Archive for the “Lincoln Center” Category
The latest from Isabelle Faust
Violinist Isabelle Faust may have impressed you in Mozart last week at the Mostly Mozart Festival. She’ll be back in New York for Beethoven and more next January! Her latest recording explores the sound world of Bela Bartok, including both of his violin concertos, now out on Harmonia Mundi.
“If you talk with a living composer, of course (s)he will be very clear and explain what kind of atmosphere, what kind of sound (s)he wants produced,” says Faust. The importance of new music is profound with Isabelle, who says this interaction between composer and performer is key, and influences how she plays older music.
Hear the entire interview with Isabelle Faust with John Clare, talking about each concerto, creating fresh sounds in programming, and the importance of composers here.
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“I am not a cheerleader,” Auerbach says in our meeting, the day after The Blind premiered on July 9th as part of Lincoln Center Festival. (until July 14th)“I am not trying to please anybody, which, by the way should not be the goal of any artistic endeavor. Yet, art should give you something you have not yet experienced in the same way and you want to be changed by that experience.” Despite Auerbach’s artistic intentions, critical voices have emerged which attack the political correctness of the core metaphor of The Blind, giving rise to a debate about a symbol largely removed from the context of the work. I ask her, “Why the blindfold? Why the potentially sensational effect?” She explains: “I am not about shocking; The Blind is not a gimmick, but aims to fulfill to Maeterlinck’s (the playwright) call for a symbolist breaking of barriers, and attempts to provide a deep psychological understanding. It also pertains to a religious, meditative state of being, which entails a certain unearthing experience of disorientation, facilitated by the absence of the visual element. The Blind brings the audience away from the material state, exploring mental communication with the music’s ritualistic elements, and hopefully lets the audience come away with an individual learning experience that will stay with them, potentially changing who they are.” Directed by John La Bouchardière, the New York production of the work, which Auerbach for lack of a more precise description refers to as “a cappella opera,” has omitted the traditional stage setting used in the 2011 Berlin Konzerthaus and Moscow Stanislavsky Theatre productions of her score and libretto.
This new, innovative production takes The Blind a step further, eliminating the darkened stage of former productions in favor of the extremely isolating effect of blindfolding the audience; this theatrical method addresses our extreme reliance on visual effects, and aims to challenge the audience’s capacity for hearing, listening, smelling, and feeling temperature, thus evoking a heightened sensory and emotional experience. “Part of Maeterlinck’s conception is a distinct religious connotation, and includes elements of randomness, which, in this production led also to the separate placing of women and men,” says Auerbach, and adding that the experience of the piece also differs slightly for each participant, depending where they are seated. “Every staging demands different elements; in this particular one, timing and positioning was essential to the flow and the individual impression of each audience member.” The physical experience of The Blind’s staging is truly unique, and remarkably executed. Read the rest of this entry »
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Photo: Glenn Dicterow’s life talk at the Atrium
It isn’t actually until the end of the 2013-2014 season that Glenn Dicterow, current concert master of the New York Philharmonic will answer his call from LA’s USC Thornton faculty, but New Yorkers are already paying tribute to one of the New York Philharmonic’s most iconic figures who, after a run of now 32 consecutive years, will be sorely missed.
It was impossible not to acknowledge Dicterow’s friendly, well-tempered and round face, and his omnipresent fatherly authority. Always ready for a little joke, a kind comment, he seems to have been perpetually present on the first chair between the conductor’s podium and the rest of the string sections, maintaining peace for the ensemble, and keeping the communication flowing.
Dicterow will be the first artist to hold the newly dedicated Robert Mann Chair in Strings and Chamber Music, established by Alfred Mann to honor his brother’s achievements as founder and first violinist of the renowned Juilliard String Quartet.
Dicterow and his wife, violist Karen Dreyfus, with whom he and Cellist Inbal Segev perform as the Amerigo-Trio, will be joining the faculty at Thornton as well. The two will be a welcome addition to a host of exceptional artists including Midori Goto, who holds the Jascha Heifetz Chair in Violin at USC. Photo: Amerigo Trio
Heifetz was one of Dicterow’s influential teachers, who Dicterow was privileged to meet as a teenager growing up in Los Angeles. Dicterow’s father, Harold Dicterow, was principal player in the second violin section of the Los Angeles Philharmonic Orchestra for 52 years. At age 11, Glenn performed Tchaikovsky’s violin concerto under Zubin Mehta with the Los Angeles Philharmonic. Dicterow spent several years as an associate- and then concertmaster at the Los Angeles Philharmonic under Zubin Mehta, and later became concert master of the New York Philharmonic also under the direction of Zubin Mehta in 1980. The other great influence in his life was his teacher Ivan Galamian, whom he worked with at Juilliard in Galamian’s famous studio that included Yitzchak Perlman.
Dicterow made it a rule to always dedicate some of his time to external engagements apart from appearing as a soloist with the New York Philharmonic and other orchestras, and playing chamber music. He has also been able to maintain a teaching position at the Manhattan School of Music and the Juilliard School, and he has been able to recruit some of the New York Philharmonic’s orchestral musicians from his talented group of students.
