Listening to “Sirens” without being tied to a mast: Salonen and the LA Phil with Ax, Hillborg, and Beethoven

Esa-Pekka Salonen, in a rare moment without a black polo shirt or Nehru jacket

Esa-Pekka Salonen is back, and there is much rejoicing.

All the Los Angeles Philharmonic’s Conductor Laureate had to do was merely walk on stage Sunday afternoon, and the applause was enthusiastic and loud cheers were already audible. He didn’t disappoint. The first series of his two week stint was vintage Salonen.

Read more of this post

The LA Phil makes some more offers

Just a few months ago, the Los Angeles Philharmonic made a fairly big splash in the brass world by offering the soon-to-be-vacant (in 2012) Principal Trumpet chair to Thomas Hooten, currently principal of the Atlanta Symphony.  Now it seems they’re doing it again, this time to fill the position of Principal Trombone.  Multiple sources have indicated that Nitzan Haroz, currently principal of the Philadelphia Orchestra, beat out a different principal trombone from another major US orchestra in a recent audition.  It looks he will be taking a one year leave of absence from his current orchestra so that he and the LA Phil can decide if they want to make a long-term commitment to each other.

Nitzan Haroz, future LA Phil Principal Trombone?

Mr. Haroz has been Principal Trombone in Philly since 1995; before that, he was Assistant Principal Trombone of the New York Philharmonic for two years.  Besides the fact that LA would be getting a phenomenal low brass player, this hire would be noteworthy in a number of ways:

  • It would fill a position that has been open since the sad and untimely death of Steven Witser in 2009, after at least two previous attempts to find a candidate through open auditions failed.  Mr. Witser was very well-regarded within the LA Phil despite having just joined the orchestra two years prior from the Cleveland Orchestra. His hiring was itself the final result of a nearly year-long process to replace the legendary Ralph Sauer, trombone demi-god and principal with the LA Phil since 1974, who had just retired in 2006.
  • It would be the latest in a series of noteworthy departures from the Philadelphia Orchestra and comes directly on the heels of the announcement just a few months ago that their Principal Trumpet, David Bilger, would be taking a major teaching position in Georgia and reducing his appearances with the orchestra at the Kimmel Center.  It may be worth mentioning that the LA Phil’s Principal Viola Carrie Dennis and Principal Cello Peter Stumpf (currently on leave) previously held titled positions in the Philadelphia Orchestra while Mr. Haroz was also there.  (Then again, if stereotypes are to be believed, string players and brass players don’t always hang out together, so perhaps it is completely irrelevant  . . . )
  • There’d be a touch of irony:  in 2007, before Mr. Witser accepted the job to come to Los Angeles, the Principal Trombone chair was first offered to Matt Vaughn, Mr. Haroz’s Associate Principal in Philly.  He decided to turn down the position, paving the way for Mr. Witser to move to SoCal.

If/when Messers. Hooten and Haroz accept their offers and eventually earn tenure, they would help solidify a brass section that has been in a bit of flux over the past few years.  Combined with the recent hire of Andrew Bain as Principal Horn (and assuming he earns tenture as well), this may lead to some much-needed stability for these positions for years — even decades — to come.

Tao Ni

Speaking of horns . . .  someone had inquired if I knew who the guest/substitute horn players are this year:  for the concerts I’ve attended, Paul Klintworth has been playing 4th horn and Mark Adams has played assistant horn (though this past weekend he sat in as 2nd horn).  Beyond that, I can’t tell you.

Back over in the strings . . . Tao Ni, a Colburn School alum and current cellist with the Cincinnati Symphony, won the audition for Associate Principal Cello, a position that opened up when Daniel Rothmuller moved back into the section and was given the title of Associate Principal Emeritus.  Mr. Ni sat first chair with the orchestra for the Adams/Chapela/Prokofiev concerts earlier in the season.  As it happens, Susan Babini, one of the other finalists for the position who played a trial with the orchestra on a different week, was recently named Principal Cello of the Milwaukee Symphony.

Related posts:

—————

Photo credits:

  • Nitzan Haroz:  Jean Brubaker
  • Tao Ni:  Ixi Chen

Meeting Mozart

Mozart, prior to arriving in Los Angeles

Have you ever wondered what it would be like if you met Wolfgang Amadeus Mozart?  The REAL Mozart?  Today?

Stephen T. Harper, writer extraordinaire, did.  Or perhaps instead of wondering, he and his awesome wife, Christie Harper, actually met the guy.  It’s tough to tell . . . they are both friends of All is Yar, so you never know.

