The Sound Post » symphony

Speculators Say Philly Forecast Dim

Colin Oettle — Thu, 09 Jun 2011 14:30:04 +0000

Mark Schwartz is a lawyer who believes The Philadelphia Orchestra’s “plodding” bankruptcy court proceedings don’t bode well for the organization. In an article for philly.com, he compares the orchestra’s situation to that of the Barnes Foundation—a case in which he blames a misguided board of directors for prematurely forcing its organization into court. Barnes is an educational art and horticultural institution that sought court approval to move from a suburb of Philadelphia to a more city-accessible site under the pretense of financial hardship. The move would directly violate the organization’s “indenture of trust,” which stipulates its art holdings are not to be relocated.

Schwartz’s criticism is that Barnes claimed an inability to raise $1.5 million for annual costs, but mustered $150 million once the relocation of the gallery was approved. Fearing the Philly Orchestra may be guilty of something similar, Schwartz points out that bankruptcy court is not somewhere organizations should seek to be. Short of a quick in-and-out to “shed obligations and return to business,” prolonged litigation could threaten the orchestra’s stability as well as its reputation. Players are rumored to be coursing the job market for more stable positions, and subscribers share in the frustration of their orchestra’s turmoil. Who is really benefiting when a near-bankrupt orchestra spends hundreds of thousands on legal fees?

Peter Dobrin, Inquirer Music Critic, outlines the issue in black and white. The administration claims the orchestra cannot afford its current financial obligations, which include commitments to the musicians, their pensions, and the Kimmel Center. The board then filed for chapter 11 protection in an attempt to eliminate these obligations, despite holding $140 million in endowments. The court will decide whether any or all of that money can be used to pay off the obligations, or if being “donor-restricted” truly puts the money off limits as the board argues.

Meanwhile, the musicians who make up the world-class orchestra feel scorned. Cellist John Koen wrote an op-ed detailing the players’ contempt for the board’s bankruptcy filing. He says that the players are not responsible for marketing or fundraising—though they help with both—and that they should not suffer for the unaffordable leases signed by the board. Given the high costs associated with the filing, orchestra members wonder if the board isn’t simply attempting to abdicate from contractual obligations it doesn’t like—including pensions. Either way, a looming question still remains, and that is whether the move will cost the orchestra more in its tarnished reputation than it will save in dollars.

See also:
For the Orchestra, Bankruptcy Symphony is a Downer, by Mark D. Shwartz
Bankruptcy Court hears opening statements on Philadelphia Orchestra’s Chapter 11 petition, by Peter Dobrin
Can bankruptcy fix orchestra? No: It damages its reputation, by John Koen

A Stroll Through “The Old Burying Ground”

Colin Oettle — Thu, 04 Nov 2010 19:36:36 +0000

Evan Chambers’ The Old Burying Ground is a new orchestral song cycle inspired by epitaphs from an 18th century graveyard in New Hampshire. Scored for soloists and orchestra, The Old Burying Ground creates the spirit of each song through astute instrumentation and selective use of soprano (Anne-Carolyn Bird), tenor (Nicholas Phan), and folk singer (Tim Eriksen). The premier recording, made by The University of Michigan Symphony Orchestra led by conductor Kenneth Kiesler, provides an arresting first look at this neo-traditional American work.

The cycle consists of 14 songs and poems split into two “Books.” Each song takes its text from a headstone’s inscription, and three original poems complement each book. For example, Chambers’ third song in Book I, “O Say Grim Death,” takes its text from the grave of an eight year old boy:

Here is entered the last remains
of Issac A. Spofford
son of Deacon Eleazar & Mrs. Mary Spofford,
a brand plucked from the ashes
of Rev. Laban Ainsworth’s house.
[…]

The music resonates with the mournful texts, acting as a gateway to another time and plane. But beyond setting colonial lamentations to music, The Old Burying Ground uses spoken poetry to create a programmatic exploration of graveyard verses’ underlying sentiments. The work begins with a poem accompanied by orchestra. It describes the The Old Burying Ground’s atmosphere and invites listeners to “take the chain from the gate” and “walk in.” Read by their authors, the poems reflect on the nature of life and death specific to the messages on old headstones. The poetry’s elaboration on these inscriptions creates cohesion within the cycle and allows the listener a wider window through which to peer at lives gone by. On “O Say Grim Death,” Poet Thomas Lynch writes:

No doubt the Reverend Ainsworth read from Job
Over the charred corpse of the deacon’s boy
To wit: “Blessed be the name of the Lord”
Or some such comfortless dose of holy writ
[…]

The soloists express The Old Burying Ground’s somber character with the same care and insight the orchestra maintains throughout the work. Folk singer Tim Eriksen brings a rustic sensitivity to his performance, and tenor Nicholas Phan demonstrates a keen responsiveness to both text and ensemble. Likewise, soprano Anne-Carolyn Bird brings depth to the text through masterful richness and control. Soloists and ensemble alike embrace the tranquil, mournful
context in a performance which details
this macabre exploration with poignant clarity.