On November 5th,Dicterow gave a charming talk at the public Atrium Space (61 West 62 Street). It became quite obvious that his qualifications for the position he had held for so long did not exclusively lie with his extraordinary gift for playing the violin, but also included his personal and vivid understanding of the role of a concert master.
- Glenn Dicterow and Ilona Oltuski
“When I received the proposal, it was at a moment in time when I could not refuse. After 34 great years, I will hopefully be leaving with my reputation fully intact,“ he beams gregariously. I suppose it was that sense of humor that brought him through the long chain of fluctuating directors, all with different characters and ego. From the flamboyant Bernstein, to Mehta “who was like a surgeon with his hands, so exact, you could not possibly misunderstand his downbeats…” to Masur, a “master of the old school,” who was perhaps personally controversially received, but changed the sound of the entire orchestra to a more German, darker sound, since he was not afraid to tone the brass players down.” Dicterow continued with times ‘served’ under the stern but “tremendously gifted Maazel” whom “you had to know how to take, but we got along great,” up to current, much younger Alan Gilbert. Dicterow has managed to get along with them all, creating professional relationships based on great mutual respect. His main objective is to be perceptive, and to be able to communicate between the conductor and the sections, almost as a second conductor.
“I have to play in a way the others see what I am doing.” In an orchestra, you can’t just rely on sound, or there will be delays. You have to exist in the moment – the movement of the sections must come simultaneously and that effort depends as much on the eyes as it does the ears, perhaps even more so. I had the pleasure to interview Dicterow in 2010, at which time he explained even more about the role of the concert master, including the need to arrange bowing marks in the musical scores of the entire orchestra according to certain decisions made in rehearsals and seating arrangements. Dicterow’s responsibilities also include sitting in on various committees responsible for admissions, artistic direction, and planning. The hardest part for him, though, was an element of performance, specifically when he was required to suddenly play challenging solo sections within large orchestral works like in the New York Philharmonic’s recent performance of Rimsky-Korsakov’s Scheherazade. These moments are the most personal: “Alan said lately sometimes to me, ‘oh Glenn, this is the last time you will be playing this and this is the last time you will be playing that, just relish the moment!’ …and I do, indeed.”
Dicterow will be performing as a soloist with Cellist Alisa Weilerstein, Brahms ‘ Double Concerto for Violin and Cello with the New York Philharmonic under the baton of Director Emeritus Kurt Masur November 8th – 10th and 13th.
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If one listens to some of the Piano Mavens in attendance at Russian pianist Nikolai Lugansky’s recent performance of Rachmaninoff’s Piano Concerto No. 3 in D minor, Op. 30 at Avery Fisher Hall, it would seem that he did not show enough feeling.
Although Lugansky played the concerto alongside the New York Philharmonic under the baton of Charles Dutoit with utmost technical perfection, some critics complained. “He was too fast!” “It was too cold, too mechanic,” and “not luscious enough – and Rachmaninoff can be soo luscious!” were some comments within New York’s community of concert attendees, most of whom play piano at different levels themselves.
Critique from one’s ‘own rows’ is certainly not to be taken lightly, though I wonder why I experienced the concert so differently from many of these critics. After the piece, the applause of the general audience seemed overwhelmingly devoted.
The concert took place on November 2nd in the aftermath of Sandy, a storm that had devastated many regions of the Tri- State area, leaving half of Manhattan without electricity and subway connections, yet many concert-goers braved the turbulent moods of nature out of respect to Dutoit’s legacy, and that of Lugansky, for whom this performance marked a New York debut; was it perhaps because of this psychologically fragile situation, New Yorkers demanded a more emotionally affecting response?
The hall was not at all filled to capacity, perhaps adding to the performance’s somewhat “cold” acoustics , dampening the piano’s ability to project lusciously, a situation on which Lugansky himself commented, at our meeting the next morning. Read the rest of this entry »
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“Guess who this trunk used to belong to?” asks Glenn Dicterow, concertmaster of the New York Philharmonic, as he leads me through the backstage rooms and hallways of Lincoln Center’s Avery Fisher Hall; his home away from home, only a New York block away.
We are standing in front of a huge antique – or at least old fashioned –weathered-looking black trunk, impressively marked with travel stickers indicating its many different destinations.
“…..long history with the New York Phil…” he coaxes me into guessing the celebrity, whose travel companion the trunk had been before it was given to Dicterow, to hold the concertmaster’s possessions on his trips with the orchestra.
“Yes, you guessed right.” He turns back to me, “It’s finished with a red velvet interior and belonged to no other than – Leonard Bernstein.”
Since he joined the New York Philharmonic as concertmaster in 1980, Dicterow has played first fiddle under the preeminent Maestros who have served as the New York Philharmonic music directors’ guest conductors from around the world, and leading soloists.
Zubin Mehta, Kurt Masur, Lorin Maazel and now Alan Gilbert…. Here is a true collective of all singular personalities, with different temperaments and musical expectations. It can’t be an easy task to appease all of these charismatic leaders and keep one’s own integrity, leave alone one’s own sanity.
Yet, thanks to his remarkably generous spirit, it seems that Dicterow has managed to do just that, highly successfully.