For your reading enjoyment, I strongly recommend that you visit SHarper Blog and read “Conversations with Dead Geniuses: Mozart”

While you’re there, read some of Steve’s other stories.  Or better yet, download and read Steve’s book, King’s X.

Happy reading, and again, Happy Thanksgiving!

—————

Photo credit:  from the painting by Johann Nepomuk Della Croce, Salzburg Mozarteum

Happy Thanksgiving

Many thanks to all of you for making All is Yar a small part of your day.  I hope you have a wonderful holiday filled with good food and drink, spent with people you care for.

And football.  Hope it’s got some football in there too.

A little later than I thought

I had finished my post of Bernard Haitink conducting the New York Philharmonic a few days back, but for various reasons (mainly due to more connectivity issues while traveling), it never got posted until today.  I back-dated the post to the day I finished writing it (last Friday), but for your convenience, here is a link:  Thoughts on Haitink, the New York Philharmonic, and Avery Fisher Hall.

 

Two women and an orchestra: Emmanuelle Haïm and Sonya Yoncheva debut with the LA Phil in an all-Händel program

The beguiling soprano, Sonya Yoncheva, in one of the few poses she didn't make at WDCH

On paper, Sunday afternoon’s concerts belonged to conductor Emmanuelle Haïm.  The reality was that and much more.  Ms. Haïm dominated the concert.  Many musicians had solo turns of one sort or another, and two — oboist Ariana Ghez and recorder player (or is it recordist?) Rotem Gilbert — even played front and center.  Yet when it was all said and done, soprano Sonya Yoncheva stole the show.

Read more of this post

RIP Irving Geller

Irving Geller in 1973 and 1994

Irving Geller, former Associate Concertmaster of the Los Angeles Philharmonic and first violin with the orchestra from 1951-1999, passed away on November 16, 2011. He was 85 years old.

Mr. Geller joined the LA Phil as one of its youngest members after having served as Assistant Concertmaster of the San Antonio Symphony for three years.  He was eventually promoted to Associate Concertmaster, a position he held for nearly 25 years until the beginning of the 1994/95 winter season, when he moved back into the section and was succeeded by Bing Wang.

Prior to his professional career as a musician, he served with the United States Army in the Battle of the Bulge, earning a Purple Heart for injuries sustained in combat.

The full statement from the Los Angeles Philharmonic on Mr. Geller’s passing can be found HERE

—————

Photo credits:

Thoughts on Haitink, the New York Philharmonic, and Avery Fisher Hall

As previously mentioned, I made a “game day decision” last Saturday night to see Bernard Haitink conduct the New York Philharmonic at Avery Fisher Hall.  Note that I listed Mr. Haitink’s name first, then the orchestra, then the hall:  chalk up the opportunity to see the legendary Dutch conductor in person for the first time as being the primary draw for me.  He could have been conducting John Cage’s 4’33″ and I probably still would have paid money for it; lucky for me,  the not-quite-warhorse “Pastoral” Symphony of Beethoven was on the bill, paired with Strauss’s Don Quixote.  Overall, it may not have been the most exciting or groundbreaking concert, but it was enjoyable nonetheless.

Read more of this post

Free performance of Ives piano sonata by Susan Svrček this coming Sunday

Let’s face it:  you and I are always up for a bargain, especially when the product is quality live music and the price is “free-fifty-free.”

On Sunday, November 20th, Pianist Susan Svrček will be performing the Piano Sonata No. 2 “Concord Sonata” by Charles Ives at 4pm at the Steinway Piano Gallery in West Hollywood.  Admission is $0, but you have to call +1-310-652-6666 no later than Saturday, November 19th to reserve your seat(s).  For more details, click HERE.

Her bio states that as a founding member of Piano Spheres, Ms. Svrček  “has premiered works by Joan Huang, Benjamin Lees, Frederick Lesemann, and Hyo-shin Na.  She is noted for her wide range of repertoire, from Mozart and Beethoven to Xenakis and Boulez.”  She also happens to be a member of ensembleGREEN.

By all accounts, it’ll be a wonderful performance, and there isn’t really any reason for you to miss it . . . unless, like me, you’ll be at WDCH for a little bit of Handel. Oh well.

—————

Photo from Steinway Piano Gallery – West Hollywood

Visiting the speakeasies of New York: Milk & Honey

Penicillin. Will cure any ailment. Maybe.

