“Coming to America Concerto”
Composed and performed by Lisa Swerdlow
Review written by Kerry Barnes
Introduction
The ‘Concerto-Form’ has always been one of my favourites. Three mighty chunks of music to sink your teeth into!! In actual fact……most classical concertos don’t really tell a story as such, so in some aspects could grow to be semi-boring……..BUT NOT LISA’S CONCERTO!!!!!........so move over ‘white, middle aged dead men’ …..(am I allowed to say that??) Here is “Coming to America Concerto!!”
First Movement: “Home of My Ancestors”
Lisa’s inspiration for composing this Concerto came during the long and drawn out Covid-19 quarantine, where she started to research her Grandparents’ immigration to the USA from Russia in the years 1907-1910 due to persecution of the Jewish people. Imagine their fear and uncertainty of the world, and I feel this very deeply as the first musical phrases take their seat. Piano and clarinet in Ukrainian mourning plead with each other, seeking reassurance from one another, but neither have it at the moment.
This extremely heartfelt opening dance with it’s dramatic pauses and time to repose, sings of a sorrow only known by these courageous people and their desperation. This mood that is so captured is defined by Lisa’s use of minor-2 nd chords in the right hand at the very moment of tonic-chord material in the left hand, and, thankfully does resolve itself. If it didn’t, I’d be in terrible emotional pain for the rest of the day!! Lisa’s piano writing here is wonderfully dark and resiliently embellished, seeking spiritual life in the face of such adversity.
There’s strength in her descending octave playing, dragging them down into place with a right arm so tender and loving. (This technique I note, is a repeated feature of Lisa’s writing and to great effect). Concerto form must display a level of virtuosity and Lisa shows this in short bursts of shimmering dexterity in right hand ascents. They are formed from a foreign-scale not theoretically known to me, but known truly in this seeking for a new homeland. Just incredible composing and playing. I sense a fullness of rich tones enveloping me like Rachmaninov’s would, and the divine playing of a cello, sweeping yet simple with it’s melancholy up and down bows. I feel a sadness so heavy in my heart, but glorious to my ears.
The piano writing remains fairly decorated and intricate, perfect to go with a somewhat panoramic underwriting. Fleeting glimpses of major-tonality allows me to momentarily ponder the brilliant orchestration of Doug Hammer and the recording prowess of Joe Bongiorno, two geniuses at work for sure!! I feel a film-score coming on, the strings in ‘unison’ playing lead my imagination to travel through some really interesting modulations on Lisa’s part, describing and evoking an agitated unrest in the souls of men, women and children on such a journey of reflection.
I’m completely amazed at the level of musicianship in this movement, and Lisa has taken her talent up a notch while coaxing us into her world of hiatus solo piano notes, we look down from a great height, our hairs standing on end, our heart muscle twitches with musical sinew as we are swept along by crescendos just as fitting as music by Nino Rota, yes Lisa…..you MUST write for film!!! My beating heart begins to slow with the end remnants of a cello string, fading right to the wooden tip, the horse hair exhales gently. I’m done in, as they say.
Second Movement: “The Crossing”
In this haunting 2nd movement, Lisa herself imagines her Grandparents carrying what possessions they could manage, being huddled up in the steerage quarters of an enormous ocean liner. In the opening phrase of the music, an 8-quaver pattern is dominant, repeating and repeating like a seasickness felt by all on board. A lonely cello plays with such trepidation and a certain ‘longing’ in the voice. Moving up a register, a violin and piano are in equal partnership, you can hear them trying to work out this ‘conception’ of leaving and arriving, ominous and imminent.
They hold their breath as Lisa pulls herself up with a row of 3rds, climbing and climbing, and at the top she holds in one hand an uncertainty, and in the other, a matched determination to start a new life. Was that an accordion I heard momentarily then????.......(played a lot on voyages). Then, some beautifully dry non-reverb singular piano notes immediately make me stop what I’m doing, on the spot, ooh, what next I wonder??? I wonder no longer!!! A rapturous ‘tutti’ sweeps me off my feet with a divine ‘fortissimo’ and I feel a new homeland coursing through my veins, warming me from the inside out like a musical microwave!!! But just to remind us of this depth of feeling the 8 note quaver motif returns to tell us we’re not there yet, but still hoping and still dreaming.
