Welcome - by Music Director Michael Christie
Welcome to SoundPost! Often I hear comments from concert patrons about the performances they've heard that I think would be an interesting perspective for other patrons to hear. This forum is a necessary dialogue in our quest to be a truly first class, 21st century cultural institution in our community. Thank you in advance for submitting your comments. I look forward to participating in this discussion with you.
For this week...
A number of features are being introduced this week that should be great fodder for our initial discussions. 1) The use of video as a concert enhancement. 2) Reintroduction of real time program notes known as Keeping Score™. 3) Starting to put the Michael Christie stamp on the orchestra's performance of key segments of the standard repertoire.
I would start by saying that we don't expect to use video for every performance. It is my hope that certain nights, Saturday for example, could be our "technology at the symphony" night. Clearly, we all experience art in different ways. I would like to give people the option to get closer to the performers to enhance their experience.
Keeping Score™ makes me so happy. In my mind it answers a fundamental need expressed by so many attending concerts for specific mile posts in the music the symphony is performing so that the listener can orient themselves. Is the current way we are presenting the information the best option? Let's discuss content and delivery.
I want our performances of all repertory to be clear and expressive. The acoustics at Symphony Hall are a challenge for us as performers. In order to counter the boomy and often diffuse acoustical properties of the hall, I am working hard to find stage configurations and a playing style that helps us to best represent the composers’ intentions to you the listener. I don't want to set up a false listening environment though and generally I try to make the orchestra sound best for where I'm standing and then try to make some logistical decisions to be sure that sound gets into the hall in the best way possible. You'll notice that the winds are up higher this week and because of the chorus next week they will be on the floor.
I would be interested to know how that comes across in the hall.
They need to be on the floor because the "footprint" of the risers is too large and the choral risers would need to be extremely high in order to see over the winds and brass. We have to think safety too!
I hope you will notice the sense of release in the Haydn performances. I've asked the orchestra not to overly sustain for the classical composers, exposing the inner voices more, giving the performance an easier flow.
In Mahler we are exploring not only the extreme detail he has left us by way of his precise and abundant performance notes but also the overarching structure of the movements. Pacing is a key feature in his music, dynamically and with tempo.
Be sure to click the comments link below to tell us what you think!
For this week...
A number of features are being introduced this week that should be great fodder for our initial discussions. 1) The use of video as a concert enhancement. 2) Reintroduction of real time program notes known as Keeping Score™. 3) Starting to put the Michael Christie stamp on the orchestra's performance of key segments of the standard repertoire.
I would start by saying that we don't expect to use video for every performance. It is my hope that certain nights, Saturday for example, could be our "technology at the symphony" night. Clearly, we all experience art in different ways. I would like to give people the option to get closer to the performers to enhance their experience.
Keeping Score™ makes me so happy. In my mind it answers a fundamental need expressed by so many attending concerts for specific mile posts in the music the symphony is performing so that the listener can orient themselves. Is the current way we are presenting the information the best option? Let's discuss content and delivery.
I want our performances of all repertory to be clear and expressive. The acoustics at Symphony Hall are a challenge for us as performers. In order to counter the boomy and often diffuse acoustical properties of the hall, I am working hard to find stage configurations and a playing style that helps us to best represent the composers’ intentions to you the listener. I don't want to set up a false listening environment though and generally I try to make the orchestra sound best for where I'm standing and then try to make some logistical decisions to be sure that sound gets into the hall in the best way possible. You'll notice that the winds are up higher this week and because of the chorus next week they will be on the floor.
I would be interested to know how that comes across in the hall.
They need to be on the floor because the "footprint" of the risers is too large and the choral risers would need to be extremely high in order to see over the winds and brass. We have to think safety too!
I hope you will notice the sense of release in the Haydn performances. I've asked the orchestra not to overly sustain for the classical composers, exposing the inner voices more, giving the performance an easier flow.
In Mahler we are exploring not only the extreme detail he has left us by way of his precise and abundant performance notes but also the overarching structure of the movements. Pacing is a key feature in his music, dynamically and with tempo.
Be sure to click the comments link below to tell us what you think!
78 Comments:
Robert Moody was a much better conductor. His comments and description of the music being played was terrific!! What a loss
for the Phoenix Symphony to let him
go elsewhere!!!
May I suggest postponing "Keeping Score" for a bit? I don't think that there should be any external distractions which might detract from the rich experience of listening to a Mahler symphony. Allow the audience to draw their own conclusions.
Might I also suggest that you follow the example of Adam Fischer's recording's of the Haydn Symphonies..rich, warm and personal interpretation, devoid of bombast.
Good Luck
1. ABOUT TIME!!!!!!!! I was thinking of starting my own.
2. Saturday nite is technology nite, huh? We'll see.
3. Why pair the music of a late Romantic like Mahler with that of a Classicist like Haydn? How about, say, Schoenberg's 'Transfigured Night'? Not every concert has to try to be everything for everyone. I'll be getting the the hall about 8:15.
4. I too really enjoyed and will miss Bob Moody, but he too wanted to be a music Director, and now he is. Maybe in 10 years he'll be back. And not that Mr. Christie needs my defending him, but the several things I've heard of his, I've enjoyed.
Forget the innovations! First learn to put together good programs and present them well. This is a good orchestra when it's led well.
Last week's concert, aside from the Adams, which was splendid, was horrible! I love "West Side Story," but it's pops music, not classics. I also love "Rodeo," but it's dance music; no one could possibly dance it as slowly as you played the slow parts. Plus the playing was generally sloppy and the whole program ran way over the typical two-hour format. I wouldn't mind if the music were well-played, but why miss sleep for a poorly played mess?
I'm a season subscriber, so I will be there tonight (Thursday) for the Haydn and Mahler program, but both of those were extremely well conducted by Maestro Michael, and so far you haven't shown the slightest indication that you're worthy of following in his footsteps.
