One of the treats of the Los Angeles Philharmonic programming in recent years has been a series of related concerts on a particular theme of 20th and 21st century music.  The theme might be a composer (Schoenberg, Stravinsky), or it might be a style (minimalism).  This year’s special theme has been “Shadow of Stalin”:  music of the Soviet Union before, during, and after the controls placed on music style and content.  A nice range of programs has been established: five programs by Philharmonic musicians; a symposium; two films; an all-night re-mix with visuals; contemporary underground pops; and a youth orchestra concert.

Last night’s Green Umbrella concert took the sub-theme “Music After the Thaw”.  The first half of the program comprised two works by Sofia Gubaidulina.  The early “Concordanza” (1971), written when she was 40, is a masterful chamber work for four strings, five winds and percussion.  While it is one of the few published works written before she was 50, the sheer control of language and technique expressed in the work (and the sheer volume of work published after she was 60), makes me wonder about all of those unpublished works that had to have lived in her mind before she was able to communicate more openly.  “In Croce” (1979) has several allowed versions:  for cello and button accordian (bayan), for various instruments, and for cello and organ, which was performed last night.  I was blown away.  Most of the recordings seem to be for cello and bayan, but I found one clip for cello and organ, which approximates what I heard in Disney Hall last night.  Ben Hong on cello and Mark Robson on the WDCH organ made this pairing of instruments a beautiful thing to hear.

The last half of the concert was Alfred Schnittke’s “Symphony No. 4” (1984), a 42-minute work in one movement, a work that deserves multiple hearings to begin understanding its patterns.  The work is written for 9 strings (2 vn1, 2vn2, 2va, 2vn, 1cb); 7 winds (f, o, c, b, h, tr, tb); 4 percussionists on pitched percussion; plus celeste, harpsichord, and piano; and vocal quartet (satb) with important solos by tenor and mezzo.  The work has an attractive surface of sounds; it seems quite accessible.  But beneath the surface are slow, repeated, medidative ideas.  These ideas are restrained; they seem to remain private at first meeting.  The vocal line is without words; the original text, a setting of Ave Maria, was removed to avoid censorship of the work.  Certainly this (and other Schnittke works) provide guidance as to the general nature of the meditations in the music, but understanding would come only with familiarity, I think.  I’ll find a version to listen to; it seems to deserve more hearings.

Alexander Mickelthwaite, the Phil’s outgoing Associate Conductor, did his usual fine job in leading the ensemble works that began and ended the program.

A tip of the fedora to Peter Mueller for this handy little link.

May 14^th, 2019

CRAWFORD, Texas (AP) – President Bush looked tired as he sat down one last time in his famous beige easy chair in the Green Room of Lone Star Auditorium. His mind seemed elsewhere, and he was silent for a few minutes. Slightly impatient to begin our interview, however, I gently pointed out he was still holding his baton.

“Oh!” he said, giving it a fond look and setting it aside. “It’s gonna be hard to let go.”

Crawford audiences feel the same way. No one knew exactly what George W. Bush was going to do after two terms in the nation’s highest office. But one can’t help but think he knew all along. After nine seasons as founder, conductor, and Artistic Director of the Greater Crawford Symphony Orchestra, it’s hard to believe Bush won’t be with us next season. I asked if there was a defining moment of his tenure.

“Definitely the performance of Shostacovich’s Second Symphony in 2010. Many people didn’t understand what I was trying to say. But the audience did. Some board members left, but we stayed the course. 2012 I was pleased to curate a Hanns Eisler festival in the small hall, and when Fred [Rzewski] premiered his first piano concerto here the following season, I felt we had won the war.”

“People were surprised when you unionized the orchestra at Rzweski’s insistence.”

“I often surprise people. But they always know where I stand.”

“Are there any programming decisions you now regret?”

“Well – he’s gone now, so I guess I can admit I wasn’t happy with the first two movements of Rummy’s Beethoven’s Ninth, and I shouldn’t have let him lead the third. But we found another guy for the ‘Ode to Joy,’ so it all ended up okay. Then there was the Snoop Dog’s ‘Symphonic Rap Fantasy’ with President Obama. It was a better idea than it turned out to be. We thought people would be okay with Barack saying the ‘n’ word, but he wasn’t black enough. Overall, though, I’d say the cons have outweighed the pros.”

“What about Lowell Liebermann’s Flute Concerto for Tony Snow?”

“I loved Lowell’s work. But what really blew me away that night was Tony’s encore.”

“You’re referring to his rendition of Sciarrino’s ‘L’orizonte luminoso Di Aton’?”

“Yes – I mean we should have amplified it, but it was a spur-of-the-moment thing.”

“And what about Condoleezza Rice’s controversial tempo choice in Brahms’s first piano concerto?”

“A little slow. I’ll leave it at that.”

“A few seasons ago, despite approving the commission, you refused to conduct Tobias Picker’s opera ‘The Brave Pioneers.’ Would you comment on that now?”

“Well. I knew it was just gonna be a bunch of fluff. I’m happy people liked it, and it’s gone on to be a big success. But I’ve always been a leader who’s done what he thinks is right even when it’s not popular.”

“Like your continued support of General Manager Alberto Gonzalez and his handling of the firing of the entire bassoon section?”

“I’m not going to comment on that.”

“Are you looking forward to Vienna?”

“Yes – Doris Dörrie and I have been talking about a new production of Lulu in which Lulu’s followed by a giant raccoon for the first act and is strangled by an octopus at the end. Doris is a genius – and she’s a regular at the Ranch. As is Olga Neuwirth, who’s rewriting the score. I’ve never thought that third act worked. Meantime, though, I’ll have to suffer through a million performances of The Magic Flute. All that Masonic hocus-pocus.”

There came a knock at the door. A voice announced a very special guest was here to see Bush. Bush smiled. He knew already who it was.

“Hey gringo!” said a burly, red-shirted man, entering.

Bush jumped out of his chair and turned to me. “Have you met Hugo? He’s our next conductor. Those guys in Venezuela sure know how to train musicians!”

This Mother’s Day, show her you care.  Nothing says “Thanks Mom” like a high-octane concert of Lachenmann, Ades, Nono, Alex Mincek, and Kyle Hillbrand.  And — just your luck — such a beast is roaring our way with David Hanlon’s Hold the Applause concert at Gallerie Icosahedron this Sunday at 5:30pm.  Of course, if you don’t love your Mom — or you live outside the Eastern timezone — your presence can be excused.  Otherwise, troops, forward march!  The various links will give you all the details you need.