The Launch of the 2008-09 Season
The Phoenix Symphony held its annual open rehearsal for members (Ovation level and above) after which the launch of the 2008-09 season was announced. You can read the symphony's official press release here. During the event, Virginia G. Piper Music Director Michael Christie (who's contract, it was also announced, was just extended for 5 more years) outlined the highlights of the upcoming season and fielded some questions from those gathered. With the announcement of stars like Joshua Bell, Natalie MacMaster and Lang Lang coming to town, you'll want to be sure to watch The Phoenix Symphony's website this week for the official season subscription materials to appear. If you were a subscriber this year, watch for the 2008-09 information to be delivered straight to your mailbox this week!One good question that came up was that of how to request a specific piece to be performed by The Phoenix Symphony. Michael Christie encouraged the attendees to use this SoundPost blog to let him know their likes, dislikes and their interests. Feel free to use the commenting feature and let us know what you think!
12 Comments:
I thoroughly enjoyed getting to hear the Phoenix Symphony on Thursday night. They opened the concert (first half) with incidental music by Mozart from a play that is hardly ever played. It was really well done (Michael Christie made a lot out of the subtle rubatos and tempo changes).
At the intermission, Michael Christie interviewed bass trombonist John Lofton. I always enjoy being around John and he was quite a character up on stage. They were talking about his position in the orchestra and his instrument and Michael motioned to the extra tubing and asked what it was for and John said, “That’s where I keep the gin and tonic!”
When he opened up the interview to questions (John had mentioned that he grew up in Philadelphia) the first question was from an older man in the front row who asked, “What high school did you go to?” John mentioned the name of the school and then the guy said “we were your rivals!” That got a laugh!
Michael Christie said, “the floor is open…any more questions for John?” And then a girl close to the front asked a question. It was inaudible from the balcony but it took her quite a while to ask it.
Mahler 5 was really well done. Michael Christie opted to conduct the opening, but just enough to keep track for the orchestra. Chuck was marvelous on the opening statement (just like a CD), and his sound carried beautifully in the hall. Benny sounded great too on his brief solo lines. The horn soloist did a fine job as well, but for my taste I could have used a stronger dynamic. There were a few glitches in a few places, but the overall product was really special.
The crowd (I’m guessing about 80 percent full) was very appreciative with a standing ovation and bravos all around for the soloists and brass section in general.
It was certainly a enjoyable way to spend my evening.
I had the privelege of attending the open dress rehearsal on Thursday morning for "Members" of The Phoenix Symphony Association.
One thing that surprised me was that the orchestra played through the entire program, even though they had their "opening night" concert that same evening at 7:30 p.m. These are true professionals! They went all out and responded to the Maestro's every demand, as much as technically possible. Some tempos appeared to be impossible for brass players to play every written note. We'll see if there will be any give-and-take at the Sunday matinee concert, which I will also be attending.
The first 2 movements of Mahler 5 were the best prepared. Maestro Christie was truly in the "I am Mahler" mode and showcased the most extreme manic-depressive moods that the music contains.
Also, I hate to say this but, it was great to hear the orchestra in the empty Symphony Hall. The echoes were tremedous. This is no dead hall. Should have recorded "Enemy Slayer" without an audience for a fuller sonic experience.
Of course, my primary goal was to get my hands on the 2008-2009 season brochure before the general public. Did that and got a free lunch, too. Thank you Phoenix Symphony for such an exciting morning. I'm glad my boss approved my annual leave request...
Derek, Thanks so much for giving such a thorough account of what happened at the performance on Thursday. My hope is that this is one function the blog can serve, giving those who haven't heard the performance yet a taste of the experience from the listeners perspective and entice them to come to remaining performances.
I'm glad you enjoyed the performance, the Mozart is a gem that is virtually never heard but I thought its quickly changing moods and strikingly intense atmosphere was an appropriate pairing with the Mahler Symphony that followed it.
The score itself is very interesting given that the music is meant to accompany a play. I can't imagine how long it would have taken to get through the whole play, hours at least. In addition to the instrumental numbers we played there are at least as many choral movements as well. A couple of years ago in New York City I did all of the music with a significantly compressed text and it still took over an hour! The third number we played reminds me of a soap opera! Brief close-up segments that sometimes fade and other times jump to another pace and mood. The text interspersed in the score instigate the changes but it is still very clear without the words that the characters are experiencing intense emotion.
I really enjoy this side of Mozart. Like the piano concerti and operas, Thamos King of Egypt proves that just below the surface is a wealth of emotionally charged, visceral music.
Sonny, thanks for taking leave to come hear the season announcement. I really appreciate your tireless enthusiasm for all of the arts in the Valley!
Wow! Presto and I were totally exhausted after listening to the Mahler 5th on Sunday afternoon. This has to be "THE BEST" concert to date given by Maestro Christie and our Phoenix Symphony. "SEVEN MORE YEARS!" and more to the young Music Director.
The intensity of the first 2 movements that I had experienced at the open rehearsal on Thursday was still there. The tricky 3rd movement really came together. Bravos to Chuck, Gabe, Bruce, Marian, and the entire "bells-up" clarinet section!
I really loved the Adagietto movement even though we don't have the luxury of the 16 1st violins and 16 2nd violins that the Czech Philharmonic brought to Mesa on Saturday night. Everybody followed the conductor to convey the mood changes. Bravo to Paula on harp, who held it all together.