I have been bringing my son to the Family Series since he was three. He is about to turn thirteen. Along the way I have also gotten to some "adult" performances and have managed to see Doc Severinson many times. For the past few years my son has been old enough to attend the regular Symphony performances with me. We always enjoy them. Some more than others, but I am grateful and proud of the Phoenix Symphony for growing, trying new things, and not being static. I also feel like they still appreciate the history of the music they are performing and great care goes into planning each concert and series so as to make the whole "season" one that many listeners can enjoy.
My first thought when I read the "technology" part was that I don't think I need anything visual, and might not like it, but I am still glad that they are trying new things and I will be open to it.
I have been most impressed with our new Musical Director's passion, ethusiasm, and energy, and the concerts we have attended were wonderful! I also appreciated his sense of humor when he was on stage in a shiny tuxedo jacket and played the trumpet with Doc. What a memorable moment - and certainly showed my 12 year old son that going to the Symphony does not have to be boring!! He did actually already know that from other performances, but Mr. Christie won him over right there. Thank you! We did adore Robert Moody, but change is OK, and I am constantly reminded that I have to learn to appreciate and accept change and this one is going to be easy to appreciate.
I appreciate the SoundPost idea and I hope people enjoy learning more as much as I will and it stays a positive forum for the friends and fans of the Symphony.
Thanks for a job well done so far and we look forward to the future with Michael Christie and The Phoenix Symphony as it evolves and grows! Phoenix is very lucky to have both!
Michael Christie is ahuge asset for the Phoenix Symphony.I've been attending the concerts for 38 years and am pleased that we now have a world class orchestra. Herman Michael had brought the orchestra to a new level during his tenure, and now Michael Christie and our execellent musicians are taking it to a new level. Last week's program was excellent and those of the 2006-2007 are the best, and most diverse, I've seen. We need to get more youngf people, such as baby boomers to attend the concerts regularly as season ticket holders. what Mr. Christie is doing may accomplish that
The Salsa Band Pops concert was a total disaster....the worst event I've attended in the past 25 years of Phoenix Symphony performances. I suspect over 50% of those in attendance left before it was over. This was a terrible way to end Robert Moody's superior stint with the Phoenix Symphony.
Please we don't need "keeping score" I attend the symphony to enjoy the beautiful music and let it take me to a place of relaxation and delight. I really don't want anything to distract me from my musical enjoyment.New things are fine but try them on a young peoples concert.
We attended last Thursday evening's concert. We enjoyed and were intrigued with the John Adam selection. However the best of Bernstein and Copland were overlooled, and the orchestra seemed rather "laid back" throughout.
We notice that all of your advertisements in the Arizona Republic do NOT say that bus service is available from various locations in the Phoenix metro area. Your recent ad in the Northwest Valley section of the Arizona Republic, for example, did not mention that bus service is available from Sun City. We feel you are missing an audience that does not want to drive into Phoenix at night, especially with the light-rail construction there. We see many empty seats at the concerts that could be filled by people if they knew about your available bus service. Why don't you include that information in ALL of your advertising?
We have been season subscribers for many years and enjoy the Coffee Classics and the Pops. I was saddened to see how poorly attended the Coffee Classics have been. If, perhaps, more thought could be given to the age of the "average" person attending on a Friday morning when many of the younger audiences are working or the "under 18" are in school your attendance would increase. Though most of my contemporaries are open to new and innovative music some of the "way out" interpretations are not appreciated. When eliminating a selection from the Coffee Classics program it might be wise to consider your audience.
It would also be a tremendous help if the description and comments regarding the musical program could be published online during the week prior to the concert. It would help to provide a better understanding of the works being performed.
I will miss Robert Moody's talent, personality and ability to relate with the audience. He will be sorely missed. It is my hope that Michael Christie will prove that the decision to have him join our wonderful Symphony Orchestra was a wise one.
Time will tell.
I'm afraid I have to disagree with an earlier comment -- I also attended last week's concert and the only piece I did not enjoy was the Adams. Nothing against the soloist, who performed marvelously, or Mr. Christie. While part of the performance did seem a bit louder than expected, I still found it quite enjoyable.
While I do not entirely agree with what the 2nd anonymous comment said (I like "Keeping Score". It adds to the experience for me. And quite frankly, if you don't want to do it, then put the paper down and listen to the music), I do like the reference to Adam Fischer -- I am not familiar with these recordings, but I will be soon. Thanks for that. This blog can be a place to learn something too, rather than just a place to gripe or give praise.
I'm going to miss Robert Moody. Wonderful person, enjoyable conductor, and he will be greatly missed. But careers change and people need to go and grow in their own way. I wish him well in his new position, and look forward to an opportunity to see him in the future. Here's hoping that he might be available for a guest conducting spot from time to time.
Do I miss Maestro Michael? You bet. His time here in Phoenix was very special, and I know I feel very priveleged to have been able to enjoy his work with this orchestra. They had a special bond, and the warmth of their relationship came through in the music.
So what about Mr. Christie? Some things I've liked right away, some things I haven't. No surprise there. I think that both Mr. Christie *and* the orchestra will need to grow with and learn about each other. Ditto for the audience.
I have heard many symphony orchestras, and I'm glad that my "home" orchestra is the Phoenix Symphony. The one thing that has been consistent is the quality of the musicians. You folks are amazing, and I hope you know how much you are appreciated.
Now for tonight's program. I loved it. Is it the same as Maestro Michael's? Nope. Is it better? Nope. Is it worse? Nope. It's just simply different. Everybody has their own preferences, and that's good. But bashing without saying what you didn't like is rather pointless. Say what you didn't like. Constructive criticism can be a good thing.
I'm curious about the video that will be available on Saturday nights. I may have to switch a Thursday to a Saturday just to check it out. Sounds interesting...
Thanks to all for participating in day 1 of SoundPost.
It is a tribute to Bob Moody that his efforts and talent on behalf of the Symphony are so well appreciated by so many of you. I'm sure his new audience in North Carolina will enjoy his enthusiasm and skill.
Keeping Score - whatever you think about the concept of Keeping Score the numbers were too large at the performance this evening. This will be remedied for Saturday. Also, we are exploring with the city different ways to rig the screens or plasma TVs in the hall. We were limited in this go around but each of these experiences sheds valuable light on the potential for such enhancements.
