Thai composer Trisdee na Patalung wrote "Eternity" in memory of HRH Princess Galyani Vadhana, Western classical music's most passionate patron in Thailand, who passed away early last year. Under his direction, the Siam Philharmonic sounded the best I'd ever heard it on this haunting, beautiful, simple piece for strings and pi java (Thai funereal oboe).
-Kor Phai, Bangkok, May 9
Anant Narkong founded the contemporary Thai classical ensemble Kor Phai in the early 1980s. Philosophically and stylistically, the group shares a lot with the better known Thai fusion ensemble Fong Naam (founded by Bruce Gaston), but in this performance it was clear they have a voice of their own. Razor sharp modern interpretations of traditional Thai classics, melodic fusion pieces, and amusing "hip-hop meets luk-thung" numbers were at the core of this highly entertaining performance.
This concert was devoted entirely to new music by Thai composers Anothai Nitibhon, Denny Euprasert, Art Jiradeth, and Polwit Opapnant. Contrasting styles, enthusiastic performers and a packed house made for a memorable afternoon of music making. A precedent setting event for new music in Thailand.
Finding live Thai classical music--really good live Thai classical music--can be a challenge for foreigners in Bangkok. Studying Thai music gave me some access but nothing prepared me for this ceremony at the Royal Thai Navy School of Music. The wai khru is a traditional honoring of one's music teachers past and present. It can also be an initiation for young musicians as they become formal students of a particular master. The Navy piphat ensemble that played at this lavish, traditional wai khru is one of the best in the country, known for intricate arrangements and fast, precise playing. The music, especially in this context, was overwhelming. Think of it as hearing Bach at the Thomaskirche in Leipzig.
It was apparent immediately to me that there was a drought of chamber music in Bangkok. The young Eon Trio (Thai/British pianist Christopher Janwong McKiggan, Thai cellist Ekachai Maskularat, Chinese violinist Qiang Xiaoxiao, all conservatory students in Singapore) came on my radar early on but didn't perform until my last month in Thailand, and it was worth the wait. With a smart program of music by Gaspor Cassado, Frank Martin, Mendelssohn and a Piazzolla encore, the trio communicated well with each other and the audience, drawing us in with their fluid movements and rich playing. Here's hoping they work out of Bangkok after graduation.
-Madama Butterfly, Madison Opera, November 21
Okay, I work for Madison Opera so feel free to discredit this, but Maria Kanyova as Cio-Cio-San in Jun Kaneko's visually intriguing production of Butterfly was undeniably a highlight of the year for me. Kaneko's stripped down designs, simply symbolic and centered on primary colors, left plenty of room for the drama to come through in the music.
-Madison Symphony Orchestra Christmas Spectacular, December 6
I would be lying if I listed the Sarah Chang/MSO Brahms and Shostakovich concert instead of the Christmas Spectacular. Soprano Jamie Rose Guarine, tenor Gregory Turray, the Madison Area Concert Handbells, the Madison Youth Choirs, and the Mt. Zion Gospel Choir all joined the MSO for this evening of rousing, feel-good holiday music. What struck me was how smoothly all of the collaborations worked, and despite the final sing-a-long, many of the programming choices went well beyond the obvious Christmas fare. The night was a testament to all of the musical forces at work in Madison.
-Alisa Weilerstein with Inon Barnatan at the Union Theater, Madison, December 13
Weilerstein's explosive performance of the Kodály Sonata for Solo Cello lingers. I still have not quite shaken it, and doubt I will anytime soon. The Beethoven and Chopin sonatas on the program were equally superb, but nothing compares to the physical and emotional impact of Weilerstein's interpretation of the Kodály.
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