Sequenza21/

The last thing that Alan Gilbert or the New York Philharmonic needs is another affirmation that they have done something important and memorable by producing Le Grand Macabre in May.  There were three (perhaps more?) New York Times articles over 11 days (May 18th, 23rd, 28th), an nice summary over on Anne Midgette’s Washington Post blog, and from just a few days ago there was this over at Newsweek.  Of course our own site added to the frenzy of press/buzz here, here, here, here, here, here, and here – and with good reason!  I’m quite happy to throw my hat in the camp who counts themselves lucky to be one of the few to see this amazing production.  It was everything that I had hoped it would be, and I even got a fancy collectors-edition-style booklet of the libretto with the program.

Some time has gone by since the production (I’m late on my contribution to this, as per my usual), I think it’s enough for me to say that I thought it was great, and to move on to some questions.

After reading all of the press about the production, it seems that everyone who saw it easily and quickly deemed it a huge success.  But I’d love to know if the Philharmonic thought it was a success!  All three nights sold-out, but we know that a sold-out show doesn’t necessarily mean success.  Le Grand Macabre was without question an unusual and elaborate production and must have come with a tremendous expense – just watch this video.  All the extra marketing, and YouTube videos; all the lighting and projections and costumes; (presumably) all the extra rehearsals and percussion instruments; etc, etc, etc.  I think the big question is: was this a successful enough event that the Philharmonic will continue these kinds of productions in the future? Was dealing with disgruntled subscribers worth it?  Was the cost of the “spectacle” worth it?  Was all the marketing and rogue videos worth it?

Of course I hope that the answer to all of these questions is yes.  I would love to see the New York Philharmonic continue to support contemporary music the way it has since Mr. Gilbert has arrived.  It’s clear that he feels very strongly about new music: he brought in Magnus Lindberg, started the Contact! series, and made this incredible Ligeti production happen.  I want to know what else he has planned and what else the Philharmonic is willing and capable of doing.  But, it seems that a lot of it depends on whether or not the Philharmonic thought Macabre was a success.

In his 5/23 article for the NY Times, Daniel Wakin asked ,”A contemporary surrealist opera at the NY Philharmonic? About the end of the world? On Memorial Day weekend? What are they thinking over there at Avery Fisher Hall?” He then went on to report that “2/3 of the Philharmonic’s regular concert goers were having none of it… subscription sales averaged about 33 percent, the Philharmonic acknowledged…”

When I went to the Philharmonic website last night, I was greeted with message that the entire run is SOLD OUT!

Apparently, the NY Philharmonic was thinking that there might be other audience members interested in the first NY production of Ligeti’s Le Grand Macabre. As Mr. Gilbert says in the Times article,”“It’s about developing and expanding the audience.”

True, Mr. Wakin also wrote about NYPO’s marketing strategies for the show: the website, the videos with “Death and Alan,” and the little eye that’s become the NYPO’s email signature this week. But that was much later in the article, well “below the fold,” well after a snarky set-up.

It would be nice if the Times ate a bit of crow and published a follow up piece, one that reported that Mr. Gilbert’s “risky gambit” paid off. One hopes the information about Le Grand Macabre being a sold out run won’t be buried as an aside in their review of the event.  Of course, that’s just one subscriber’s opinion … what do our Sequenza 21 readers think?

Le Grand Macabre premieres tonight at Avery Fisher Hall, with subsequent performances Friday and Saturday. The NY Philharmonic’s website noted that, while the event is sold out, those who want tickets should check back to see if any are returned for resale.

The National Symphony Orchestra has been hosting composer John Adams over the past two weeks in presentations of his own works as well as works of the 20^th century American, Russian and English repertoires.  Last week he presented works by Copland, Barber, and Elgar as well as his own The Wound Dresser.  This week, Adams and the NSO were joined by violinist Leila Josefowicz for a performance that included Adams’ electric violin “concerto,” The Dharma at Big Sur, and the Washington premiere of the Dr. Atomic Symphony.

The program began with Benjamin Britten’s “Four Sea Interludes” from his opera, Peter Grimes.   While the opening “Dawn” interlude began on somewhat shaky ground, Adams quickly proved himself a capable conductor of this repertoire.  The composer has been doing a lot of conducting over the past decade and it’s beginning to show.  His confidence as a conductor, particularly one of pre-WWII 20^th century music, has grown by leaps and bounds and the NSO’s playing under him reflected this.   Whenever Adams conducts, however, he always presents his own work (it is part of the attraction, after all) and where in Britten and Stravinsky he is confident and capable, in his own work Mr. Adams is simply superb. 

The Dharma at Big Sur, not so much a formal concerto for six string electric violin so much as a rhapsodic evocation of cross-country travel , California mythology, and the poetry and prose of Jack Kerouac.  This is a powerful work, conveying a joyful energy that is simply infectious.  The violin carries the bulk of the musical argument in the piece, with very few tutti moments offering rest from some highly energetic, virtuosic music, and Ms. Josefowicz astounds in her role as Kerouac’s musical manifestation.  Her playing is a revelation and she simply OWNS this part.  One hopes that she and Adams will come to record the piece sometime, not so much to replace the original 2006 recording with Tracy Silverman, the violinist for whom the work was written, but to complement it, as Ms. Josefowicz brings an exuberant energy to the piece that is just on the edge of wildness, where Mr. Silverman’s recording seems much more sedate by comparison. 

After intermission, Mr. Adams and the orchestra took on Stravinsky’s early, slight orchestral showpiece, Feu d’artifice (Fireworks).  They handled the work expertly, certainly, but it is a work that has failed to make much of an impression upon me through the years as little more than a youthful work by a composer on the verge of greatness.  Indeed, the second half was really all about the Dr. Atomic Symphony, a reworking of material from Adams’ 2005 opera, Dr. Atomic.  While the symphony obviously owes a great deal to the opera (and Adams, both in his speeches to the audience in between numbers and in the program notes, rather redundantly stressed the musical connections with the opera’s plot) it is certainly worthwhile as a free-standing work and does not really need any programmatic allusions to make its point.  This is a harrowing symphony, full of a wild energy that proves the dark contrast to The Dharma at Big Sur’s sublime apotheosis, and the NSO and Adams gave it a duly appropriate reading which deservedly brought the house down.  And while the symphony makes a visceral impression, it is also governed by a Sibelian formal logic that makes it an important addition to the somewhat dormant American symphonic tradition.  It will hopefully prove to be one of Adams’ truly major works. 

The National Symphony Orchestra, Leila Josefowicz, violin, under the direction of John Adams, will repeat this program on Friday, May 21 at 1:30 p.m. and Saturday, May 22 at 8:00 p.m. at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

Conductor Alondra de la Parra and her orchestra, Philharmonic Orchestra of the Americas, has a concert coming up at Alice Tully on May 11 that includes three US premieres of works by Mexican composers Gustavo Campa, Ricardo Castro, and Candelario Huízar.

Alondra personally researched these pieces over a period of 2 years – in some cases traveling to Mexico to meet the composers or their families and get the scores. All of the pieces on the concert will be included on POA’s 2-CD set that Sony Classical is releasing in August 2010, entitled Mi Alma Mexicana, which features rediscovered works by Mexican composers written during the last 200 years that are seldom heard in the concert hall.

The program includes the US premieres of Gustavo Campa’s Melodía with solo violinist Daniel Andai, Ricardo Castro’s Intermezzo de Atzimba, and Candelario Huízar’s Imágenes; as well as performances of Carlos Chávez’s Caballos del Vapor; Federico Ibarra’s Sinfonía No. 2; and Manuel M. Ponce’s Concierto del Sur with solo guitarist Pablo Sáinz Villegas.

The concert and CD celebrate Mexico’s Bicentennial, and are part of a larger project Alondra envisions where she will similarly research the music of different countries.

[update: the May 11 show is sold out, but they have added a second concert on Friday, May 21 at Alice Tully at 8pm]

Alex Ross gives a rundown of upcoming seasons at both the New York and Los Angeles Philharmonic Orchestras. There’s a fair amount of contemporary work on the bills from both coasts, though I can’t help feeling the “biggest” events have a somewhat buddy-buddy feel.

Big news in the orchestra world. Starting next season (2010-’11), George Manahan will become the American Composers Orchestra’s Music Director. He will continue as Music Director at the New York City Opera.

George Manahan

In my view, this is good news indeed. Manahan is a superlative musician; he’s conducted some excellent performances of contemporary fare at NYCO. One hopes that his name will entice new audience members to check out the ACO.

Kudos as well to outgoing director Steven Sloane, who’s done an admirable job with the ensemble since 2002.

Thoughts on the shakeup? The comments section is open below!

Received a blurb from the LA Phil the other day, which in all caps proudly declares “LA PHIL LAUNCHES MICROSITE CELEBRATING INCOMING MUSIC DIRECTOR GUSTAVO DUDAMEL“  … Kaboom!… Here’s the relevant bit (my bolds):

On September 24, 2009, the LA Phil launched a microsite celebrating the arrival of incoming Music Director Gustavo Dudamel. Introducing audiences worldwide to Gustavo in new and engaging ways, the comprehensive microsite, located at http://www.laphil.com/gustavo, features videos such as Gustavo’s first rehearsal with the YOLA Expo Center Youth Orchestra, the LA Phil’s video tribute “Welcome Gustavo,” and the press conferences unveiling Gustavo’s inaugural season and appointment as 11th Music Director of the LA Phil.  Visitors can also take a multimedia journey through Gustavo’s life with tiling photographs, video and biographical text.  The latest Gustavo-related news and newly recorded audio and video content will be added to the microsite as Gustavo’s exciting inaugural season progresses.

The Gustavo microsite prominently features a brand-new interactive online game and iPhone application, Bravo Gustavo, designed by Hello Design to simulate the experience of conducting an orchestra.  The Bravo Gustavo online game invites users to interact with Gustavo and the LA Phil performing Berlioz’ Symphonie Fantastique (music courtesy of Deutsche Grammophon).  The Bravo Gustavo iPhone application adapts the mobile device into a conducting baton, utilizing the accelerometer to directly affect the overall tempo and note duration of the music – just like a real conductor.

Wow, conductor as new “my best friend forever”, and it seems like the only thing missing from the package is the action figure. I suppose if the classical world had been cool enough to do a “Bravo Herbert” or “Welcome Antal” back in the day, the crowds would never have left.

(Thanks to Kevin Austin, who runs the Canadian Electroacoustic Community e-mail list, for pointing this one out):

Every serious classical listener/collector has spent time probing through the hiss, pop and crackle of early monophonic 78 and 33 rpm recordings; though the sound is tinny and boxed in, they love the magical feeling of somehow being brought closer to some vital moment, performer or composer.  Until 1958 people could only buy monophonic records; some might have heard stereo sound previously in a few push-the-envelope films like Fantasia, but for at least a couple generations mono was all they had. Yet there had been a number of experimental tries at stereo sound, going back as early as the 1920s (the BBC’s first attempt at a stereo radio broadcast was in December 1925). One of these pioneering experiments has been wonderfully documented on the Stokowski.org website.

Leopold Stokowski might have had a bit of the showman in him, often shrewdly picking music, concerts and events with a little more than average glitz and spectacle. But especially early on, we can’t forget that he was very friendly with a lot of the avant-garde of the day, and had a keen interest in new ideas.  His Philadelphia Orchestra began broadcasting concerts in 1929, but he was disappointed with the poor fidelity. Stokowski approached Bell Labs looking for some way to improve the sound; there he hooked up with Bell’s legendary research director Dr. Harvey Fletcher. Fletcher was doing groundbreaking work on electrical recording, new microphones and recording equipment, constantly searching for ways to expand the frequency, dynamic range and spatial presence of recordings.

They worked out a deal where in 1931 Fletcher would install the latest equipment in the basement of the hall (the Academy of Music) that the Philly orchestra used for broadcasts, making the orchestra a test subject for their recording experiments. By the end of the year they were able to push the recorded spectrum all the way to an unheard-of 13,000 Hz (though still in mono) in a recording of Berlioz‘s Roman Carnival Overture.

But most amazing of all was the work of another of Fletcher’s researchers, Arthur C. Keller. He’d devised a system that could use two microphones at once, each cutting their own sound to a separate groove on the master disk. With this new stereophonic setup, in 1932 Keller recorded Stokowski and the orchestra performing Scriabin‘s Prometheus: Poem of Fire (part 1; part 2). As far as we know, this is the oldest stereophonic music recording in existence, and for all those lovers of the 78 rpm records from this period the quality is just stunning. It would still be more than a quarter-century before the technology could advance enough to where everyone could finally listen at home in stereo.

Arthur Keller came out of retirement in 1979, and assisted by Ward Marston made the modern transcriptions you hear here, from the original master disks stored at Bell Labs. All thanks to them, and to the folks at Stokowski.org for sharing the story (there’s plenty more to learn there too, so don’t forget to go check out the site).

[Ed. note: Polly Moller is not just busy telling you about concerts like the one below -- while she's out there pushing for the other guy, I want to mention the she herself has what looks like a great gig, with Pamela Z and Jane Rigler, May 17th at the Royce Gallery, 2901 Mariposa Street (between Harrison & Alabama), SF. tickets are $10, and you can see more here. Go, Polly! ...OK, on with the show...]

Sequenza21 readers are a quirky and unpredictable bunch.  But I’m willing to bet that any of them who show up on Wednesday, May 20, Friday, May 22, or Saturday, May 23 at Davies Symphony Hall in San Francisco will not spend the first half fidgeting around, waiting for the marvelous Yuja Wang to take the stage, so they can text their friends about what kind of gown she’s wearing.  No, our readers will be on the edges of their seats ready for the world premiere of The B-Sides by Mason Bates!

The internet got a taste of Bates’ new work on April 15th, when the YouTube Symphony Orchestra, led by San Francisco’s own Michael Tilson Thomas, played the final movement, “Warehouse Medicine”, in Carnegie Hall.  Bates explains in the program notes that his five-movement piece is “informed by the grooves of electronica as well as the modern masters of orchestral sonority, and might also be said to inhabit the ‘flipside’ of the symphonic world – a place where drum-n-bass rhythms meet fluorescent orchestral textures.”

The B-Sides is dedicated to MTT, who commissioned it.  The maestro invited the composer backstage during a concert intermission in November 2007, “between Tchaikovsky and Brahms,” Bates recalls.  “He suggested a collection of five pieces focusing on texture and sonority—perhaps like Schoenberg’s Five Pieces for Orchestra. Since my music had largely gone in the other direction—large works that bathed the listener in immersive experiences—the idea intrigued me. I had often imagined a suite of concise, off-kilter symphonic pieces that would incorporate the grooves and theatrics of electronica in a highly focused manner.”

Something else Sequenza21 readers are likely to do, if they attend the Friday, May 22 show, is stick around for Davies After Hours. It’ll be hard to resist, with Bates morphing into his alter-ego, DJ Masonic, and joining SF Symphony Resident Conductor Benjamin Schwartz to host a hybrid concert/reception they call Mercury Lounge: Mercury Soul Comes to Davies. DJs and chamber ensembles will offer their reflections on the night’s concert…which oh, by the way, includes Sibelius’ Symphony No. 4 in A minor, Opus 63.

Tickets are available online, and also by phone from the San Francisco Symphony Box Office at (415) 864-6000.