Administrative issues like bus service - the staff is monitoring the blog and will pick up on them.
To Ms. Goldberg, I wouldn't mind having some specific examples of programming decisions that you felt were made improperly for Coffee Classics. I agree with you on one principle for sure, this series should be a home run for the symphony as far as ticket sales. I will look into whether some introductory comments could be made available beforehand.
Bob Moody was a great asset to this town. However the fact that he was not music director but the face of the orchestra is exactly why we need a Maestro like M. Christie.
On the subject of Keeping Score, perhaps it would be better if instead of one big screen in the middle, there were smaller screens in the upper corners? This way those wanting to avoid distractions would be less adversely affected.
Also, I very much enjoy the Intermission Insights. Unfortunately, if I stay for the talk and I have pre-ordered a drink for intermission, I have to dash up to the lobby after the talk, quickly consume my drink, and return to my seat just in time for the 2nd half of the concert.
I'm wondering if it would be possible for there to be an area in the lobby where some speakers could be set up (or the volume of the overhead speakers in that area could be increased) so that those of us who do want to hear the talk and grab a refreshment could do both? Right now it is rather difficult to hear the talk in the lobby.
I agree that Robert Moody was excellent and he packed the house. That's because he connected really well with the orchestra and the audience and the programs appealed to the audience. Keeping score is not a good idea. With most of the concerts I've been to this season (and we have season tickets) the programs have not connected with the audience, and the audience has been smaller and many of the concertgoers left at intermission. The choices of the program have been very poor this season, and the audience is telling you that. Although I have had season tickets for 3 years, I will not renew them next year.
I agree with other posters about the repertoire. There are certain "turkeys" that seemed to be programmed ad nauseum: e.g Enigma Variations, Rachmaninoff Piano Concertos, Symphonie Fantastique, Rodeo. The classical repertoire has hundreds of terrific pieces which are consistently ignored. Where are R Strauss' tone poems, earlier Haydn Symphonies, Stravinsky ballets, Tchaikovsky opera/ballet programs, Dvorak, Smetana, Grieg...Mendelsohn, Schubert, Brahms outside the usual "chestnuts"?
I would like to challenge those who are leaving comments about the programs this season to be more specific. "Not connecting with the audience" doesn't give me anything to work with in understanding why someone wouldn't come back to us in the future. Interestingly enough, we have sold more tickets this year than at any other time in Phoenix Symphony history so while I understand and appreciate that there are empty seats in our very large hall the numbers do show that we are going forward.
Bob Moody had great audience rapport, could conduct anything well (including great choral works), and was musically conscientious. I miss him.
We do need someone who can stir both the musicians and the audience out of their collective complacency. Playing new music for the sake of playing new music obviously doesn't work in Phoenix. The audiences will vote with their feet, as several bloggers here have indicated. The audience is not challenged, but rather tortured by the type of programming we have seen and will hear in the next season.
Who is responsible for programming the season? What can they possibly be thinking?
Mr Christie,
I think the audience in Phoenix wants to hear the great Classics played in an inspired fashion. Once you have impressed them with the Greats, then experiment a bit. This isn't Manhattan..Stockhausen, Adams, Boulez and Part can wait a while. More Beethoven, Brahms, Schubert, Dvorak, like the other poster suggested!!
I would kindly refer you to our program for next season in answer to your concern about the Great Classics and the mix of the reliable masters and those needlessly neglected. We are all trying to learn as much as we can about your needs as patrons of the symphony as it relates to many topics, programming being one. As a matter of interest I would encourage you to check out the NY Phil website to see what the Manhattanites are being offered. Stockhaussen, Boulez and other avant garde composers haven't appreciably figured in their programming in ages. I'm pleased that even in the midst of leadership change here that our tickets sales are increasing. The same unfortunately can't be said for many of the larger players in the orchestra world.
Off to our Coffee Classics performance....
A writer referred derogatorily to the "geriatrics" attending the concerts. What is wrong with being geriatric? We geriatrics have had a lifetime to develop love of classical music and now have the money to buy expensive tickets, make healthy donations, and leave large bequests in our wills.
After reading all the comments, I am reminded of the Sun City attitude. Find fault with anything and everything! I am a season ticket holder and have renewed for next season. Michael, keep moving forward with your excellent ideas and repertoire! By the way, I live in Sun City!
The reference to "geriatrics" was not meant in a derogatory fashion. The audience make-up does not seem to correspond to the general demographic of the Valley (other than Sun City). I know that Mr Christie and Ms Gleason would love to see a more representative demographic in the PSO audience. Please keep buying those expensive tickets, making those grants, and especially attending the concerts. No disrespect, OK?
Setting up a Phoenix Symphony blog was a good idea. It's great to be able to offer feedback to Mr. Christie and to see what fellow audience members think about the orchestra's programs and performances.
This year has been a good mix of well-known pieces and new music. I was especially happy to see the Adams violin concerto on the program, and I was very pleased with the Friday performance. There is plenty of accessible 20th- and 21st-century music to choose from, and I hope the orchestra will continue to mix new music in with the traditional favorites. I've already renewed for next season, and I'm looking forward to being introduced to the music of Christopher Rouse.
Even though "Keeping Score" can be a bit of a distraction to some people, I think it's a valuable tool for bringing in new audience members. Classical music can be intimidating to those who haven't been exposed to it, and "Keeping Score" is a good way to help novice listeners begin to grasp the structure of a large-scale work like Mahler's 1st. I often think that a major obstacle for many new audience members is a lack of familiarity with how a piece of music "fits together". Explaining the details of a piece, even down to basic topics such as sonata-allegro form, or the traditional order of movements in a symphony, can really help audience members to understand and appreciate what they're hearing.
There are a couple of "low notes" that I do need to mention: from my seat in the balcony, the textures can sometimes get a little muddy when the brass and percussion overpower the rest of the orchestra. In other words, the strings should be seen AND heard. And while the discussion of the program right before the concert is informative, having a condcutor speak from the podium after the orchestra is on stage doesn't seem to fit in well with the atmosphere of a Classics concert. Mr. Christie always has good things to say, but perhaps those could be restricted to the pre-concert lectures and "Intermission Insights".
