Sigma Alpha Iota

sai-national.org • WINTER 2018 • PAN PIPES 23 FOR MORE INFORMATION about André Rieu and the Johann Strauss Orchestra, visit: www.andrerieu.com/en unfurled Old Glory waved on the back screen. Aer Mr. Rieu shared a personal experience about his joy as a youngster singing in a choir, he offered some sound musical advice for parents anywhere: "Send your child to a choir; it is the best thing you can do for his or her musical education…and happiness." He continued, "Singing together makes friendships. I was happy and made friends when I sang in a choir." It was the perfect way to introduce the last piece before intermission: You'll Never Walk Alone, my favorite song from Rogers and Hammerstein's Carousel. Aer intermission, we all — musicians and audience alike — continued to enjoy more music. Sometimes André played on his violin from Cremona; other times he held it and conducted, though the big screens showed he was mouthing (or was he singing?) the words when there were some. His personal vignettes, gentle humor (which always seemed fresh), facial expressions, a quizzical eyebrow along with the players' silly interactions and up-and-down or sideways motions all added to the delight of everyone present. Rieu knows that Johann Strauss Junior's music makes everyone happy. Weren't we, aer all, there to enjoy music? Of course, some members of the audience who had room couldn't resist waltzing in the aisles to e Blue Danube. But dancing wasn't easy as the couples (young and old) had to pause because Rieu couldn't resist conducting unexpected ritards or stopping entirely for a few moments aer certain phrases, which only brought gaiety and laughter. sssssTouching his heart, he explained his "secret" criteria for choosing music, musicians, and soloists: "With my heart—only with my heart. When I know that a piece of music touches my heart, I'm sure it will touch your heart." So we understood how he had selected the next soloist, Anna Majchrzak, who sang ink of Me from Andre Lloyd Webber's 1986 Phantom of the Opera. Besides music from musicals and operettas, there was an operatic selection from Puccini's Madama Butterfly, the famous Un bel di vedremo ("One fine day we shall see"). Also on the program—besides the female vocalists—were numbers featuring the three Latin Tenors, (the first from Tasmania, the second from Hungary, and the third from France). ose who like to whistle had a chance to participate in the Sports Palace Waltz by Salo Siegfried Translateur. Additional classical selections before the end of the program included Ravel's Bolero featuring not only the usual one percussionist—but four snare drummers, a father and his three sons! Aer two hours and five minutes of pure enchantment, Rieu announced everything must come to an end, but the audience disagreed and shouted "No!" And indeed, the orchestra obliged the throng of dissenters and played the famous Radetzky March, Opus 228 by Johann Strauss Senior while simultaneously from the ceiling high above dropped hundreds of brightly-colored balloons that people soon volleyed back and forth. en to everyone's delight, the concert continued. All together the encores, including one number with the pianist tap dancing on the grand piano and another with the cellists twirling their instruments to Adieu, lasted for forty-five minutes. And there was another march—John Philip Sousa's Stars and Stripes Forever. During the "final" finale, Rocco Granata's Marina, many in the audience sang along with the singers onstage. Of special note is that André arranged all of the works on the program for his musicians. For those of you who live in an area where you cannot attend one of Rieu's concerts in person—and even for those of us (like me) who have been privileged to see a live performance— there are quite a few pieces in his repertoire on YouTube, as well as CDs and DVDs you can add to your collection. I had the honor of going backstage aer the concert and meeting André because his father (also named André Rieu) had conducted my brother in Maastrict in 1969. André remembered meeting Malcolm in 1983 when he was the soloist with the Limbourg Orchestra. André played in the second violin section at the time and asked my brother to his home, remembering that Malcolm mentioned that it was the first time an orchestra member had ever extended such an invitation. André has never forgotten the visit — how Malcolm had brought gis for André's children — some books that he read to them in Dutch. at detail surprised me because Dutch was not one of the seven languages my brother spoke. Learning about this gathering long ago deeply touched me. I can vouch that André and the members of his orchestra and staff were definitely having fun backstage aer the concert where I was graciously invited to join them in the repast. One of Rieu's countrymen, Dutch Music Director Hans Vonk, frequently said, "Life without music is an impossibility." With Rieu at the helm, I can add, "Music without enjoyment is an impossibility." Years ago, when Malcolm commented on the abundance of musicians to a teacher in Juilliard's preparatory division, she responded, "But where are the people who really enjoy making music?" at evening I could answer with assurance about their whereabouts: "Many of these people were in Phoenix onstage along with the fabulous André Rieu himself!" A WORLD OF MUSIC

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