As I hear the very last minor statement-chord for both hands, my mouth feels dry, it has been just too much for them and me, we need water from the New York Harbour, a taste so welcome and refreshing.
Third and Last Movement: “The Arrival”
We come now to the ‘magnum-opus’ of this outstanding Concerto, surfing on french horn waves and the crashes of cymbals with their freedom of choices on board. The giant water vessel sees the Lady of Liberty before we do, and announces so, on a wonderful and hazy horizon. As anticipation grows these fine villagers and townspeople at last feel an awaiting of their new life, new friends and a deep feeling of reassurance and safety.
Lisa and Doug have now expanded the orchestral ensemble and a rich aroma of percussion, brass, woodwind and strings fill this air of ‘throwing hats’ into the wind with joy!! The piano sings so sonorously, it’s bleeding with emotion, and I myself am feeling very emotional. We breathe a fresh air that only these stars and stripes know and an accompanying greeting which say’s “Don’t worry about our language or currency, you are so welcome and you can do this, really YOU CAN!!!” Just think if this had never taken place, we wouldn’t have Lisa and her stunning music, even if she knows of her country’s flaws and dark eras of history. She dedicates this fantastic Concerto to her Grandparents and to all the immigrants who made the perilous journey together.
Lisa’s final notes on the piano as one big major chord of happiness, seals our joyous fate. The golden flakes of shimmering cymbal in reverse confetti, look up to the sky and witness our Lady’s torch bearing, lighting the way for all to see. And so ends the “Coming To America Concerto” a story of courage, hope and dreams, that I think reside in all of us in some way.
E N D
Lisa would also like to thank the other starring members of her team, most notably Kim Sayre on photography, Dreamworld Productions for Mastering, Ken Verheecke on Graphics and Historical records for the front cover artwork which is amazing!!
Composed and performed by Lisa Swerdlow
Review written by Kerry Barnes
Introduction
The ‘Concerto-Form’ has always been one of my favourites. Three mighty chunks of music to sink your teeth into!! In actual fact……most classical concertos don’t really tell a story as such, so in some aspects could grow to be semi-boring……..BUT NOT LISA’S CONCERTO!!!!!........so move over ‘white, middle aged dead men’ …..(am I allowed to say that??) Here is “Coming to America Concerto!!”
First Movement: “Home of My Ancestors”
Lisa’s inspiration for composing this Concerto came during the long and drawn out Covid-19 quarantine, where she started to research her Grandparents’ immigration to the USA from Russia in the years 1907-1910 due to persecution of the Jewish people. Imagine their fear and uncertainty of the world, and I feel this very deeply as the first musical phrases take their seat. Piano and clarinet in Ukrainian mourning plead with each other, seeking reassurance from one another, but neither have it at the moment.
This extremely heartfelt opening dance with it’s dramatic pauses and time to repose, sings of a sorrow only known by these courageous people and their desperation. This mood that is so captured is defined by Lisa’s use of minor-2 nd chords in the right hand at the very moment of tonic-chord material in the left hand, and, thankfully does resolve itself. If it didn’t, I’d be in terrible emotional pain for the rest of the day!! Lisa’s piano writing here is wonderfully dark and resiliently embellished, seeking spiritual life in the face of such adversity.
There’s strength in her descending octave playing, dragging them down into place with a right arm so tender and loving. (This technique I note, is a repeated feature of Lisa’s writing and to great effect). Concerto form must display a level of virtuosity and Lisa shows this in short bursts of shimmering dexterity in right hand ascents. They are formed from a foreign-scale not theoretically known to me, but known truly in this seeking for a new homeland. Just incredible composing and playing. I sense a fullness of rich tones enveloping me like Rachmaninov’s would, and the divine playing of a cello, sweeping yet simple with it’s melancholy up and down bows. I feel a sadness so heavy in my heart, but glorious to my ears.