Finally, to the musicians of the Phoenix Symphony who are reading this: thank you for all the hard work you put into preparing for and performing these concerts. Your musicianship is always top-notch.
Looking forward to Saturday night's Mahler...
D. Rice
Regarding the comment that it would be desirable to have "a more representative demographic in the PSO audience": A large number of individuals in their 20s and 30s prefer other kinds of music to classical music, such as rock and rap. I can't picture the excellent staff and musicians of the PSO wanting to offer that kind of music, except for a special concert. This comment is not meant to offend younger people on their musical preferences. I do think, however, that it may not be realistic to have an audience that mirrors the age distribution in the population.
This opportunity for giving feedback is a terrific idea. Thanks. I have a few commments (of course)
1. The musicians are wonderful! As is the orchestra. I attended when Guy Taylor was the conductor, and used to cringe any time anything familiar was played, because we recognized the bloopers. Thank goodness those days are gone forever.
2. We must increase attendance. One idea: a steep discount for first time subscribers -- even in the more expensive sections. Get them hooked.
3. In Las Vegas terms, "A little less conversation and a little more action, please". The commentary during intermission last night was interesting, but those of us who wanted to use the intermission to chat with friends near our seats were a captive audience. Let's have some free time.
4. The programming is pretty good. Don't dumb it down, and don't avoid contemporary works.
But stop talking about it so much. If it's in the program notes, you don't need to announce it. (see item 3 above)
By and large I'm proud to live in a city with such a good symphony. I may even make a financial contribution and put my money (such as it is) where my mouth is.
I find it hard to believe that many bloggers here find the current mix of painful-to-the-ears modern music and old warhorses acceptable or good. Granted that the performance of the Adams Violin Cto last week was fine, where is the enrichment in a piece like that? At least the Bernstein and Gershwin and Copland either made one feel good, or jazzed or happy..even if they were all a bit loudly played. (Mr Christie..save the audience participation "Mambo" for the kids concerts)
Why do concert programmers feel that audiences today have to endure dissonant, screechy and unrewarding noise to get to the real music?
To Larry Reed
If audiences give standing ovations to every performance, regardless of merit, how will the conductor or orchestra know if they've really succeeded? Not all of the performances or conductors have been great, or worthy of ovation. Please, a little perspective here
The orchestra deserves consistent Bravos...but the management, the maestro and the programmers need to prove themselves. Phoenix music-lovers, apparently, are to eager to drip extravagant praise on anybody!!
I will add my $0.02 here.
What, exactly, is Michael Christie bringing to the PSO? His programs to date have been uninspiring (except, perhaps, to himself and those on the Board who hired him). The great PSO musicians do not respond to him as they have to Herr Michael and many other guest conductors. I don't see or hear any sparks or explosions.
I recall in the season opener, he regaled us all about how he learned about the structure of the Viennese waltz at the side of Austrian conductor Franz Welser-Most. The performance of Strauss' Blue Danube was all over the place and would make any Austrian cringe..no attention to the Viennese tradition at all. No "schwung," no lilting or dancing rhythm, and no sense of the episodic nature of the great Strauss masterworks. Although Herr Michael was Bavarian and not Viennese, he took great pains to make it sound right when the PSO had its Vienna night in 2003.
Feedback on the reconfigured orchestra for the Hayden: I liked the way this sounded. Kudos for trying to improve here.
On the subject of new music, while I personally didn't care for the Adams piece, I was not unhappy to see "new music" on the program. I enjoyed John Corigliano's The Mannheim Rocket earlier this season, and certainly would not mind hearing from the young composer Mason Bates. Thanks to Robert Moody for introducing us to his music in years past.
Already looking forward to next season!
I thought the Adams Concerto was magnificent. It has great lyricism as well as some clever "American" rhythms. I can't imagine that one would ever hear a better played solo.I thought the orchestra played a little inelegantly, but I am sure it is tough to perform an unfamiliar work.
"Painful to the ears?" You bet! A previous writer was correct when he wrote, "Why do concert programmers feel that audiences today have to endure dissonant, screechy, and unrewarding noise to get to real music?" Frankly, we feel cheated when we have to endure the dissonant noise passed off as music in order to get what we really paid for. We hope all readers who feel this way will voice their opinions loud and clear. We don't really have to take it any more, do we?
Maestro,
What about a chamber music series? (In a smaller venue perhaps) Something like Chicago or L.A.??
Music is alive. If we don't support the arts being created today, there will be a large void in history because today's society will have only looked at the arts retrospectively. The bottom line is if we are not careful we will have nothing to present to history as our own, created in our own time.
One thing that patrons of the arts must realize is that every new commission is a risk. One person may really love one contemporary composer but not enjoy another. Remember, however, that the same differences in tastes occur with classical music. Some love Wagner, while others would prefer to listen to baroque or classical music.
We become selfish when we refuse to support a diverse program. We don't allow other people who might have more open minds to gain access to the breadth of music that they deserve to. Furthermore we inhibit a critical aspect of our society: creativity and production.
Imagine the Phoenix Symphony a worldclass center for music, both in quality performances of classical repertoire as well as an avid advocator and producer of new music. Then we can rest assured that the history of music will not be unfilled when it comes to our generation, and the Phoenix Symphony will forever be remembered as a symphony that made things happen.
1. I think we should all have to register to post a comment. I think SOME of the anons are rather cowardly.
2. This blog should be instead a discussion forum so that different subjects can be posted. If this gets much longer, it'll be mighty tough to read.
3. One anonymous asked about a chamber-music series. We have one, played by the Phoenix Symphony Chamber O., in Scottsdale and elsewhere.
>>>>I think we should all have to register to post a comment. I think SOME of the anons are rather cowardly.
>>>
I don't agree that not registering or identifying oneself is cowardly..we have an absolute right to anonymity. If you want to ID yourself, that is YOUR prerogative. Is the current PSO administration too sensitive to deal with criticism?