On his encounters with gravestones, Chambers writes that they “are an opportunity to […] grow in understanding of one of the central truths of our lives: we die.” Likely founded in graveside contemplation, this perspective permeates the texts taken from the headstones of an Old Country cemetery, and it details not only the inherent brevity of the human condition but also the tragedy of short lives cut shorter.

The Old Burying Ground aspires to bring life to the dead and give a voice to words not uttered for centuries. The University of Michigan Symphony Orchestra and Kenneth Kiesler embrace this opportunity and create a recording rich with history and color through its mournful sentiments.

Find the record on Amazon here

Breaking: Orchestra Finance Woes Part II, Syracuse Symphony

Colin Oettle — Sat, 14 Aug 2010 04:57:48 +0000

The Syracuse Symphony Orchestra cut its upcoming season from 40 to 34 weeks today in an effort to endure dwindling funds. Meanwhile, the orchestra needs to raise $500,000 to cover the deficit in its $7.4 million budget, says The Watertown Daily Times. Faced with possibility of shutting down for the summer, the SSO managed to keep its doors open with help from an anonymous benefactor.

The orchestra has been operating with deficits since 2007 and, in an attempt to allay further erosion, has shortened its coming season from 40 to 34 weeks after approval from the musician’s union (Syracuse.com). Currently feeling for its bootstraps, the symphony has hired both a branding firm and its old director, Jeffry Comanici, as consultants to tackle the crisis. To date, the SSO has raised $1.93 million in gifts and grants to cover the 2010 season, with that number set to break $2 million in order for the organization to stay solvent.

There have been several attempts to deal with the decrease in income, including a pay cut for music director Daniel Hege and a two year pay freeze beginning in 2009 for the musicians. Now, it is up to donors and the board to support the organization, and give it the time and the chance to overhaul its earning power.

Financially troubled Syracuse Symphony Orchestra faces the music, syracuse.com.
Sweet Sounds May Be Cut, The Watertown Daily Times.

Pianist Pascal Roge Is Definition Of Classy

Ian — Fri, 27 Nov 2009 02:01:46 +0000

It’s good to see that some people are already getting into the holiday spirit!

When Scott Freck, the general manager of the North Carolina Symphony made the call to virtuoso pianist, Pascal Rogé, to inform him of their inability to honor his contract for a performance of the Poulenc Concerto for Two Pianos because of financial constraints, he was more than likely ready for a verbal beat-down, or at the least a serious case of embarrassment.

What he didn’t expect, was Rogé offering not only to play the concert for free, but also to bring his wife, Ami Rogé, to play alongside him.

Rogé remains modest about his generosity, claiming that he has always loved the Poulenc Concerto and is more than happy to lend a hand to a struggling orchestra.

Don’t downplay it Maestro, you are a real class act, and are incredibly busy, so for that.. thankyouthankyouthankyouthankyou from all of us.

***Do YOU want to be a class act TOO? Send Rogé a message letting him know (even if you can’t be at the performance), how much a gesture of this nature means to the musician community.

Contact Pascal Rogé!
Love of Music Saves the Show, NewsObserver.com

Utah Symphony Members Donate Own Pay

Colin Oettle — Thu, 08 Oct 2009 16:44:40 +0000

In response to the economic hardship facing the Utah Symphony | Utah Opera organization, Utah Symphony members have agreed to forgo four weeks’ salary, 50 percent of their matched pension payment, and the entirety of their contracted 5 percent annual raise. All together, members will see their income decrease by 19 percent—a donation totaling $1.3 million.

While this will inevitably cause some belts to tighten, members fear what might have happened without the agreement. The measure follows similar actions last year, which brought the budget down to $17 million from $19 million—apparently not enough to avoid trouble. CEO of Utah Symphony | Utah Opera Melia Tourangeau took a 10 percent pay cut, and several administrative positions were eliminated along with matched pension contributions.

The agreement dictates that Utah Symphony must raise an additional $1 million to supplement the $1.3 mil already donated. Should they fail, the organization will be required to pay the original contracted salaries to the musicians. Tourangeau said the prospect is “achievable if the community wants it to be achievable.”

One can only hope that donors are inspired to follow the example of the Utah Symphony musicians. Should you be interested, click for the Utah Symphony website. Source: Salt Lake Tribune

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

San Diego Symphony Launches iPhone Application

Ian — Tue, 06 Oct 2009 16:50:00 +0000

As the San Diego Symphony approaches it’s centennial mark, it is not counting on newspaper ads and fliers on lampposts to promote the upcoming concert season. Following the example of the New York Philharmonic, they have launched their own iPhone application. The app, which is a gateway to InstantEncore.com (the same site used by the New York Philharmonic app), lets fans stream audio from pre-recorded concerts, access information regarding ticket purchases, get directions to venues, and even share this information with friends.

When the New York Philharmonic launched their app last June, it was met with mixed reviews. Some thought that while it was a good concept, it would never collect enough downloads to have a significant impact for the ensemble. Now, one needs only to listen to Zarin Mehta, president of the Phil, who claims they already have over 3,000 downloads from over 50 countries.

Don’t be fooled into thinking that these two orchestras are the only ones jumping onto the iPhone bandwagon. InstantEncore.com is currently hosting similar applications for the Miro Quartet, the Curtis Institute of Music, the London Philharmonic Orchestra, and many others. If you’re toting around an iPhone, check out their entire list of applications.

Original article by San Diego Union-Tribune

Find more apps on the InstantEncore website

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Exclusive: Interview With Conductor Jeffery Meyer

Colin Oettle — 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.

Exclusive: Interview With Steven Stucky

Colin Oettle — Thu, 01 Oct 2009 21:56:35 +0000

Our very own Ian Salmon conducted an exclusive interview with composer Steven Stucky regarding the performance of his work, Jeu de Timbres. The piece will be performed by the Ithaca College Symphony Orchestra this Saturday, October 3rd, 2009 in Ford Hall at Ithaca College under the direction of Dr. Jeff Meyer. Click to the full article for the video and transcript of the interview.

This is the premier of our video blog series, and will be followed by another interview tomorrow, October 2nd, 2009, with Ithaca College Director of Orchestras Jeff Meyer. So stay tuned, and keep an eye on our new videos page.

SoundPost News: Hi everyone, this is Ian from SoundPost News. I am very fortunate to have a very special guest today. I am here with Steven Stucky, Professor of Composition at Cornell University. He is associated with the Los Angeles Philharmonic, he was the recipient of the 2005 Pulitzer Prize in Music, and he is widely regarded as one of today’s leading composers.

Mr. Stucky, thank you so much for taking some time to speak with us today.

We are here to talk about one of your more recent works, Jeu de Timbres, which will be performed by the Ithaca College Symphony Orchestra, this Saturday, October 3, under the direction of Jeffrey Meyer.

Could you tell us about the 2003 commission of this work?

Steven Stucky: It was an odd project. The National Symphony, under Leonard Slatkin at that time, developed a project in which they were going to commission encores from something like 10 or 15 composers. So I’m not sure what the philosophy was—whether it was a kind of way of hiding the new music in a safe spot on the program, or it was a way of stretching their dollars—you know because an encore doesn’t cost very much, but I think there was a time limit of 3 to 4 minutes—this piece is 4 minutes—and it was scheduled to be played at the end of a concert in January 2004 that was part of a French music festival. So that led me down the French path. The title, Jeu de Timbres, has two meanings—you could say “play of colors” or something like that, and that’s not a bad description of the piece because it’s all about colorful orchestration and vivid textures and so on, which is a usual thing. But Jeu de Timbres is also a regular phrase of French musicians. It is the name of the Glockenspiel in French. And I suppose the Glockenspiel plays a little in the piece, so it makes little inside joke on the musicians to use that phrase.

SPN: Yesterday in rehearsal with symphony orchestra you spoke about certain distinctive French moments in this piece. You said it’s not something very unique to you, that it’s something to be found in your other works. Is there a particular French composer you identify with particularly?

SS: Well, Debussy. But there’s a longer answer which is to say that the whole tradition of early 20th century French music is kind of my home territory I think. I think Debussy is one of the greatest giants in the history of music. I think more on a daily basis about Ravel because of his lay of hand on the orchestra. So in this little piece, Jeu de Timbres, there is one Ravel quote and another kind of semi quote which you may notice or may not—doesn’t matter—but they do fit. In other words, it’s already a sound role where Ravel doesn’t sound out of place.

SPN: Speaking more about the ensemble and the director in particular, this is not your first time collaborating with Dr. Jeffery Meyer. What do you look forward to about hearing his interpretations of your pieces?

SS: Well you know what’s happened at Ithaca College over last few years is that a number of young, really bright, really energetic, really interesting people have joined the family. In fact, now over quite a long time. And so, those of us who are involved, especially in contemporary music at Cornell, have developed a really strong collaboration. Didn’t used to exist. These two places used to ignore each other. But there’s a very strong traffic now, especially for 20th century music, and Jeff Meyer is right at the center of that. He’s a very brilliant musician as a pianist and composer and conductor, I’ve been very impressed watching him work with the orchestra as a conductor. I watched him do rehearsals of Sally Lamb’s piece a couple of years ago and that was first time I saw what he could do. And we talked frequently. We’d hang out together and make a programs and scheme about his conducting course that he’s started. And talk about his programs in St. Petersburg, where he’s played my music. So it’s a great pleasure to finally be doing this here at home. I’ve lived in Ithaca for nearly 40 years and what I mainly do is write for orchestra, but we almost never hear it here. Because the infrastructure for my orchestral pieces usually doesn’t exist. But I’ll tell you this—the Ithaca College Orchestra—I heard a rehearsal yesterday—as we are speaking now. It was very very good. really very impressed. All throughout the orchestra, winds brass and strings, percussion. Really first rate. It doesn’t sound like a student performance at all.

SPN: You began teaching at Conrell in 1980 I believe, so do you feel the overall direction of music in the Ithaca community and the surrounding communites is really encouraging the new music scene?

SS: There is a surprisingly good audience here for the kinds of concerts that ensemble X used to put on, or the concerts they put on at Ithaca College. Chris Kim and Cindy Johnson are doing a lot at Cornell. Jeff Meyer and Steve Peterson and the choral program are also doing a lot. I’ve written a choral piece actually for Larry Doebler’s choral festival. They have a featured composer every year, and this year it’s me, so I’ll be on South Hill more often than usual this fall

SPN: So for our viewers who are going to be in the audience on Saturday night, you mentioned there’s going to be a small Ravel quote you might pick up, you might not.

SS: Yeah, don’t look for it. I always think if you go into concert thinking it’s an exam, and there’s some questions you have to answer along the way, you’re not going to enjoy it very much. I always think that the best advice to listeners, and I include myself, is relax and see what happens. Don’t think of it as an obstacle course, or as a lecture, or as a seminar or as something that has a specific content that you are supposed to be tuned into. In my aesthetic, music that doesn’t grab you because it’s lively or vivid or colorful or dark or dramatic or emotional—that somehow doesn’t immediately get your attention—is failing anyway. And that’s not the listener’s fault—its the composer’s.

SPN: If I were to flip the question from an orchestral musician’s standpoint, if you had to say anything to them two days out from performance, one rehearsal—dress rehearsal left, what would it be?

SS: Well they’re already doing very well. The piece is a little bit hard—in fact it’s not just a little bit hard, it’s quite hard—because it was meant to be a brilliant showpiece for a top professional orchestra. So the fact that they’re playing it as if they are a top professional orchestra, and that it sounds like a brilliant showpiece, means they’re doing the right things. I was an orchestral musician for a long time at a fairly low level—I mean college and community orchestras—I was never really a full fledged professional. But I played viola for probably 20 or 30 years in orchestras. I know what it’s like to be in there; it’s my favorite place to be, I miss it. And I try to write orchestral music always from the players point of view—that there’s something not necessarily easy—in fact often hard—but fun to work out. Engaging—real stuff in your part. Its true that tuba probably has mostly rests and footballs [editor's note: “footballs” refers to whole notes], but the strings and winds usually get something good to play.

Alan Gilbert Opens NY Phil on Wednesday

Colin Oettle — Tue, 15 Sep 2009 01:31:59 +0000

On Wednesday night, conductor Alan Gilbert will put on his music director’s shoes as he takes the podium in Avery Fisher Hall—a step up which marks a new era in the New York Philharmonic. The maestro will lead a performance of ~~Mahler’s third symphony~~ EXPO by Magnus Lindberg, Songs Pour Mi by Oliver Messiaen, and Berlioz’s Symphony Fantastique. While great expectations lie on Mr. Gilbert’s baton, one hopes the orchestra will take the opportunity to embrace its new leader, a fresh outlook, and renewed vigor.

Here is a great interview with Gilbert by Martin Steinberg (AP).