For me, Milk & Honey is kinda like the music you listened to in high school:  regardless of how much your everyday tastes may have changed or your repertoire has diversified, you’ll always have a soft spot for it and return to it often.

It may be tough to say who reignited the speakeasy and mixology movements, but a case could probably be made for Sasha Petraske, Sam Ross, and the other folks associated with this SoHo watering hole.  What began as a small, unassuming neighborhood place on an unlikely street near Chinatown is now a legend.  Some things have changed over the years, but its primary appeal remains constant:  it is a great spot for you and a few friends to enjoy truly amazing drink concoctions while actually being able to carry on a conversation without having to shout.

If you only go to one New York speakeasy in your whole lifetime, make it this one.

Read more of this post

Game day decision: Haitink and the New York Philharmonic

image

It is my last full day in NY, and as luck would have it, I was able to wrap up my Day Job responsibilities a little earlier than originally anticipated.  After pondering some options,  I decided to dash over to Lincoln Center to see Bernard Haitink  conduct the “other” Philharmonic. 

The program is decidedly middle-of-the-road (for which The New York Times took the orchestra to task):
- Strauss:  Don Quixote
- Beethoven:  Symphony No. 6

I didn’t think I’d be doing more Strauss so soon after Zarathustra.  On the other hand, I’d never seen Mr. Haitink conduct before in person, and this was the best chance I was going to have for the forseeable future. In addition, there are other more mundane reasons for my choice (of which I’ll spare you for now).

After this, I’ve gotta find a place for dinner, start blogging about my various NY experiences, and gleefully look forward to being back in Southern California.

Helicopters and the Hollywood Bowl: falling on deaf ears

If you think that the number of helicopters visiting the Hollywood Bowl mid-concert has been increasing, you’re not the only one.  In today’s Los Angeles Times,  Deborah Borda (Los Angeles Philharmonic President) says:   “It’s always been a problem, but now it’s every concert. Not almost every concert, but every concert, multiple times. And it didn’t use to be.”  Appearently, as many as four or five helicopters fly overhead every night during a performance.

The article mentions that as part of an effort to quell  the noise, Rep. Howard Berman (D-Van Nuys) introduced a bill into Congress calling for a reduction in helicopter noise pollution.  The Los Angeles County Board of Supervisors passed a motion supporting the bill.  This is all on top of annual meetings the LA Phil has with the Professional Helicopter Pilots Association (PHPA) during a rehearsal at the Bowl, complete with a helicopter fly-over to show how loud and distracting things get.

Best of luck for all of these combined efforts.  Judging by a recent article in The New York Times about helicopters in So Cal, they’re going to need it.  Badly.  An excerpt:

Ask the Federal Aviation Administration, city officials, the police department, beleaguered residents or the tourist pilots who are more than willing to fly low for the promise of a tip. This is, for all intents and purposes, an unregulated industry, an increasingly frustrating realization for Los Angeles as it experiences what many people say is the most intense period of helicopter use in memory. One neighborhood leader said he was afraid of complaining too loudly for fear that the helicopter operators would retaliate — legally — by parking over his house.

“See how we are flapping right now?” said Esteban Jimenez, a pilot for Hollywood Helicopter Tours, as his four-passenger Robinson R44 Raven II circled at an unnerving 90-degree angle, barely 100 feet over houses below. “That is upsetting everybody. We are at a safe enough distance. But it makes people really upset. I get calls all the time.”

Mr. Jimenez kept his helicopter, its blades thumping the air, eye-level with the Hollywood sign.

“People don’t understand what’s really going on,” he said. “They really can’t do anything. I could buzz you as long as I keep my distance. We are legal. They don’t control the air space. . . .

. . . On July 19 evening, a helicopter clacked loudly over the Hollywood Bowl at the very moment Gustavo Dudamel was leading the Los Angeles Philharmonic through the adagio in the overture to Mozart’s “Abduction From the Seraglio.” The day before, Mr. Jimenez had pointed to the Hollywood Bowl operators as some of the biggest complainers as he flew his helicopter over the famous amphitheater.

“These people here are always crying,” he said. “They are always calling the towers telling them to get us away. These people are the worst. It’s sad, but they can’t do anything. All they can do is complain.” (emphasis mine)

(“Helicopters Jam the Skies Above Los Angeles,” Adam Nagourney, The New York Times, July 25, 2011)

In case you are interested:

Yuja Wang and James Conlon triumph with the LA Phil

Yuja Wang is the real deal.