I like the idea of having different types of music. There have been many times I have gone to a symphony and either fallen in love with a piece, or determined I really didn't like the piece at all. I like hearing new things and always try to go into a concert with an open mind. I say keep trying new things, how else are you going to know what works and what doesn't work.
-Sara
"One anonymous asked about a chamber-music series. We have one, played by the Phoenix Symphony Chamber O., in Scottsdale and elsewhere."
I was thinking more like trios, quartets, quintets. These kinds of ensembles are represented mostly by ASU and venue series'. (i.e. Scottsdale Center for the Arts)
>>>
None of the top orchestras developed overnight-it took many creative minds thinking and working together to help make them happen.
Please be patient-Phoenix is a relatively new orchestra compared to Cleveland, New York, Chicago, and such; and MUST be given time to grow into a truly great institution. We are getting there, slowly, but surely, and I am encouraged by the growth I have seen over the last several years.
>>>
The Phoenix Symphony IS a great orchestra, and doesn't need a maturation period. The performances under Michael were superlative, whether classics or new music were played. The musicians are top notch. The woodwinds and brass are the finest, with incredible first chairs in each section. The strings are beautiful and nuanced..Boro Matinic-Jercic is a fine leader, and the soloists of each section are wonderful. The percussion section has always been spot-on. No qualms about them..I love the Phoenix Symphony with great passion. They deserve better leadership and management
The Phoenix Symphony IS a great orchestra, and doesn't need a maturation period. The performances under Michael were superlative, whether classics or new music were played. The musicians are top notch. The woodwinds and brass are the finest, with incredible first chairs in each section. The strings are beautiful and nuanced..Boro Matinic-Jercic is a fine leader, and the soloists of each section are wonderful. The percussion section has always been spot-on. No qualms about them..I love the Phoenix Symphony with great passion. They deserve better leadership and management
I couldn't agree more! To quote Jana Bommersbach (January 2003, the Phoenix magazine):
"...treat the Symphony a lot better than it's being treated by its management, which doesn't pay musicians enough, cuts their pay whenever it can, and acts as though they should be thankful for whatever crumbs are thrown their way. To borrow from Oscar Wilde, "If that's the way you're going to treat a symphony, you don't deserve to have one."
Thank you for this forum. Curious if any other orchestra's also provide their audiences with an opportunity to interact with members of the symphony. Great idea!
Tonite I enjoyed the BEST Mahler 1 I've ever heard. I'm 62 and Mahler is my favorite composer.* I've loved Classical music for about 45 years. I've heard the M1 many if not dozens of times and I've heard many-dozen recordings. Tonite's performance was better than ANY. THANK YOU VERY MUCH Mr. Christie for YOUR view of the M1; I LOVED it. There were so many little (and big) things you did so well. The orchestra was superb--I believe as good as I've ever heard it. Hermann Michael indeed brought a beauty of tone to the orchestra it did not have before, but you have enhanced that and have quickly brought a degree of unanimity of execution it did NOT have previously.
On the technology, initially I thought the screen of you conducting was distracting, but I quickly grew used to it and then began enjoying seeing your facial expressions and other body language. GOOD idea. BUT...didn't ANYONE, even you, LOOK at the picture? It was seriously overexposed, and it was projected larger than the screen so that its edges showed on the shell's wall. YUK!!!
* I've traveled to the Grand Teton Music Festival and to Dorothy Chandler Pavilion in LA to hear the Mahler Resurrection, and I've heard the M3 in Teton Village.
While it's still fresh in my mind, let me say that tonight's performance was superb. Mr. Christie's interpretation of Mahler was exactly what I had hoped for, even down to details such as the length of the grand pauses in the first movement and the drawn-out ritardando at rehearsal mark 7 in the third movement. (How's that for specific feedback?)
I was skeptical when I first heard about the idea of incorporating video into the Saturday concerts, but I think the use of video tonight was very effective. The view of the conductor greatly enhanced the concert experience, yet the screen was also easy enough to ignore during the times when I really wanted to concentrate on the music. I do hope that the problems with the video delay can be sorted out, as the delay was a bit disconcerting.
The single-sheet format of this concert's Keeping Score notes all but eliminated the problem of rustling-paper sounds that plagued last year's introduction of Keeping Score.
And while I hate to comment on other people's comments, I'm surprised by the tone of some of the feedback that's been posted here. Obviously some audience members disagree very strongly with the decisions that have been made by the board, and those disagreements should be expressed. But the vitriolic nature of some comments came as a shock to me. I expect to see that sort of thing on other blogs, but I hope we can try to maintain a higher standard here on SoundPost.
I'm a subscriber to the Classics series as I have been for the past eighteen years and I would like to comment on tonight's concert, with your permission:
I found the pairing of Haydn and Mahler to be an inspired one, albeit I could see a better pairing, such as an earlier Haydn Symphony with Mahler's Titan.
The Haydn tonight felt good and well paced, a very delightful appetizer for the Wiener Schnitzel to come. Mahler's First though, felt dry and uninspiring, perhaps more in the first and second movement. Where did the Viennese Schmaltz go in the second movement?.... The Wiener Schnitzel felt more like a Hot Dog rather than a delicious Schnitzel.
Well deserved standing ovation to all the musicians for a tough program well prepared.
I am looking forward to next week's Beethoven 9.
In the end, I think we all want this art form to survive. Here is the challenge though, many people want it to grow on their terms. No talking, more talking, no new rep, some new rep, lots of new rep.... The permutations are endless depending on what perspective you come to a concert from. Let's try to sort this out (God knows orchestras around the world have paid this topic lip service and haven't dared to take the steps to make it happen). What does that person sitting next to you that happens to be at a Phoenix Symphony performance for the first time need to be offered in order to warrant repeat attendance? Think about this people. The person is out of school and won't be exposed by any type of in-class experience. They've heard, hopefully, that something that is happening in the hall deserves to be checked out for the first time. Maybe a work colleague is bringing them with the hope they won't be shamed if the performance doesn't live up to the expectation they have set up in order to convince that new person to come. At some point we as the keepers of this thing are going have to reckon with the reality that action now, on the terms of people living in today's world is required to help this grow. I'm talking growing not surviving. That's why we're even contemplating video. That's why this blog was set up. It's just like setting up public transport. Every year that goes by increases the set up cost by some staggering amount. That's exactly what is happening in some of the performing arts. We are behind the curve with survival as the only obvious option. I can't accept being on the back side of a curve. There is no room for risk and all of the reward gets sucked into the effort to make it to the break even point. What can we all get behind and emphatically present to this community that will drive people in and keep them there?
Michael, I can see you just fine without a large screen displaying your face. It would be a great idea in a school performance, and if I was watching a symphony on PBS I would probably appreciate the angle. However, this sad gimmick does nothing to enhance the Phoenix Symphony.
YET TO SEE vIDEO CRITIC.
oNCE IT IS SET UP AND RUNNING, YOU'LL LIKE IT. hOUSTON, oMAHA, vANCOUVER, BUNCH OF ORCH OUT eAST USING IT. pULLS YOU IN. dON'T HAVE TO STARE AT CONDUCTORS BACK ALL NIGHT. cAN ENJOY MORE OF THEIR TECHNIQUE, CONCERTIZED OPERA, STAGED BALLET WILL BE SEEN IN GREATER DEPTH. OTHER PLACES HAVE HAD VERY GOOD SUCCESS. sHOULD HAVE BEEN UP THIS YEAR BUT ADMIN HAS A LIMITED SENSE OF URGENCY. IT IS ALSO A LITTLE LIKE mET tITLES, YOU VIEW IT OR IGNORE IT. gOOD INNOVAION. tHE VISUALLY INTUNE LISTENER
( YOUNGER CROWD) WILL LIKE
IT.
Mr Christie
The Mahler 1st was done very creditably, and it was nice to see an impasssioned performance from you. Maybe you should program more of this type of music. It showed us a new side of you, and gives us hope. The orchestra responded very well to your direction.
I agree with an earlier poster about the "klezmer"-like section in the 3rd mvt..a little more Schmaltz would have flavored things up a bit.
In the Haydn, why the blazing tempo in the Minuet? Don't you think that a folksy, more danceable speed might be more appropriate to the period and the music? Otherwise, orchestra size and flavor were just right.
Let's see you stretch he envelope with Richard Strauss, Bruckner and others.
PS: I Liked your comment "the good, the bad and the ugly" before the Saturday concert re: the blog. Don't lose your sense of humor, like so many of the sanctimonious bloggers here have.
"Empty halls and geriatric audiences"? Sales this season are record. While the season started sluggishly, things really picked up after October, once people started hearing about concerts again. I didn't understand that older audiences weren't welcome. Something in this post smells of "sour grapes". Perhaps a disgrunted ex-employee or board member?
I think Mr. Chrisie's last comment was on the money. It must be difficult for someone who is in charge of a large organization to say anything even a little controversial. I appreciate his frankness here and hope to see more engaging remarks from him in the future. The failure here could simply be to release only glossy statements that pander only to the most complacent people involved.
>>This poster obviously wasn't at Saturday night's concert..almost as many empty seats as full.
In light of the outstanding concerts this weekend, I am surprised at the negativity of this poster. It does seem that he/she has an "ax" to grind. I've supported this institution for twenty years and am looking forward to more concert experiences like Saturday's. You guys are fantastic!
We had our first exposure to maestro Michael Christie on Saturday night and were thrilled with his artistic ability, maturity, humor, and common sense in making changes in the ticketholder's Symphony experience.
Next season will be our first as season ticket holders, not only for the classics series but also for the pops. We are very excited about our upcoming musical experiences! Thanks to the Maestro and the administrative staff for their efforts.
I was deeply disappointed by Maestro Christie's interpretation of the Mahler First Symphony. It wasn't bad enough that this interpretation was so contrived, but all the pedantic waving of arms in what is supposed to be conducting was incredibly annoying. To add insult to injury, the screen placed to record every movement of our illustrous orchestra leader simply added to the distraction.
Maestro Christie may want to reconsider the programming for the symphony season, and schedule only works which don't contain much depth the weeks that he is here conducting.
As I said earlier, we ALL should have to register to post here. Posting anonymously is, IMO, cowardly.
And 'this' should become a discussion forum, so that each of us can not only respond to existing, specific notes but also start our own, specific thread.
I repeat the substance of my note of last nite--Christie's was the best M1 I've ever heard, and I've heard LOTS. (The Haydn was boring; Classical-period stuff always is for me.)
Here's a comment I received from an acquaintance Friday. "By the way, are you going to the Mahler performance of the Phoenix Symphony tomorrow? I went last night and it was spectacular!!! Probably the best performance of any music I've ever heard. There was a level of energy and emotion I've never heard from them. Plus, they were just on their game, timing perfect, almost no missed notes. The crowd went wild. Don't miss it!" I didn't.
I've been listening to the PSO* since the days of Guy Taylor. I believe the orchestra has NEVER sounded better than it did last nite. Way to go, Mr. C.
* Why oh why did the Association years ago remove the only noun in the orchestra's name--'Orchestra'? It's 'The Phoenix Symphony' now, not the 'Phoenix Symphony Orchestra', they say. Well, it'll always be the PSO for me.
Dear Michael!
Tut Tut Tut!
Plese tell me why you have no afternoon performances of Beethoven's Ninth Symphony?
This "geriatric" ( and many of us) live in the West Valley and are not able to drive at night anymore.
PLEASE find it in your heart to give us some thought and let the marketing department explore this segment of the market, especially for the next season.
By the way, you have added so much pleasure to the way I listen to music now. The orchestra is alive with you as their conductor. You are awesome!
A Phoenix Symphony discussion forum would be a great idea. It would make these conversations much easier to follow, and might help to prevent the feeling of information overload that the Symphony administration is probably experiencing right about now.
I've set up an example on a server that I use for testing purposes. For those who are unfamiliar with the format of a discussion forum, you can take a look at The Music Forum. Of course if the Symphony administration chose to pursue this option, all of the generic branding would be replaced with the appropriate Phoenix Symphony branding and color scheme. A forum like this is very flexible: the groups can be customized, certain groups (such as Maestro's Corner) can be set up so that only certain individuals can post messages, and unruly individuals can be prevented from posting messages on the forum. This is only a demonstration of the technology; please don't post anything of importance since it will go away in a couple of days.
I'm sure that many people (myself included) would be more than willing to contribute the financial and technical resources necessary to make a Phoenix Symphony discussion forum possible.
Someone once said, a conductor should have the score in his head, not his head in the score. That's what went wrong with the Mahler. Wind entrances were not together. Transitions were crude. That's because Boy Wonder can't (or won't) memorize a score. He doesn't look at the musicians. He doesn't breathe with them. And cues are certainly sparse. Mahler is much more than extremes of dynamics and tempo. You may fool the ill-informed listeners, but not the educated ones. The orchestra played fine and were well up to the challenges. Too bad the conductor has no vision or sense of what Mahler is about.
I am also very disappointed with the 2006/7 season programming. Can we please have a moratorium on ALL Mozart, Beethoven, Brahms, Tchaikovsky, Dvorak, Bach, Haydn for say, 10 years? Play some other music for a change. Why do we never hear the symphonies of Bax, Bruckner, Raff, Balakirev, Alwyn, Elgar, Prokofieff, Glazunov, Peterson-Berger, and many others. Ok, the RVW this season was a nice touch -- so what about the other 8?
OK - here are my comments about last night's performances, "technology night", and some of the posted comments about Bob Moody.
First - I very much liked the seating arrangement for the Haydn performance. This is the seating arrangement that this music was written for. I think The "modern" seating arrangement of putting the second violins on the left bhind the firsts came about during the late romantic period because it was easier for the conductor to control the larger string sections of the more modern orchestras. However, this arrangement makes the listener to miss out on a lot of intentional "stereo" effects that are part of the older music of the classical period. I think the older, original seating arrangement should be used every time music is performed from that time period, and I applaud Michael Christie for using it.
Second, I found the video screen distracting and unnecessary. The time delay made it worse. I would rather watch the melody move through the performers than the conductor anyway.
Third - Keeping score: I certainly didn't need it for Mahler's First, but maybe for classical novices this is a good thing. On the other hand, it was painfully obvious where the page breaks were from all the paper flipping, folding, and rustling noises. Perhaps if this info were in the program instead of a loose piece of paper it would be quieter?
Finally - I do not mourn the departure of Bob Moody. He was charismatic, but I found his direction to be lacking. I guess he was OK for the pops stuff, but I felt that even the family programs could have been better (his handling of "Carnival of the Animals" a few years back where he interrupted the performance with a joke cell phone call from his mother left me fuming). I was fearful that his desire to be music director would be answered by the Phoenix symphony, which probably would have been the end of my subscription.
The Jury is still out on Mr. Christie. He is certainly not Mr. Michael, but with last night's Mahler performance he certainly shows significant talent and promise - Well done and BRAVO!
Can any hum a bit of Adams? Personally I like my music with melody. This was our first introduction to this composer and will probably avoid his music in the future. It might be better programming to introduce just ONE section of a larger work that is so very different, pershaps the second movement. Well played, however.
We are 15 year subscribers and will continue to be, but find the new seating in symphony hall extemely uncomfortable and have chosen to hear the PSO at the Orpheum Theatre.
My pet peeve is the cacaphony which must be endured before the beginning of every concert. I miss the formal quiet entrance that used to signal the beginning of a performance.
What is to be gained from personal attacks and name calling? (from earlier posts) I don't believe anyone in the Phoenix Symphony organization is so fragile that we aren't able to accept constructive criticism, but resorting to anonymous digs seems pathetic and sad to me. Why are these few people SO angry?
Whether or not you like Michael, our programming, Keeping Score, video screens, etc., I think he has been more than open to any and all comments or suggestions and has shown that he wants the concertgoer to have the best experience possible at the Phoenix Symphony. I would re-read his post from 11:54 am (two posts ago). Has there ever been a music director who has put so much thought and effort into making a night at the Phoenix Symphony so special? Greetings at the door, chamber music in the lobby, Intermission Insights, Drinks being delivered(?), Videos? Podcasts? They may not all work, but I think that thoughtful, passionate, energetic performances along with this type of vision is what this institution has needed for a long time. No matter what your opinion (and you are more than welcome to it) you have to appreciate someone putting that much care into making your experience at the Phoenix Symphony as enjoyable as possible.
BTW, as a member of the bass section, I make eye contact with Mr. Christie dozens of times every performance, so whoever thinks that he doesn't look at the musicians is WAY off base.
Kudos to D. Rice! The Music Forum prototype would be an enormous improvement over this blog format, and could be tweaked as experience dictates.
Now reality raises its ugly head. What would it cost to implement this? I assume that the Symphony doesn't have a server sitting around idle that could be used. Also, we'd need some volunteer administrators, both for technical work and also, I suggest, to keep a lid on overheated discussions. I'd be happy to contribute financially to the project if someone can come up with a budget and we can get a critical mass going. Properly developed, I think a PSO (not TPS, please!) forum could be a good marketing tool.
However, there's another facet of reality to be considered. The season is almost over, so this may not have been the optimum time to start this project. What do others think? Should we try for a "clean start," getting funding in place and a new site operational, before the fall start of the new season?
Grayce
To Grayce and D. Rice -
Your suggestions relating to organization of SoundPost are valuable and we are working on getting this place organized. We are learning as we go and will see if (as we get our topics here organized) if a daily blog-style format works or if we should switch to a messageboard format.
-Andy Anderson, Assistant Box Office Manager and SoundPost Administrator
I attended the pre-concert interview with Maestro Christie and was impressed by the way he expressed himself and related to the audience.
I also liked the Keeping Score experiment and hope that the orchestra continues to use it. The screen was very definitely NOT a distraction. On the contrary, it made for a better experience.
All things considered, I feel that Mr. Christie is a class act and a valuable asset to the PSO. It is easy for the naysayers to criticize the new ideas that he wants to try. It would be reasonable to expect people to withhold judgment on these innovations until they have been tried. Only then will be be able to determine whether these innovations were good ideas or not.
It is embarrassing and distracting when infrequent concert-goers interrupt a symphony or other multi-movement work with inappropriate applause.
Couldn't something be included in the opening announcements about the custom of saving applause until the end of a composition?
My daughter, son-in-law and I enjoy attending the Coffee Classics conerts and have held season tickets for several years. The applause-between-movements seems especially out of control there.
Thanks for letting me vent!
If you are going to continue with the "Keeping Score", please make sure all of the programs have a copy of it. The two programs handed to us didn't have the guide sheets included, and we weren't about to get up in the middle of a movement to track one down.
I thought it was great concert. I liked the tenor, but wish he was closer to the front of the stage.
I too had a problem on Friday night. Seated to my left was an older couple. They had taken their seats before I arrived, and it was necessary for them to stand up to permit me to pass and take my seat. They seemed quite annoyed at having to do so.
Then at intermission I stood up to return to the lobby for a quick coffee and bio break. I looked to the right, saw a majority of the people in the row still sitting, some of which seemed older than the trouble couple. To the left, this couple and two other people. I asked to get by, and this couple was quite annoyed. The "gentleman" informed me as he was standing up that it was more painful for them to get up as they had both recently had surgery. Their seats were 11 into the row. Rather than take the time to compare recent surgeries, or discuss our mutual state of aches and pains, I simply apologized and moved past them after they stood up.
If you are a music lover and choose to attend a symphony concert, then fantastic. We definitely want you here. But if you have a health condition that makes it difficult to stand at intermission, please do yourselves and your fellow concertgoers a favor and investigate the disabled seating in row 17 or the loges. Or choose an aisle seat, so that you can take your seat after everyone else in the row is seated. A little common sense can make for a more enjoyable time for all.
Bad Video Decision
Having Christie on a center video screen and in our face for an entire concert was one of the worst decisions I have seen from the PSO. How much Christie technique did we need to study?
We couldn't duck it.
This significantly eroded an otherwise nice concert.
Where is the Houston-style video that was designed for the PSO, with the two screens on the side and 3-4 cameras, editors, etc?
Was the decision to just "get something about video " in the history books for '06? Do we see a repeat with Sousa this week?
More poor judgement from the administration. Christie must have been appalled.
calmoore
No one let Bob Moody "go"
For his own career needs he had to move on. You who loved him should be the first to let him go as you would any friend who moved on to advance him self.
How about selling beverages in the balcony so those in the balcony don't have to go downstairs and stand in long lines on the main floor? Portal 10 would be a great spot. It would relieve the crowd on mail floor also.
Regarding the sale of beverages in the lobby...we will check with the city to see if they are interested in having concessions in the balcony. The city contracts with Aramark for the concessions in Symphony Hall and the symphony derives no revenue from the food and beverage concession. However, we do have an enthusiastic volunteer corp "Symphony Friends" who manage the gift store in the lobby and that effort does help our bottom line. Sorry again Azjane...on finances.
Maryellen
Hey Maryellen - dont apologize for the financial remarks concerning beverages. I think a BLOG is a great place for that sort of thing. Just please not during my CONCERT MUSIC time. You and your bunch are doing a great job. Keep it up.
Im learning a lot from reading all the blog comments. The orchestra members and staff probably get to know each other. Us audience members, listeners, dont get that much chance to interact. Its nice.
As a long time subsriber (12 yrs) to the Coffee Classics, I was tempted to express my dismay to M. Christie's rendition of Beethoven's 9th. I had to get out my recording of Toscanini's 9th to confirm my feelings of disbelief. I held up posting a blog thinking I would probably be a disgruntled minority. But now with Richard Nilsen's article in today's newspaper, I feel empowered to add my 2cents worth. I am totally unimpressed with MC, I fully agree with Nilsen's observations, plus I feel MC overacts on the podium. This takes away from the importance of the musicians.
I can appreciate the continuing search for better acoustics, but as for the seats, the job obviously was awarded to the lowest bidder who could squeeze in the most and cheapest seats. Result? I sometimes come away from a concert with a backache.
As for the visuals and Keeping Score, they have no place in a concert where the "listening" is what we pay admission for. The musicians we have offer sufficient visuals and under good leadership they will produce good "listening' without the visual distractions.
A curiosity...I am a huge fan of all things German/Austrian and Romantic: Mahler, Bruckner, Strauss, etc. I always enjoy the Phoenix Symphony's performances of these works. I don't always agree with interpretations, but that is part of the beauty of it all, that there is not only one correct interpretation. My question is this: how is it possible that the entirety of the 06-07 season does not include a single Mahler symphony, Bruckner symphony or Strauss tone poem? I dare anyone to find a major orchestra anywhere that creates a season without representation by any of the above composers. The CSO has three Mahler symphonies and two Strauss Tone Poems programmed next season, Boston has two Mahlers and an on-stage rendition of Der Rosenkavalier. Now, I understand that other larger orchestras have more "Classics" weeks in their seasons and that many of these works (though by no means ALL) require added expense of hiring extra players, etc. In my opinion, it is a corner of the musical repertoire that has many ardent fans including myself that will desperately miss this material next season.
I want to thank you for the
brent havens led zeppelin
concert. It was wonderful.
You gave me a new sound
to fall in love with.
Watching all of you was magic.
many thanks
I thought maybe something was wrong with my hearing ! I'm glad to read that Mr Christie also thinks the hall acoustics are "challenging". Experimenting with seating configurations should be ongoing and varied depending on the particular repertoire. I appreciate his innovation.
I also appreciate Mr Christie's clipped and "punctuating" approach to the Beethoven Missa. The approach was well thought out although it didn't always come across acoustically in the thicker counterpoint.
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