Frankly Music
“A young, very young, Brahms—caught the attention of Robert Schumann. Join us for our 20th Season opener to hear why.”
—Frank Almond
So much music, so little time—especially when if you consider typically concert programs are a hundred minutes long including intermission. Frank Almond’s quote provides a nice lead-in to exploring how he, with an ensemble musicians and guests, select composers and compositions for a given season and a particular program.
Almond was kind enough to meet with me at a local East Side watering hole. Our lively discussion went on for almost two hours. It was clear not only did Almond love music, but he also wished to impart that enthusiasm to others. For him, a successful season is more than just counting ticket stubs. He started Frankly Music 20 years ago with the idea of reaching out to new listeners and to even more so to those not familiar with chamber or classical music. Additionally, he wished to provide master classes by chamber music stars to minority students helping them find possible paths into the world of classical music.
This year Almnd has structured a season that includes the Miró Quartet; Tamás Varga, the principal cellist with the Vienna Philharmonic; and Toby Appel, a renowned violist, chamber music musician, chef and professor at Juilliard. Some will give master classes for a diverse group of young people, most of whom are affiliated with the Milwaukee Youth Symphony Orchestra. These opportunities for their additional guidance is indeed an example of heavenly harmonies!
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I had framed some questions beforehand for Almond. They served as motifs, as if in a musical composition: stated, developed, contrasted and then recapitulated. I’ll try to capture the essence of his answers below. As he pointed out, “We always respect the audience and at the same time find ways to challenge them with new compositions.” He remarked that too much of one thing and the music becomes boring both for the audience and the musicians. And too much of a challenge would be like overwatering a plant. “I need to consider this with every particular concert program as well as for the season as a whole.”
I asked about programming a season. “Do you consider the full season first and then the individual concerts? What are the most important factors you consider?And are the individual guest artists consulted and if so at what point?”
Of course, I should have known he’s answer, “All of the above!” In addition, Almond pointed out another important factor, the availability of musicians from around the world, many of whom would be delighted to play in Milwaukee and to offer master classes in conjunction with the Milwaukee Youth Symphony Orchestra. Serendipity plays a part in this. A soloist may come to the States to play with a symphony and be willing to extend their stay in order to play chamber music. Not surprisingly, topnotch musicians are tightly networked. And many make time in their busy schedules to nurture the upcoming generation of performers.
Frankly Music’s first program of the new season consists of mostly Brahms, an accessible and melodic Romantic composer, with certain selections written when the composer was 20 years old. Frank smiled. “After all, this is the 20th season of Frankly Music. Jeannie Yu will join Almond for Brahms’ Sonata No. 2 in A for violin and piano, Op. 100. This and the quintet that conclude the program were selected as examples of a mature Brahms.
Ernesto Cavallini’s “Fiori Rossiniani” is included at the suggestion of Todd Levy, principal clarinet with the Milwaukee Symphony Orchestra, both to clear the palate from the earlier Brahms compositions and as a showcase for the clarinet. In a sense, this program is also built around the clarinet in the hands of a master.
After intermission Todd Levy will join violinists Almond and Alex Ayers, violist Anthony Devroye and cellist Adrien Zitoun for Brahms’ Clarinet Quintet, Op. 115 one of his greatest compositions. The program begins at 7 p.m., Sept. 12 at Milwaukee Youth Arts Center, 325 W. Walnut St.
Miró Returns and Season Continues
The Miró Quartet returns to Milwaukee on Dec. 2 at the Milwaukee Youth Arts Center. Almond remarked that as they’ve been here several times, he leaves their program up to them; his only input is sharing what he already has in mind for the full season. The quartet’s program, “The Journey Home,” will play compositions by Haydn, George Walker, Kevin Puts and Beethoven.
On Jan. 29, 2024, Frankly Music will perform at Wisconsin Lutheran College’s Schwan Hall for a program of Telemann, Haydn, Bartók and Korngold—most are traditional compositions to ease in the New Year. Almond will be joined by Roberta Cooper, cello, Marta Aznavoorian, piano, and Eugene Drucker on violin and viola. Eugene is a member of the Emerson Quartet, currently finishing their 50th and final season. It’s a special privilege to hear him play in Milwaukee.
Erich Wolfgang Korngold, a late romantic composer, pianist, and conductor came to the United States in 1934 at the invitation of Max Reinhardt to write scores for his films. These included music for Captain Blood with Errol Flynn and Olivia de Havilland and, in 1938, for The Adventures of Robin Hood. He was here when Hitler invaded Austria which saved his life. Frankly Music will play Korngold’s Suite for Piano Left Hand, two violins, and cello.
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“Yes, I’m aware of crowd pleasers,” Almond said, “and it’s fun to see smiles on the faces in the audience when they recognize a familiar composition. But I’m always asking myself, what’s not happening and what can we play to fill a gap. But remember, we’re still a non-profit, I’ve a board to which I need to report, and all this need to be sustainable.
On March 16, 2024, Frankly Music returns to the Milwaukee Youth Arts Center for a program of music by Bach, Reger, George Crumb and Brahms. George Crumb is an American composer, recently deceased, known for his sonorities and “surprises.” Tamás Varga will play Crumb’s Sonata for Solo Cello and music by Bach. Toby Appel and Victor Santiago Asunción, piano will also be featured in Brahms’ Piano Quartet in E flat.
I asked Almond if the programming be different if the ensemble resided in a different city or country? “Like a comedian, one must know your audience,” he replied. “Part of knowing one’s audience implies being willing to risk playing music that may be more challenging without alienating them in any way.”
On May 6, 2024, Frankly Music will be back at Schwan Hall for their final program which includes the septet version of Richard Strauss’s “Metamorphosen.” This will be balanced by Tchaikovsky’s string sextet “Souvenir de Florence,” Op. 70. And while gravity of the Strauss may be challenging for some of his audience, Frank pointed out “That after 20 seasons, we’ve gained their trust and I’m confident that this too will be appreciated.”
For more, visit franklymusic.org.
