Sounds Like Now
A blog by saxophonist Brian Sacawa
Archive for Orchestra
September 18, 2008 at 11:00 pm · Filed under Baltimore, Blog: Summer 08, Classical Music, Orchestra
The biggest musical news coming out of Baltimore these days has to do with one of the 10 biggest orchestras in the land—the Baltimore Symphony. Despite receiving perplexed looks from people outside the curved lobby windows of the Meyerhoff for a decision to remedy years of operating in the red by dipping into their endowment, the BSO has made a much bigger (and better) national impression this season, owing much, if not all of that to its new media maven music director Marin Alsop, the first female to front a major American orchestra. Despite a chilly initial reception from the orchestra musicians, which bordered on an outright revolt—nearly 90 percent of BSO players objected to a search process in which they felt that had little or no say—the orchestra appears to have warmed to the Maestra and her agenda, central to which is a commitment to new American music. Alsop, who also directs the annual Cabrillo Festival of Contemporary Music in California, fancies herself a champion of the new and her programming—and the massive media offensive—for her inaugural season has certainly reflected that.
Among the notable American composers represented in Alsop’s first season included Baltimore’s own Christopher Rouse, Aaron Jay Kernis, John Corigliano, Joan Tower, the U.S. premiere of Steve Mackey’s Time Release, and John Adams, who in addition to being featured on one of Alsop’s programs, took the helm on a separate occasion to conduct his My Father Knew Charles Ives and The Wound Dresser. Perhaps as a way of reassuring audiences that new music is something to get excited about rather than fear, Alsop instituted the Composers in Conversation Series, an informal discussion with the composer featured on the upcoming program at the nearby intimate Theater Project venue. Alsop is a bridge builder and her push to broaden the BSO’s audience (and lure more season subscribers in the process) also included a few creative but questionable extracurricular programs such as CSI: Beethoven, a play off of the popular television program, which paired excerpts of Beethoven symphonies, scholarly research, medical and forensic experts, and even a Beethoven impersonator to supposedly unearth some of the mystery surrounding the composer’s death. And with the addition of cheap subscription tickets and new web content, including resourceful preview-the-concert and meet-the-Maestra videos, the BSO is taking giant steps in an effort to brand itself and its new leader as approachable and fun—a huge change from Temirkanov, who despite his brilliant command of some very meaty repertoire, was often portrayed as icy and old-fashioned.
So how do you follow an opening season like that? Not the way you might think. In her press conference announcing the BSO’s next season—streamed live online—one noticed that Baltimore’s new music champion seemed to have put less stress on the new, with the only living composers represented on her programs being Michael Daugherty, Joseph Schwantner, more of her perennial favorite Christopher Rouse, and the world premiere of a new violin concerto by Jennifer Higdon. Instead, Alsop is devoting much of the BSO’s 2008-2009 season to the work of one of her mentors, Leonard Bernstein, as well as trying her hand at more substantial repertoire that at first glance might seem to suit her traditionalist predecessor Yuri Temirkanov a bit more than a self-styled contemporary music crusader. Also sadly going the way of the dodo next season is the Composers in Conversation Series, which seemed to be a lynchpin in Alsop’s campaign to advocate new music in a town that has in recent years grown more accustomed to old war horses than young lions.
The greatest challenge for Alsop and the BSO next season will be living up to the hype that they’ve created for themselves. Much of the buzz this season had to do with novelty and newness, musical and otherwise, so it will be interesting to see how long the BSO can sustain that and if the immense momentum from Alsop’s first season will translate into a boon at the box office years down the road. Alsop is full of fresh and imaginative ideas, but what impact those ideas will have and if the public will continue to buy into them remains to be seen. But if one thing is certain, it’s that Alsop and the BSO have been the talk of the town this season. From the glossy monthlies to the mainstream media to the free alternative press, Baltimore has embraced the new-look BSO and expects big things. All there is to do now is to wait and see if they deliver.