On the faculty of the Juilliard School and as acting chairman of the innovative Manhattan School of Music ‘Orchestral Performance Program’, Dicterow also follows his other vocation: Music Education.
Read the rest of this entry »
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There are a few more concerts happening in New York this week that you should know about, and then I’ll give the concert updates a rest for a while. Promise.
Tonight (Tuesday, October 12), is your last chance to see the New York premiere of Kraft by Magnus Lindberg. 7:30pm, New York Philharmonic, Avery Fisher Hall. If you somehow haven’t heard about this, you can read the s21 posts about it here, here, and here; the New York Times articles and videos here, and here. You can even find some info over at Huffington Post. Check on ticket availability here, and see you tonight!
Thursday (October 14), like most nights here, is full of fantastic concerts to check out. Here are two that I strongly recommend: Option #1, Transit presents So Percussion, Tristan Perich, and Corps Exquis (a collaboration between Daniel Wohl and six video artists) at Galapagos (8pm). Option #2, Talea Ensemble is presenting a concert called KINETICS (also at 8pm at the Rose Studio at Lincoln Center); they will perform music by Philippe Leroux, Luciano Berio, Frank Denyer, Manfred Stahnke, and a world premiere by Alexandre Lunsqui appropriately titled Kineticstudies. Good luck choosing!
Friday (October 15) is the season opener for the American Composers Orchestra (7:30pm. Zankel Hall). Their program is called “Mystics & Magic” and they will present John Luther Adams, Jacob Druckman, Wang Jie (winner of ACO’s 2009 Underwood New Music Readings Commission), Alvin Singleton, and Claude Vivier. And they will also be welcome two truly amazing soloists: soprano Susan Narucki (for Claude’s piece), and pianist Ursula Oppens (for Alvin’s piece).
Saturday (October 16) I’ll be checking out A House in Bali over at BAM. Of course, this is actually being presented the 14-16th, so take your pick. There’s no need to go into details about it here, you can read my earlier post for more information.
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In this space just a year ago we told you about Asphalt Orchestra‘s Lincoln Center Out of Doors hit-the-streets, in-you-face debut last summer. Well, what a year they’ve had! In August they performed during lunchtime at Philadelphiaʼs 30th Street Amtrak Station; it’s a testament to the band’s transcendence of genre that The Philadelphia Inquirer named that show one of the 10 Best Classical Performances of 2009, even though it took place in a train station and featured almost no classical music! In late 2009 the band was selected to play the official opening of Lincoln Centerʼs newest space, the David Rubenstein Atrium, and garnered even more critical hoo-hahs. Their ever-changing set list now includes commissions from Tyondai Braxton of Battles, Stew and Heidi Rodewald of The Negro Problem and Passing Strange, celebrated Balkan musician-composer Goran Bregovic, as well as new arrangements of Björk, jazz legend Charles Mingus, Swedish metal pioneers Meshuggah, the eminent American experimental composers Conlon Nancarrow and Frank Zappa, the playful Brazilian songwriter Tom Ze and the iconic Zimbabwean artist Thomas Mapfumo.
AO brings together some of the best rock, jazz and classical musicians in New York City and beyond: Jessica Schmitz (piccolo), Ken Thomson (saxophone), Peter Hess (saxophone), Alex Hamlin (saxophone), Shane Endsley (trumpet), Stephanie Richards (trumpet), Alan Ferber (trombone), Jen Baker (trombone), Kenneth Bentley (sousaphone), Yuri Yamashita (percussion), Sunny Jain (percussion) and Nick Jenkins (percussion). Is it classical? Yes. Is it rock, prog, jazz, world-party street band? Yes. Is it useless to try and pigeonhole this vital bridge between the arty and the party? Yes.
All this is to tell you that Lincoln Center Out of Doors is back starting tomorrow, Aug 4th, and AO can be found there again doing their gloriously noisy thing Wednesday through Sunday this week. Head to AO’s website for daily event details.
Among their here-there-and-everywhere, they’ll be premiering new commissions by David Byrne and Annie Clark, and Yoko Ono (they’ve been rehearsing with both Ono and Byrne the past weeks). If that weren’t enough, following their own set on August 5th they’ll be featured in the Taylor 2 performance of Paul Taylor’s piece “3 Epitaphs,” in celebration of Taylor’s 80th birthday. Appearing with the company’s dancers, the band will premiere new arrangements of pieces originally played by the Laneville-Johnson Union Brass Band.
But wait, there’s still more! AO’s eponymous first CD on Cantaloupe Music just dropped today, allowing happy listeners around the world to hear much of this music. The recording was made live-in-studio at Water Music Studios, Hoboken, NJ, in August 2009; here’s the tracklist:
1. Frank Zappa: Zomby Woof
2. Goran Bregovic: Champagne
3. Charles Mingus: The Shoes of the Fisherman’s Wife Are Some Jive Ass Slippers (arr. Jose Davila)
4. Meshuggah: Electric Red (arr. Derek Johnson)
5. Bjork: Hyperballad (arr. Alan Ferber)
6. Stew and Heidi Rodewald: Carlton
7. Tyondai Braxton: Pulse March
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