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Philadelphia Names Yannick Nézet-Séguin Music Director

Colin — Mon, 21 Jun 2010 22:33:20 +0000

The Philadelphia Orchestra has appointed Yannick Nézet-Séguin as the next music director—its first since Christopher Eschenbach stepped down in 2006. Until now, Charles Dutoit acted as Chief Conductor while the orchestra negotiated a period of nebulous leadership. Nézet-Séguin will begin a seven year contract immediately under the title “music director designate,” and after two seasons will assume the full role of music director starting in 2012-2013.

Nézet-Séguin’s appointment hopefully marks the end of a rocky year among the Philly’s top officials. After the orchestra’s chief executive and board chairman both resigned last year, the resulting vacuum created instability that affected the organization’s online presence, recording contract, and tour schedule. Nézet-Séguin hopes to work with the current administration to harness the quality of the musicians while sorting out the logistical hurdles.

At the same time, Nézet-Séguin will earn his reputation in the United States, as he has conducted primarily in Canada and Europe in the past. But at just 35, he will take the helm at one of America’s top symphonies in a time when revitalization seems key.

See also: New York Times, The Philadelphia Orchestra Press Release

New Jersey Symphony Orchestra Gets New Maestro

Colin — Mon, 26 Oct 2009 05:10:12 +0000

The New Jersey Symphony Orchestra announced that Jacques Lacombe will succeed Neeme Järvi as music director. The 46 year old French Canadian is joining the organization during a period of frozen wages and a reduced concert schedule with the intent of revitalizing both orchestra and audience.

Lacombe says that in order to invigorate the classical scene a conductor must be inventive with his programming. While his preferences lean towards 19th century repertoire with 20th century classics, Lacombe remains fluid with his vision, saying that he doesn’t “want to be labeled,” and that he is still “discovering things.”

While the Ledger regards Lacombe as “untested,” he has many conducting credits including the Met. Where Jäarvi brought experience and renown, Lacombe will hopefully bring new energy and perspective.

Source: The Star Ledger

Newsweek: Classical Music’s Version of Dodgers vs. Yankees: A Youthquake Hits Both Coasts

Colin — Thu, 22 Oct 2009 05:32:44 +0000

Before the Dodgers relinquished their chance at the Series, Newsweek featured an article capitalizing on the potential bi-coastal competition and profiled the two conductors who recently claimed their coasts: Alan Gilbert and Gustavo Dudamel. Author Seth Colter Walls asserts that the LA and NY Philharmonics are not in competition, but instead share the goal of bringing conductors’ names into American—even international—homes.

Citing that both conductors have already commissioned and premiered works by well known composers, Walls indicates the pair intend to, and are capable of renewing interest in new music and bringing young audiences to concert halls. Click to read the Newsweek article containing the words “buttress” and “contemporaneity.”

Guardian Writer Says Conductors Are Overpaid And Not Needed

Ian — Fri, 09 Oct 2009 21:13:41 +0000

A recent article by Phillippa Ibbotson of the Guardian (UK) about the growing salaries of classical conductors has been catching significant buzz. The topic, which has been discussed since before Normal Lebrecht published “The Maestro Myth,” (a book chronicling the shady practices sometimes taken by conductors and their agents to perpetuate ever-increasing salaries), Ibbotson attempts to tackle the issue with what can only be explained as naivety and a lack of facts.

AUTHOR’S DISCLAIMER: In general, I try to avoid sounding ~~upset~~ ~~displeased~~ ~~pissed off~~ angry in my writing. However, after speaking with many of my colleagues, and taking several cool off breaks, I decided to give this article what I feel is a proper response. If you would like to read the original article then hit the link after the jump. Big thanks to the extensive comment thread at the Guardian for some good laughs!

While attempting to compare the conductor to the instrumentalists of an ensemble, Ibbotson’s argument rapidly turns into an attack on the maestro’s importance in a symphony orchestra. What started as the simple question “are conductors overpaid?” quickly turned into “are they even needed?” She even goes as far as to cite Bruce Forsyth’s recent acceptance of a pay-cut as an example for conductors to follow. Yes, that’s the same Forsyth that hosted The Price Is Right and Strictly Come Dancing, the comparison is beyond me. Let’s get right to some of the finer points of Ibbotson’s article:

“The truth is that almost the last place you look as a musician is towards the conductor. There simply isn’t time. The notes fly past and the brain is in overdrive, busy processing vast amounts of information on the page.”