The piano writing remains fairly decorated and intricate, perfect to go with a somewhat panoramic underwriting. Fleeting glimpses of major-tonality allows me to momentarily ponder the brilliant orchestration of Doug Hammer and the recording prowess of Joe Bongiorno, two geniuses at work for sure!! I feel a film-score coming on, the strings in ‘unison’ playing lead my imagination to travel through some really interesting modulations on Lisa’s part, describing and evoking an agitated unrest in the souls of men, women and children on such a journey of reflection.
I’m completely amazed at the level of musicianship in this movement, and Lisa has taken her talent up a notch while coaxing us into her world of hiatus solo piano notes, we look down from a great height, our hairs standing on end, our heart muscle twitches with musical sinew as we are swept along by crescendos just as fitting as music by Nino Rota, yes Lisa…..you MUST write for film!!! My beating heart begins to slow with the end remnants of a cello string, fading right to the wooden tip, the horse hair exhales gently. I’m done in, as they say.
Second Movement: “The Crossing”
In this haunting 2nd movement, Lisa herself imagines her Grandparents carrying what possessions they could manage, being huddled up in the steerage quarters of an enormous ocean liner. In the opening phrase of the music, an 8-quaver pattern is dominant, repeating and repeating like a seasickness felt by all on board. A lonely cello plays with such trepidation and a certain ‘longing’ in the voice. Moving up a register, a violin and piano are in equal partnership, you can hear them trying to work out this ‘conception’ of leaving and arriving, ominous and imminent.
They hold their breath as Lisa pulls herself up with a row of 3rds, climbing and climbing, and at the top she holds in one hand an uncertainty, and in the other, a matched determination to start a new life. Was that an accordion I heard momentarily then????.......(played a lot on voyages). Then, some beautifully dry non-reverb singular piano notes immediately make me stop what I’m doing, on the spot, ooh, what next I wonder??? I wonder no longer!!! A rapturous ‘tutti’ sweeps me off my feet with a divine ‘fortissimo’ and I feel a new homeland coursing through my veins, warming me from the inside out like a musical microwave!!! But just to remind us of this depth of feeling the 8 note quaver motif returns to tell us we’re not there yet, but still hoping and still dreaming.
As I hear the very last minor statement-chord for both hands, my mouth feels dry, it has been just too much for them and me, we need water from the New York Harbour, a taste so welcome and refreshing.
Third and Last Movement: “The Arrival”
We come now to the ‘magnum-opus’ of this outstanding Concerto, surfing on french horn waves and the crashes of cymbals with their freedom of choices on board. The giant water vessel sees the Lady of Liberty before we do, and announces so, on a wonderful and hazy horizon. As anticipation grows these fine villagers and townspeople at last feel an awaiting of their new life, new friends and a deep feeling of reassurance and safety.
Lisa and Doug have now expanded the orchestral ensemble and a rich aroma of percussion, brass, woodwind and strings fill this air of ‘throwing hats’ into the wind with joy!! The piano sings so sonorously, it’s bleeding with emotion, and I myself am feeling very emotional. We breathe a fresh air that only these stars and stripes know and an accompanying greeting which say’s “Don’t worry about our language or currency, you are so welcome and you can do this, really YOU CAN!!!” Just think if this had never taken place, we wouldn’t have Lisa and her stunning music, even if she knows of her country’s flaws and dark eras of history. She dedicates this fantastic Concerto to her Grandparents and to all the immigrants who made the perilous journey together.
Lisa’s final notes on the piano as one big major chord of happiness, seals our joyous fate. The golden flakes of shimmering cymbal in reverse confetti, look up to the sky and witness our Lady’s torch bearing, lighting the way for all to see. And so ends the “Coming To America Concerto” a story of courage, hope and dreams, that I think reside in all of us in some way.
E N D
Lisa would also like to thank the other starring members of her team, most notably Kim Sayre on photography, Dreamworld Productions for Mastering, Ken Verheecke on Graphics and Historical records for the front cover artwork which is amazing!!