February 18, 2007 at 8:54 pm · Filed under Baltimore, Blog: Winter 06, Composers, Orchestra
Headline sound a little strange? Well, it seems almost impossible to comprehend that the Baltimore Symphony Orchestra has never programmed a work by Philip Glass. One really wonders about that hole in the BSO’s rep list especially because of the way Baltimore (and one very esteemed institution in Baltimore) habitually boasts the fact that Mr. Glass is homegrown. That’s all about to change this weekend, however, as Maestra Alsop devotes an entire program to the Septigenarian. The big showpiece of the program will be a multimedia realization of photographer Frans Lanting’s LIFE: A Journey Through Time. And for the edification of the classical saxophone, the Capitol Saxophone Quartet will perform Glass’s Concerto for Saxophone Quartet and Orchestra.
Tim Smith has a great feature and preview of next weekend’s events in today’s Sun. In a revealing comment, Mr. Glass weighs in on why he believes contemporary music is a scarcity on orchestra programs:
“Let’s put everything on the table: The problem is not with the audiences, but with the people who do the programming,” Glass says. “That audiences stand and applaud my music is not a big surprise. It’s been going on for years. They are ready for and appreciative of new music, and my music. The programmers have been lagging behind the public.”
No need to point fingers! But at least for now, he’s got an ally in Baltimore in Marin Alsop. (Although maybe that alliance will shatter since he’ll have to miss the performances because of a prior engagement at the Academy Awards ceremony in Los Angeles, where his soundtrack for Notes on a Scandal is up for Best Original Score.)
May 2, 2005 at 10:59 am · Filed under Baltimore, Blog: Spring 05, Classical Music, Orchestra
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.
April 22, 2005 at 3:55 pm · Filed under Blog: Spring 05, Classical Music, Orchestra
Talk about an expose. Ilka Talvi writes about the bitter truth surrounding auditions. The illusion that some young musicians labor under is that the best player will win the job. Unfortunately, as Mr. Talvi notes, that’s not always the case–perhaps it’s not the case more times than some would like to believe. It’s inevitable that politics–both external (who knows who) and internal (so-and-so doesn’t like so-and-so)–will come into play during the selection process. And even when there seems to be a sure winner, when some committees get together, nothing can be sure.
I’ve witnessed this phenomenon first hand. A few years ago while a member of a professional ensemble based in Washington, D.C., I served on a number of audition committees. In one instance, immediately after a candidate’s audition, the entire committee was completely hot on this player. However, after thirty grueling minutes of deliberation, the committee had gone from considering this musician the one to absolutely hating their playing. And the poor musician didn’t do anything to provoke this. Rather, some members of the committee used the audition as a vehicle to voice their personal differences and frustrations with each other. I was stunned as I watched this unfold in front of me–I was a junior member of the ensemble, so I wasn’t really in a position to chime in.
I received a big education that day. I felt like Holden Caulfield. (I should note that not all the audition committees I sat on were as corrupt as the one described above. Usually they were quite enjoyable. But it does serve to illustrate an unfortunate fact that Mr. Talvi discloses so bravely.) It’s certainly nice if it works in your favor though!
April 7, 2005 at 2:25 pm · Filed under Blog: Spring 05, Orchestra
Bostonians have more to cheer about this year than just the World Champion Red Sox. They’ve also got James Levine as the new music director of the Boston Symphony Orchestra. Anthony Tommasini’s piece in today’s New York Times wonders if Mr. Levine might love the BSO more than the Met. Well, he’s “turned on by . . . audaciously modern music, which he conducts with infectious excitement” and the BSO has embraced that, or so we’re led to believe. Lucky Bostonians, is right! (I still can’t believe I missed the Harbison and Wuorinen premieres while I was out out there.)
Around the blogosphere: Visit The Standing Room and In The Wings by Heather the pianist from Oakland, CA.