Come again? This sounds like a deeply confused comment from an apparent non-musician. Sure there are situations in which we are forced to focus most of our attention towards the notes on the page, but to imply that the conductor is the last place we look is nonsense! And furthermore, if you find yourself nodding your head at that statement and play in a top orchestra, I would like to buy you lunch because you will be jobless very soon.

“Nor might you be surprised to learn that Margaret Thatcher was a notorious devotee of Herbert von Karajan.”

This I just don’t get. Maybe she is referring to “star-power” and the conductors’ ability to attract big names, I don’t know. Tweet me.

“To assume that the conductor is largely responsible for the music is a bit like believing an air-traffic controller should take most of the credit for a Red Arrows display.”

This is about as true as saying Phillippa Ibbotson did significant research before writing this article. A better comparison would be, “is a football coach being paid to wave his arms in the air for 90 minutes?” If I have to explain this… sigh.

I can’t help but think of the irony—a music journalist trying focus peoples’ minds on the question “what is the point of this person?” Does she not realize how few jobs there are in our profession? If the mission was to create a stronger pro-conductor movement in the comment thread following the article, then congratulations on succeeding. If not, then I would request that she please explain herself.

Article on Guardian

Update: Pulled some of the jokes that could get me in trouble… sorry folks.. but I’m happily sending out copies to those who enjoyed the original and have been emailing me
Update 2: Paid close attention in rehearsal tonight.. people still watching conductor.. let you know if this changes

Gilbert’s Trip to Cuba Squashed by State Gov

Ian — Wed, 07 Oct 2009 20:17:05 +0000

I don’t even know what to say about this one. My understanding of the situation is still somewhat unclear. Apparently, Alan Gilbert, the New York Philharmonic, and “patrons” of the orchestra were scheduled to take a trip to Cuba next month. Notice that little detail at the end?

While the State Department was fine with the newly appointed Maestro and his ensemble making the trip, they were not too excited about 150 wealthy New Yorkers going on a vacation which ordinary U.S. Citizens are not allowed to make.

With the exception of the New York Times (which may or may not have helped propel Gilbert into the driver’s seat in a similar fashion to Sir Simon Rattle’s rise with the Berlin Philharmonic), Gilbert’s opening night performance was met with less than stellar reviews. While the Times praised the rhythmic integrity of his performance, most others called him unenthusiastic and “lacking in charisma”.

As a native New Yorker, I love Alan Gilbert. I found his performance of John Adams’s Dr. Atomic last year to be top-notch, and I am looking forward to more performances. But I cannot help feel that this has somehow done a disservice to his image.

What do you think? Should Gilbert be held responsible for this? Or should the finger-pointing go more in the direction of the orchestra’s president, Zarin Mehta, who last year collected a salary of $850,000, and after other “extras” racked in a grand $2.7 million. My only question is, did they really expect to get away with this?

Source: Bloomberg

YOLA Dudamel! LA Phil Opens Season at Hollywood Bowl

Ian — Mon, 05 Oct 2009 23:51:23 +0000

In his first public appearance as Music Director of the Los Angeles Philharmonic, Gustavo Dudamel, the poster child of El Sistema, walked on stage at the Hollywood Bowl Saturday afternoon to a crowd of 18,000. Greeted by tremendous applause, he raised his baton and gave his first downbeat… to 200 children from southern Los Angeles.

Sporting a “YOLA” t-shirt, the Maestro conducted the Youth Orchestra of Los Angeles’s undoubtedly most important concert yet. YOLA was founded two years ago, inspired by El Sistema—the highly successful Venezuelan music education system based on the Suzuki Method. YOLA has been much more than a prototype for the future of music education; it has already changed the lives of both orchestra members and their families.

Following YOLA, the Los Angeles Philharmonic performed Beethoven’s 9th Symphony—a truly monumental piece which will undoubtedly be remembered by all in attendance.

It was not an attempt to show off the success of the YOLA program, nor simply an act of good will on the part of the LA Philharmonic. As Laurie Niles, editor and author of violinist.com put it,

“The idea of making children’s lives beautiful through music gleams with idealism; the reality is that it’s a tremendous, arduous effort for both teachers and students. Dudamel certainly knows this, having conducted so many youth orchestras himself in his native Venezuela. There was no apologizing for the fact that kids who have played for only a few years sound like kids who have played for only a few years. Their accomplishment was tremendous; and to celebrate it, to celebrate them, is legitimate.”

Being a Suzuki teacher or simply a music educator, one cannot help but feel incredibly moved by this. To think that a professional orchestra would gladly share the stage with YOLA simply echoes of the ideals of Shinichi Suzuki. To the founder of the famous method, the goal of music education was not simply to develop professional musicians, but to nurture loving human beings, and promote every student’s character through their study of an instrument.

