Death of a great musician
By Matthew Heil
Marketing & Public Relations Manager
Marketing & Public Relations Manager
In the New York Times today there is a moving article about the passing of Russian cellist and conductor Mstislav Rostropovich. Longtime conductor of the National Symphony Orchestra, Maestro Rostropovich was a force to be reckoned with, both artistically and politically.
He performed at least once with The Phoenix Symphony that I am aware of, in the 2000-01 season. If any of our readers know any other instances of his performing or conducting, it would be a fitting tribute, I think, to read about them.
It is through artists like Rostropovich that we see what art is capable of, and why the free expression even our organization has is so valuable. The love of music is something that crosses all boundaries, and in Rostropovich's case, built bridges around the world.
7 Comments:
There is a must read article in the most recent "The New Yorker" (April 30) about the LA Philharmonic. Unfortunately it is only in the print version and not online.
Rob Simonds
Signs that the Phoenix Symphony is alive, well, and regenerating:
The other night at Symphony Hall, President & CEO Maryellen H. Gleason took a poll of how many years those patrons in attendance had been coming to the Phoenix Symphony. I was one of those to make it to “more than 25 years.” It made me reflect on some things that have changed over those years.
1. We rarely keep applauding after the first shorter orchestral work on the program long enough to recall the conductor for another bow. This used to be routine no matter who the conductor was.
>>> My 21st century ‘musicians unity’ point of view: So long as the conductor motions for the whole orchestra to immediately stand up and acknowledge the applause with him, that’s fine with me.
2. We routinely allow clapping in between movements of a concerto or symphony if the soloist or conductor takes a momentary breather. This used to be taboo and program notes would tray to teach new audiences to refrain from such disruptive behavior.
>>> My 21st century ‘older, wiser, and learning to be more tolerant’ point of view: So long as the audience watches the conductor, who may choose to keep his arms up to signify that a piece is continuing on, and sits still under those circumstances that’s fine with me. I’d rather be able to erupt into spontaneous applause than hear nervous coughing!
3. The Phoenix Symphony musicians stand and face the audience to acknowledge the applause. This used to be thought of as amateur, silly and made the great orchestral machine too human.
>>> My 21st century ‘why can’t we all be friends’ point of view: Smile! The orchestra members are the true Superstars. Maestro Christie is always smiling. I’m usually smiling and screaming ‘Bravo!’ when I’m happy. As a musician, I can sense when my orchestra or band has effectively communicated the feeling of a piece to the audience. I want to jump up and high-five everybody, too. Let’s at least make eye contact. The next step would be for the whole orchestra to take a bow together.
Sonny,
Where did the Carter comment come from? Do you think that Mr. Carter is in any way trying to create music in the manner of Rouse? Whatever one thinks of Mr. Carter's music he is truly an original voice. His music signaled what many believe as the ascention of American music past European. His music is sophisticated and elegant and uniquely American. Rouse is at best a good craftsman and a worthy composer to recognize.
Hey "Anonymous New Yorker." So what did the artcle have to say about the LA Phil, their rivals across the continent? Did you hear that the NY Phil, in its desperation to name a successor to Lorin Maazel, will be contracting with two conductors to split the Music Director/Principal Conductor duties? Perhaps they are looking at a younger less experienced conductor for the Principal position.
"Where did the Carter comment come from?" To reply to "Sophisticated Anonymous" above, it came from my heart. If you look back at my blogs, you will find a full-length artcle advocating the recognition of Carter's centenary by the Phoenix Symphony.
In my youth, I intentionally exposed myself to Carter's music LIVE in New York City. I bet I own more Carter LPs than anyone else in Arizona!
The only point I was making was that Carter's music is so difficult and thus "untouchable" to most audiences. What does he really have to "say" with all those atonal arhythmic mathematical notations? Unfortunately, my prediction is that Carter will be totally forgotten and exist only as an asterisk in western music history.
Rouse's music, on the other hand, "touches" the audience with good or bad emotions. Maybe he'll stay in the repertoire beyond his lefetime, maybe not. It's up to us. I don't think the music scholars are the ones who have given Beethoven and Shostakovich their permanent homes in the concert halls.
Sonny,
I was refering the magazine "The New Yorker." The article was about the LA Phil.
Sonny,
The reason I brought up the Carter comment was you seemed to be implying some sort of value judgement in comparing the 2 composers. Your second post only confused me. On one hand you own a great deal of his recorded music but you ask what it has to "say." You clearly favor Rouse's music, which is certainly your right. I recognize that my defense of Carter's music would imply that I am espousing its superiority. However, my intention is more to say they are not comparable. They are not in competition. I feel it is like saying "that Glenn Miller guy sure wrote some great tunes why can't Ornette Colema do that?" To compare the two or to suggest that their artisitic goals share common ground I think is unfair. No one would suggest that because Coleman and Miller are radically different that one is less than the other.
This is not to say that I think our symphony or any other should only play music of the greatest academic sophistication. I am a great advocate of music like Rouse's. Just maybe not his specifically. Sonny, I think you would hate to hear my thoughts on Shostakovitch.
I have no data for this but I believe that it is the critics that enabled Beethoven and to a lesser degree Shosty to survive. However, I think that the younger generation of composers may live or die in the market place. These younger composers may have less refined skills than a Rouse, but may find a more loyal audience.
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