Symphonic Press
Lancaster News January 13, 2008 [Symphonic Blues #6 - by C. Siegel]
Lancaster Symphony Orchestra gave us a glorious concert Friday night at Fulton Opera House. …
One of the thrills of attending the world premiere of a major composition is the possibility that it will go on to become an international hit. This may be the case with Corky Siegel's Harmonica Concerto. We heard an artist of the highest caliber lead the orchestra in an extraordinary piece of music, at times ebullient and happy, at times blueslike and reflective. Siegel variously played five harmonicas, each with its own sound, to an accompaniment that included the most interesting rhythms and overtones. The sound balance between the amplified soloist and the 70-piece orchestra was perfect.
Each movement was rewarded with applause, which prompted some banter between Gunzenhauser and the soloist. Our maestro said the clapping was fine as far as he was concerned, even though you're not supposed to applaud between movements, at which Siegel observed with a smile, "You're also not supposed to talk between movements." The audience loved this and applauded all the more.
The second movement was a high point of the concert. It opened with a complex series of themes from the woodwinds which developed into a beautiful dialog with our soloist, who gave full vent to the evocative blues character of the harmonica. Mournful without being lugubrious, Siegel explored the soul-searching properties of his instrument.
Siegel told me during the interval that he improvises throughout the concerto, so no two performances are the same. He said he's laid down a road map for the orchestra but plays his harmonica as the fancy takes him. This was most evident toward the close of the final movement. With baton raised, Gunzenhauser patiently stared at Siegel during his meandering solo, waiting for his cue to bring the orchestra back into play.
3/3/23 working on these pages
It was during one of his first Chicago performances that Siegel was introduced to a musician whom he would later credit with changing the direction of his musical career. The introduction came through former Sun Times music critic David Noble, who insisted his friend Seiji Ozawa, then summer guest conductor of the Chicago Symphony Orchestra come see the band's pertormance at a club in Old Town. Ozawa was impressed, he returned for many
"'Three Pieces for Blues Band and Symphony Or chestra." The 1968 premier of the composition featuring the Siegel/Schwall Band and the Chicago Symphony was met with a standing ovation and critical acclaim. - David Prescott-Deutsche Grammophon liner notes
When Corky Siegel cupped his harmonica and the pavilion microphone together and began a half saxophone half blues trumpet wail, even the least conservative Chicago Symphony Orchestra member might have shivered at the hand-writing on the crumbling walls. - CHICAGO TRIBUNE 1968
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*Three Pieces' was commissioned composed, and finally played with the Chicago Symphony to Ozawas delight. was a success. Some people think that this is a totally different side of music but I see it as a convergence in the future. They (Siegel/Schwall) are fa
tastic
Interview with Seit Ozawa
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The Siegel/Schwall Blues Band televised on "Evening at Pops" with Arthur Feidler.
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