You can find links to more articles by Laurie Niles on El Sistema and Saturday’s memorable concert below. I encourage you to read more about this revolutionary system, and spread the word to all music educators. This is the future of music education!

Welcome to Los Angeles, Gustavo Dudamel – Violinist.com

What real music education can create: The Simón Bolívar Youth Orchestra of Venezuela – Violinist.com

Not So Warm Welcome for Gatti

Ian — Mon, 05 Oct 2009 20:31:54 +0000

The beginning of Fall has different meanings for everyone. Some love the changing colors, the cooler temperatures, or as is the case with this writer, the exodus of summer tourism from New York City. All kidding aside, the beginning of the concert season for the country’s major orchestras and opera companies is always an interesting sight. Opening night reviews can truly make or break a ~~career~~ season. The introduction of Gustavo Dudamel with the Los Angeles Philharmonic was met with spectacular reviews, much as Alan Gilbert with the New York Philharmonic.

Unfortunately, not all welcomes are quite so warm… On Friday, Verdi’s Aida returned to the Metropolitan Opera under the baton of Daniele Gatti. Perhaps feeling empowered after recently destroying Luc Bondy’s self esteem, the audience greeted Gatti with a wave of boos following the performance, despite applauding energetically for the singers.

Whether or not the boos were deserved is personal opinion. The patrons of the Met opera are known for being outspoken to say the least. If the majority of the crowd was disappointed, then I say the boos were justified. Perhaps I have seen too many concerts where the ten loudest people in the audience swayed the entire opinion of the hall with their over-the-top dismissal and protest. Then again, I was not in the audience on Friday evening.

Is this a step in the right direction? Are the days of snoring and expected standing-ovations a thing of the past?
Original article on nytimes.com

VLOG #1: ICSO Wrap Up

Ian — Mon, 05 Oct 2009 04:36:03 +0000

Again, we would like to thank Steven Stucky and Jeffery Meyer for speaking with us this past week. And thank you to OUR VIEWERS! Thank you so much for spreading the word about The Sound Post. We love you all and will continue to bring you somewhat scholarly articles from the world of classical music everyday. We have a special interview with Sanford Reuning next week. Please send all questions or comments to Ian@soundpostnews.com, or find me on twitter at twitter.com/iansalmon. Video after the jump.

Exclusive: Interview With Conductor Jeffery Meyer

Colin — Fri, 02 Oct 2009 15:57:13 +0000

Today’s interview is with Dr. Jeffery Meyer. He is the Director of Orchestras at Ithaca College, Artistic Director of the St. Petersburg Chamber Philharmonic, and Artistic Director of the Water City Chamber Orchestra. Meyer will lead the opening performance of Ithaca College’s 09-10 season tomorrow night, Saturday October 3rd. One of the works on the program is Jeu de Timbres by Steven Stucky, who we interviewed yesterday (see his interview here).

Also scheduled is Ravel’s Ma Mère l’Oye (Mother Goose Suite), and Berlioz’s Symphony Fantastique, op. 14. The concert takes place tomorrow night, Saturday October 3rd, at 8:15pm in Ford Hall, Ithaca College.

Please click on through for the video interview and full written transcript.

Sound Post News: Hi everyone this is Ian with another Sound Post News Video Blog.

Here with me today is Dr. Jeffery Meyer, Director of Orchestras at Ithaca College, also the Artistic Director of the St. Petersburg Chamber Philharmonic. Thank you Dr. Meyer for being with us today.

We’re here to talk about the Ithaca College Symphony Orchestra. Tomorrow night, Saturday October 3rd, opens the 2009-2010 season. On the program is Stucky, Ravel, and Berlioz. Could you tell us a little bit about this program and what inspired you to choose this repertoire?

Jeffery Meyer: Well, the Berlioz is the centerpiece of the program. It’s interesting—I don’t know if you were paying attention—both one of the early concerts with Dudamel and LA Phil was Berlioz’s Symphony Fantastique. There’s an incredible recording available on iTunes with that performance. And also the debut of Alan Gilbert with New York Phil was also Berlioz. It’s interesting—I didn’t know these things were going on, but I don’t think it’s just in the air. I think this piece is a showcase for both orchestras and conductors. So it’s been on my list to do with this orchestra for some time. It is such a virtuosic showpiece for everyone involved. So the program started with that germ. And then I spoke to Steve Stucky earlier in the spring I think, about a piece that would be appropriate to do here. I’m not sure if you know, but Steve is turning 60 this year—so it’s a big anniversary—and I thought it would be the right time to do something of Steve’s. So he suggested this as a possibility. And the program then is filled out with Ravel. And the whole program then falls within this kind of French orchestral idea, so there’s a real unity to the program which I like a lot.

SPN: If you haven’t caught it yet, Steven Stucky did a great interview with us yesterday (link). He talked about his piece Jeu de Timbres—as he said yesterday, lots of French moments and we’ll see it tying together. So tomorrow night, first concert of the season, what do you look forward to most in working with the Ithaca College Symphony Orchestra as compared to your experiences with the St. Petersburg Chamber Philharmonic?

JM: Well there’s a few things. The exciting part about working with younger musicians: the growth rate is fast but of course the rehearsal cycle is over a longer period of time. With a professional orchestra you come in, you conduct 3-4 rehearsals, have a concert, and it’s done. But there’s a development process that happens over 5 or 6 weeks of rehearsal which is very exciting to partake in. And as a conductor I get to dig into these works in a deeper way than I do in some ways working with professionals, because I have to take apart everything. Nothing happens by itself really. So I get to know the work in a really intimate way. And then to watch the students grow is pretty fascinating and exciting. This is a very large undertaking for a first concert, and there’s a lot of younger players in this orchestra because there was a big incoming class this year. I sort of feel like I took most of the players, especially the first year players, and threw them into the deep end of the orchestral waters to see if they would swim, and they are.

SPN: As Mr. Stucky said yesterday, his piece Jeu de Timbres is a showpiece designed for a professional caliber orchestra, and he seemed pleased with how the orchestra is doing—and we all know Berlioz is not a walk n the park either.

JM: No, it’s virtuosic for everybody. Everybody has something to do. I don’t think there’s an instrument that’s not called upon to do something difficult and extraordinary. It’s a great piece. And Steve’s piece, it quotes Ravel as you know—I watched the interview this morning—and then we play Ravel right after that, so the program has a really nice flow to it.

SPN: So for the most part it’s very high energy, very French.

JM: Yeah, although the Ravel is certainly the most calm of all the pieces. Steve’s piece is brilliant—it was written as an encore so we’re using it as an opener. It sort of fills the same function to either start or end something with great energy. And then the Ravel is mostly calm, beautiful wind solos. It calls on every instrument in the wind section, including a very difficult contrabassoon solo, which Noah is doing a very good job on. And that’s a little bit more calm. The whole Ravel piece inhabits a more quiet, fairy like role. And of course Berlioz is off the deep end.

SPN: Certainly a concert to catch. Again the concert is at 8:15pm tomorrow night, October 3rd in Ford Hall at Ithaca College.

Gilbert Leads NY Phil as Music Director

Colin — Thu, 17 Sep 2009 02:45:10 +0000

Alan Gilbert reigned over the New York Philharmonic tonight for the first time as music director. Hosted by actor Alec Baldwin, the televised broadcast “Live from Lincoln Center” allowed millions to watch not only the NY Phil’s opening night, but its venture into a new era of leadership. Gilbert is not only the youngest-appointed music director, but also the first native New Yorker to hold the position.

The program began with the world premier of EXPO by Magnus Lindberg, the Phil’s composer-in-residence until 2011. Lindberg wrote the work knowing it would open the milestone season—the Phil’s 50th at Avery Fisher Hall.

EXPO was followed by Songs pour Mi—a song cycle by Olivier Messiaen. Sung by Renée Fleming, the song cycle is a portrait of Messiaen’s love for his wife, Claire Delbos, who he nicknamed Mi. Those watching the televised broadcast saw Fleming introduce the cycle with a pre-recorded speech, which outlined Messiaen’s relationship from his marriage to Delbos at 27 years old, to her institutionalization due to mental illness after the end of World War II.

Finally, the headlining work of the night was Symphony No. 1—or the Fantastic Symphony—by Hector Berlioz. Written only three years after Beethoven’s death, the work facilitated the exodus into Romanticism, as it’s massive orchestration and lush expression brought unrestricted emotive composition into the musical world. The work is programmatic—that is, it possesses a narrative—with notes written by Berlioz himself. Each of the five movements has a descriptive title, including the famous March to the Scaffold and Dream of a Witch’s Sabbath. As described by Berlioz, the piece tells the story of “an artist gifted with a lively imagination” who has “poisoned himself with opium” in the “depths of despair” out of “hopeless love.”