If there was any doubt that might have crept in as to whether or not she was a “serious” pianist and/or musician based on a spate of recent cancellations and a critic’s unfortunate comments about her attire at the Hollywood Bowl, let them be put to rest after this past weekend’s concerts at Walt Disney Concert Hall.  On Sunday afternoon, she was spectacular in Prokofiev’s Third Piano Concerto, aided strongly by James Conlon and the Los Angeles Philharmonic.

Read more of this post

Visiting the speakeasies of New York: A prologue

For about ten years, I used to travel to New York regularly for business — as often as once every other month. Work took up most of my time, but I usually had opportunities to take in the local scene, both high-brow (Lincoln Center, Carnegie Hall, 92nd Street Y, Broadway, among others) and low-brow (Broadway, Meat Packing district, insert various lounge/club/dive here). Then the economy started to slump, priorities changed at The Day Job, and before I realized it, it had been two years since I had visited Manhattan. Even though I am decidedly NOT a NY apologist, I actually found myself missing my visits there.

My recent and upcoming trips to the city have given me cause to revisit old haunts and find some new ones, especially since some of the folks accompanying me have only done touristy New York. As the work schedule unfortunately conflicts with any hope I may have of seeing a concert, opera, or other such thing, I decided to concentrate my off-duty time (and that of my associates tagging along) on exploring the burgeoning speakeasy scene in Manhattan.

This is not exactly a new trend, and New York certainly does not have a monopoly on the concept. I remember the first visit I took many years ago to an unmarked grey box on Melrose that went by the name Smalls K.O. where you had an equal chance to be drinking next to Pasadena preppies, local bikers, and/or Anthony Kiedis and Flea; Smalls would morph into Kane, and eventually became the legendary Forty Deuce, itself an homage to the raunchier past of 42nd Street in NY. In the 90′s, countless Trents, Mikes, and other hipsters would head to the corner of Vine and Santa Monica and search for the “Bargain Clown Mart” sign, the marker for the nondescript building below it which housed Three of Clubs (or “Three Clubs” as it is now called).

All that said, there are two important differences between such local places and the New York spots that I began to frequent in the new millennium:

  1. The rise of “mixology” and the return to hand-crafted fancy drinks using fresh ingredients, non-generic alchohol, and a little imagination. These were cocktails that a guy could drink without fear of sullying his coolness; there wasn’t a single pink umbrella in sight.
  2. Some of the locations were actually real-life speakeasies back in the days when the 18th Amendment and Volstead Act were the laws of the land. And even if they weren’t, there was some inherent New York grittiness (the dank smell on the sidewalk and piles of trash in front of the unmarked door) that added to the authentic feel.

Of course, being able to walk — er, um, stumble — from place to place, or take a $10 cab ride if needed, makes the idea of going to a strange location to try out multiple stiff drinks a bit more tolerable than, say, having to convince one of your friends to be a designated driver as you jaunt from Downtown to Hollywood to the Westside exploring the L.A. scene.

So that’s what I’ve been doing lately in my spare time away from home. It’s been an interesting exploration so far. Details are forthcoming.

—————

Photo credits:

  • “Speakeasy:”  University of Southern California
  • Bargain Clown Mart sign:  Three Clubs

The world we live in, and life in general: LA Phil and Dudamel do Kurtág, Mozart (with Richard Goode), and Strauss

I almost always go to classical music concerts because I feel I must see/hear something on the program:  a certain composer or his work, a soloist, maybe even a conductor.  Other times it’s because I’m curious about a world premiere of a new work or a performer I’ve never heard before.  This past Sunday at Walt Disney Concert Hall was the rare exception:  a perfectly fine program about which there wasn’t really anything I craved or was curious, a concert I probably wouldn’t have attended had it not been included in my subscription, with the “life and death” overtones of the programming not necessarily adding to the appeal.  No matter.  The philosophically tinged program turned out to be quite enjoyable, and in the end I’m glad I went.

The main thing keeping me from switching out:  Richard Goode.  He has been a fairly regular visitor to the Music Center over the years, both in recital and with the Los Angeles Philharmonic, but I realized that the last time I saw him play was in the Dorothy Chandler Pavillion.  Clearly, I was way overdue.  It’s a special treat to hear him play Mozart, in this case the introspective and occasionally brooding Piano Concerto No. 20 in d minor.

Read more of this post

%d bloggers like this: