Temirkanov: Pros and Cons
In her review of the Baltimore Symphony Orchestra at Carnegie Hall, Anne Midgette asks a question and then answers it. Question: In today’s world, what is the function of midsize American Orchestras like the Baltimore? Answer (or, part of the answer): “An orchestra like the Baltimore must . . . serve a museum function, presenting the famous classical pieces its audience wants to hear.” As a former Baltimore resident, I think the orchestra is beginning to serve mostly a museum function (their abundant pops programming notwithstanding).
Even though the Baltimore Symphony still received praise for its playing of a more recent work (Giya Kancheli’s Lonesome), since Temirkanov replaced David Zinman at the helm, the group’s programming has certainly moved toward the conservative side. I lived in Baltimore when the shift happened. I loved Zinman’s programs–his focus on new American works, his energy, and his ease with the audience as he frequently talked informally with the crowd about the piece that was to be played. When Temirkanov took over, everything changed. The programming turned from adventuresome new works to tried and true warhorses. In stark contrast to Zinman’s warm, outgoing personality and stage prsence, Temirkanov was cold and dry. Maybe that’s what Baltimore wanted. Maybe that’s what they needed to sell more tickets. Despite what the political polls tell you, the Baltimore-D.C. area is rather conservative–musically, at least.
The New York Times is usually quite critical of Mr. Temirkanov and Ms. Midgette continues that tradition, noting “he has not achieved a particularly meaningful connection with [the Baltimore] players.” I’m not so sure that’s entirely his fault. It might not be his fault at all and I would probably place more blame on the players for this fact than on the Maestro. I had the great fortune to perform under Mr. Temirkanov’s baton recently, only not with the Baltimore Symphony, but the St. Petersburg Philharmonic (Russia, not Florida). (I played Rachmaninoff’s Symphonic Dances, which contains one of the most beautiful saxophone melodies in the entire repertoire.) I’m apt to blame the Baltimore players and not Temirkanov because of what occurred on stage with the St. Petersburg Phil. Temirkanov absolutely owned this orchestra. There was simply no question that this was his group. I had never heard such a large ensemble play so together. And anyone that knows Temirkanov’s conducting, knows that he often eschews a little clarity to turn a phrase just the right way. The St. Petersburg players read his every twitch, sometimes even seeming to read his mind. I was blown away by the artistry and focus he exuded during the performance. Temirkanov gets a bad rap sometimes, but maybe with the Baltimore Symphony, it’s not entirely under his control.
