedifferent emotions with that.
True.
I think with Messian as well,he very famously had synesthesia,
(29:15):
which is like a little likewires get crossed in the brain when
it's like tasting a smell orsomething. So he would see. He would
hear music and see colors. Andas part of that, I think that it
informs his musical languagein a sense, because when he's clustering
(29:36):
pitches together incompositions, I always think of this
word colorful. He's creatingsounds that vibrate in a different
way. And we will be addingthat dimension of light to this performance.
We have for each of the sevenmovements, a different ambient light
(29:56):
that will change. I can tellyou that. Back to your original question
of how does it. How did itaffect me so deeply? And I started
to think of the word amen asthe truth of something. And so in
the different movements, it'sthe truth of creation, the truth
of the stars and of the ringedplanet, the truth of Jesus's agony,
(30:19):
truth of desire. ThoughMessian was very spiritual and religious
Catholic person, he also hadthis way of being able to never deny
the. What's happening inhumanity. You know what I mean? It
wasn't all. All for that. It'sso this way of putting the secular
(30:43):
and the spiritual togetherwas. Is just. Yeah.
Interesting. Be it the Amen.
Yes.
Question on is it going to be.When you talk about this with. I
want to get my name correctwith your cohort there, Hugh, who's
going to be performing withyou, Hugh Hinton. Hugh, is it going
to be like a. Not a masterclass, but you're going to be talking
(31:07):
about the piece and are yougoing to be demonstrating like this
is what you need to listen forand stuff like that? Okay.
Yes.
So those are fun, Mark.
Oh, yeah.
So we give a little bit ofbackground of the piece and then
we play a few of themovements, a few of the shorter movements
to. Because there's one themethat goes through the entire piece.
So musical theme. So we showhow that's appearing in different
(31:31):
parts of the piece. Yeah. Andwe had. We also give a chance to
ask questions and a littleaudience interaction there.
That's great.
Some people are reallyinterested in what does it take to
play two pianos together? Sogoing full circle from the first
and talking about the piano asa percussion instrument, it is what
(31:55):
makes it very difficult toplay two instruments, two pianos,
because the attack is veryspecific. So you either feel that
together or you don't.
Yeah.
I Totally get that.
Hugh and I have known eachother almost our whole lives where
we studied with the same pianoteacher in Boston in when we were
(32:17):
teenagers. So playing withhim, it's been.
And here you are together.
Yeah. Still, over the yearswe've played together. It's great
because we have the sameapproach technically. So I. It takes
very little by way of cueing.I know just where he's going to be
(32:38):
and I hope that he feels thesame way with me in terms of when
we're playing together, having the.
Same teacher, that really helps.
Oh, that's crazy. Now, arethese. These are grand pianos.
Yes.
Put together like end on end.
Yes. They nest in each other. Yeah.
That's okay. So you're lookingright at them. Okay.
But that's a little trickybecause we can't see each other's
(32:58):
hands.
Ah. And what kind of pianosare they?
They are Steinway grand pianos.
Steinways. Okay.
All right.
That's neat. Yeah, I played Baldwin.
Webster University is an allSteinway school.
Is that right? Okay.
Shameless plug for Steinwaypiano. Wow.
Actually this plug for WebsterUniversity. No, it's a plug.
(33:18):
And that concert, that freeconcert, folks. June 17th at 12 noon
at Winifred Moore Auditoriumin Webster University. So now we're
to the fourth concert. June20th is the last one.
Yes.
And that is going to be withHugh also.
Yes. And that is where weperform the whole piece of the Messiane.
And starting. It's reallytricky to just go right into that.
(33:40):
We have a solo viola piece byShulamit Ran, who is a composer for
a number many years. She wasteaching in Chicago. I believe she's
retired from that job. Butshe's incredible composer, very expressive,
very lyrical composer. Andthat piece will be performed by Sixto
(34:05):
Franco, who's a Spanishviolist who's been coming to the
festival last couple seasons.
Yeah, you get all theseinternational artists to come into
St. Louis to perform all thesepieces and it's. It's not an easy
thing, folks, to get toorganize this. You might think there's
only four concerts, fiveconcerts. You have to go out way
(34:27):
in advance to get the peoplewho are really good that you want
to have perform these things.Just not like calling somebody up,
hey, next week. What are you doing?
Come on by.
This is true.
It doesn't work that way.
Got to get that word out aboutthese things at this concert.
Mochambermusic.orgmochambermusic.org the four concert
festival pass is $80 singletickets or 25 student tickets. $5
(34:51):
with an ID. Is there a seniordiscount at all? And here's the thing.
If you can go to somethingthat's involving the arts every week,
go to a concert or go to amuseum or go to something. It keeps
you involved in what'shappening, supports groups that are
(35:15):
really striving to keep ourculture moving. And this is a great
festival to support. So it'sthe 15th year, folks, the Missouri
Chamber Music Festival. Youwant to go see one or all of these
concerts? Mochambermusic.orgNina, thanks for coming in again.
Thank you so much. I reallyappreciate the opportunity to speak
(35:36):
about the festival and hope tosee everyone there.
That's great. If you don'tmind staying for. You can stay and
hear our ending of the show orif that's all right.
Sure.
Okay.
Hang around.
You can even participate withsome of these things. It's a participatory.
No, I'm really intrigued.
She's probably perked up now.Mark, I have a new section segment
(36:00):
to the show.
Oh, good. All right.
I've gotten rid of the wordfor the day.
Okay.
And I've gone to mental floss.Mental floss is a.
Is what?
It's. It's a little podcastkind of thing where. And I'm getting
this off a website, but theyhave some amazing facts. But I'm
trying to tune these things. Iused the word tune. I'm trying to
tune these things to theguests that we have and the topic
(36:22):
we're talking about.
Oh, good.
So the mental floss for todayis the Vienna. The Vienna Vegetable
Orchestra turns produce intomusical instruments. Wow. It's a
group recently set a worldrecord for the most concerts performed
by a veggie powered band. 344shows and counting.
Come on. I guess a gardenpots, but yeah.
(36:43):
They utilize instruments madeof carrots, leeks, pumpkins, artichokes,
etc. And like the carrot fluteand egg eggplant clap feature only
one vegetable. Others are morecreative. For example, the cucumber
fone is a bell pepper skeweredby a hollowed cucumber. The veggies
are typically hollowed withdrills and cut with knives and other
(37:03):
tools to create the desiredsound. And other instruments like
the celery guitar. They needto be plugged into sound generators
to produce tones. And you cango to YouTube and see some of these
food instruments demonstratedand the unexpected sounds that they
make.
I have to jump in and just saythat there's a barrier to performing
(37:23):
this because you can't fitpeople even into a Large scale freezer.
Because this has to berefrigerated. You can't play the
cucumber thing on a hot day.
Well said.
Oh, that's great. Because theydo say this. The musicians don't
let the edible equipment go towaste. They're only good for one
(37:46):
performance. They distributethem to the audience after each concert.
Oh, gross.
Either raw or cooked into a soup.
All right. Your hands andyou've been blowing on this. That
is gross.
So the unsalvageable produceis used for organic composting. And
they have a 10 personensemble. Recently set a Guinness
world record for the mostconcert performed by musicians who
(38:08):
play vegetable instruments.
I don't sure about this.
So there's mental floss forthe day. And it was. The Vienna Vegetable
Orchestra turns produce intomusical instruments. Now here's where
my mind goes. My mind goes toNew Year's Eve and the Vienna. The
Vienna Philharmonic plane.
(38:29):
Yeah. Are they going to playthe Magic Flute but turn it into
the Magic cuke.
Wow, that's really good for you.
The magic leak.
I like that.
I want to hear some Straussfrom the Vienna Vegetable Orchestra.
There you go. Ladies andgentlemen. Here they are.
All right.
You don't want them slippingon a banana field.
(38:53):
Yeah.
Wow.
You told me I could participate.
Absolutely. This is great.This is great.
I know.
Mark, you have a day for the day.
No. How can I follow any ofthat today? Interesting. Seeing how
you're talking about food.Today is national egg day. Do you
not have anything to say about that?
Eggs are going up again. Theywill be.
(39:14):
Oh, really?
We have a chicken producers I know.
In Arizona lost 95% of the chickens.
How did they do? Bird flu.
So you know eggs are going tobe going up.
So much for that campaign.
All right, what's next, Mark?We have national egg on your face
(39:36):
day.
Egg on your face day. Anational chocolate macaroon day.
Oh, do you like chocolate macaroons?
Yeah, I like any macaroon.
It's national repeat day.Repeating can be a wonderful thing.
Especially when it involves anactivity that we love.
Music.
Yeah. Going back to the samething. A world bicycle day. I know
(39:56):
you like to ride a bicycle.
Yes, I do.
I don't know. Yeah.
Electric bicycle.
World cider. Electric bike.
That's right.
Isn't that just called sitting?
Yes.
No, it's pedal assist. Or Ican turn it off. So it just depends
upon how my knees are feeling.
He doesn't ever turn it off though.
Or I could just. I could justthrottle the whole way.
(40:16):
Okay. Global running day.
Global Running day. Ask thosefolks where their knees will be at
age 60.
Cheese Day? You like cheese? Iam a big cheese. I love cheese. I
don't know what's wrong withme. How about national hug your cat
day?
Hug your cat day?
Sometimes they scratch. Theyhave those.
My cat got the pillow thrownin him this morning.
(40:38):
Is that right?
Scratched my foot hanging offthe side of the bed. Woke me up at4.57.
National Old Maids day. Thecard game. Card game, not the Old
Maids. That's terrible. ANational Cognac day. You like cognac?
Never really had it.
No. Shopping cart day. Checkthat shopping cart. Do you have stuff
in shopping carts that younever bought?
(40:58):
No, no.
I got a few things in my shop.
So it's not a physicalshopping cart, it's the virtual shopping
cart.
Yeah, the virtual shoppingcart. Yeah, I've got a couple of
those. Just a couple left.This is one of Arnold's favorites.
A national Moonshine day. Hewaits all year for the national Moonshine
Day.
Just wait. I've got the jokesfor you, Mark.
(41:20):
Oh, no. Let's see. I don'tknow if I have a hot air balloon
day. Have you ever been up ina hot air balloon?
I've not love it.
Been up many times.
Really?
I was even in the hare andhound race. And I was the hare.
Really?
That was spectacular. It's SixFlags. When I was at another radio
station, we did a promotionwhere I was on that first balloon
and we went up and it wasspectacular to look back and see
(41:44):
all the balloons rise up andtake off. I got hooked there for
a couple of years. I'd takelittle balloon rides. Has to be.
The winds have to be 10 milesan hour or less to go on a hot air
balloon.
And you have to have a lot of insurance.
Yeah, it's tough. Yeah. Whenyou hit them. But of course. What.
How do you land hard?
Yeah, but the chase crew, theyhave a chase crew that chases you.
(42:09):
But the tradition is theybring champagne. So you got to get.
Have some champagne as soon asyou hit the ground. Gotta look. Yeah,
it's tough. You gotta look forthose power lines. You can't really
steer a balloon very much.They can go up and catch a wind and
go down and catch a differentwind. So that's how they try to move
(42:31):
it.
Power lines that freak me out.
Power lines are the. Yeah,that's the scary thing. But and one
last thing. National thank you day.
It should be every day.
Yes. Yeah. I don't know whyyou just pick one day.
Should Be every day.
That's about all I got.Probably more than I need.
You like ballooning? Soskydiving. I went skydiving today
for the first time. This guystrapped himself to me. We jumped
(42:52):
out of the plane, and as wewere plummeting, he said, so how
long have you been an instructor?
Oh, no.
Have you been in one of thosemoods where you. You don't really
know what's wrong, but youfeel really irritated with everyone
and everything?
Yep.
(43:13):
This morning I talked aboutthe cat, but this morning I saw a
neighbor talking to her cat.It was obvious they. Obvious that
she thought her cat understoodher. I came to my house, I told my
dog, and we just laughed a lot.
Have to put up with this allthe time. Time. That's what I'll
let you know.
Let's see here.
(43:33):
Oh, there's more. That's too bad.
There we go. Out of all mybody parts, my eyeballs are in the
best shape because I rollthem, like, 342 times a day.
There you go. Thank you. Takea bow. Okay. That's great.
Oh, and how do people go tosleep as soon as they close their
eyes? Have you ever found thatout? Some people, boom. It takes
(43:54):
me three hours, 11 pillowflips, seven different positions,
two trips to the bathroom, anda partridge in a pear tree. Wow.
Tough road, isn't it?
And I need everyone to wish meluck because I have a meeting later
at the bank, and if all goeswell, I will be out of debt. I'm
so excited, I can barely putmy ski mask on.
(44:16):
One more time.
And let's see. Here we go.Last one, Mark. No, he goes. Thank
goodness.
Thank goodness.
I helped my neighbor out withsomething this morning, and she said
to me, I could marry you. Icouldn't believe it. You do something
nice for someone, and theythreaten to ruin your life in return.
Take a mile, please. Allright. Take a mile.
(44:38):
Not really, folks. Not really.Thanks for listening. That's all
for this hour. If you'veenjoyed this episode, you can listen
to additionalshows@stlintune.com consider leaving
a review on our website, ApplePodcast, Podchaser, or your preferred
podcast platform. Yourfeedback helps us reach more listeners
and continue to grow. I wantto thank Bob Berthasel for our theme
music, our sponsor, BetterRate Mortgage, our guest, Nina Ferrigno,
(45:01):
and co host, Mark Langston.And we thank you, folks, for being
a part of our community ofcurious minds. St. Louis in tune
is a production of Motif MediaGroup and the US Radio Network. Remember
to keep seeking, keeplearning, Walk worthy and let your
light shine for St Lucian tilltuned I'm Arnold Stricker.
(47:03):
It.
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