Congrats on snagging Natalie McMaster as a guest artist. She is one phenominal fiddler with energy, wit and makes each person in the audience feel like they are sitting by the stove with her at a good ol' East Coast Kitchen Party.
I am so glad to learn that Maestro Christie's contract has been extended. I have waited on an off for over 30 years for the Phoenix Symphony to take its place among the top orchestras in the nation. I have been so pleased with the way the orchestra has grown over the last three years, and with Sunday's performance of Mahler's 5th I'd say the Phoenix Symphony has arrived. It is clear that Michael Christie has been a primary force in that development.
I'm not ordinarily a fan of Mahler, but perhaps that is because my exposure is through recordings. Mahler often seems to me to be overly dramatic, prone to fits of shrieking followed by muddy depression with ragged transitions. But I must say, on the two occasions that I have heard the Phoenix Symphony perform Mahler, my impression was completely different.
Twenty years ago, I heard Mahler's 3rd performed by the Phoenix Symphony, the Phoenix Boys Choir and (I think) the ASU Womens Chorus. It was a truly inspired performance in a very inconsistent season. But time and the hard work of many has brought an end to the days of wondering if tonight would be a good night. Under Maestro Christie the orchestra has matured into a very fine and consistently excellent organization.
I have never heard the Phoenix Symphony sound better and give a more inspired performance than Sunday's rendition of Mahler's 5th Symphony. My 7 year old son and I had listened to our recording of the Chicago Symphony under George Solti to get some idea of what we would be hearing. He likes crashing and booming, so was looking forward to the live concert.
From the opening moments of the trumpet's incredibly beautiful and plaintive call, to the crazed and tumultuous final bars, I was transported into another realm of being. Divorced of body and surroundings, I was tossed from manic exaltation to heart breaking angst, with only the achingly beautiful 4th movement providing a reprieve from the titanic emotions of the symphony.
Throughout, the orchestra was as nearly flawless as I have heard from a live performance. They were fully committed to Maestro Christie's vision of Mahler's work, and followed him precisely as he deftly negotiated the many abrupt transitions of the music. So well, in fact, that I heard details of the music that I had never heard before.
The only slight criticism I could make was that there were too few violins to balance the brass and winds in a few of the most frantic passages. This is exacerbated by the hall's present tendency to favor the lower instruments, and possibly by our seats being near the front. There's not much to be done about that unless we can manage to fund a larger orchestra.
After the concert, which finished with a sustained standing ovation, Michael Christie conducted his by now famous after concert discussions. I noticed that he was still catching his breath after the workout of conducting the Mahler. My son and I really appreciate the time taken to talk with us about all sorts of things related to music and the running of a professional orchestra. I'll say that as of right now, my son either wants to be a rocket scientist or a conductor.
So thank you, Michael Christie and the Phoenix Symphony for a performance that I will remember for the rest of my life.
I guess that here is a place where we can make program suggestions, so I will mention a few of my preferences. I really like the amount and quality of later 20th century music that is programmed. You'll usually get me to the concert for Shostakovich, Prokofiev, or Stravinsky, but I like learning about new composers as well, so keep it up.
I'd like to see soloists from other than the violin and piano sections. Benjamin Lee's Horn Concerto comes to mind as one of the more interesting horn concertos. Perhaps John William's Five Sacred Trees for the bassoon. Or to really do something different, maybe a saxophone concerto. Jerry Bilik's Concertino for Saxophone is one of my favorites, but it is scored for wind ensemble. Glazunov if you must, or perhaps Gould's Diversions or Peck's Upward Stream. The tenor sax would be a plus for a frustrated player like myself. (I had to take up the bassoon so I could play in the orchestra.)
I was at the Sunday performance. Some observations:
1) Why do so many American conductors insist on pairing the big Mahler symphonies with more music? It's usually Mozart, and completely unneeded. Just the 5th would be fine. Same as if you did 6, 7, 9 or 10. Just the Mahler.
2) The Mahler was exciting and impressive. But, there's more to Mahler than FAST = LOUD and SOFT = SLOW. The tempo extremes robbed the music too often. THe slow sections just lost drive and momentum. The fast sections (the last few bars were ridiculous!) lose clarity. Doing Mahler well, making it part of you takes a long time -- just ask Simon Rattle who still hasn't figured out the 9th. Mr. Christie needs to study Barbirolli, Maazel, and Karajan to learn to manage Mahlers numerous tempo changes.
3) The Adagietto was TOO SLOW, by several minutes. It's not marked ADAGIO. Mr. Kaplan has it right. Older conductors of yesteryear got it right: an aged Bruno Walter brings it in in less than 8 minutes! Bernstein and company drag it out mercilessly. Move it! Don't drag -- it drains the music of all passion.
4) In Herman Michaels last season we were robbed a Mahler 7th. That needs to get back on the program list. And we still haven't heard a "complete" 10th in Arizona. Use Cooke, Wheeler, Mazzetti, Barshai -- I don't care, but do something. We also haven't heard Das Lied in decades. More Mahler.
5) I hear rumors of how demoralized the Phoenix Symphony players are right now. They shouldn't be: Sunday's performance was excellent. I've heard Detroit, Chicago, Cleveland, Philadelphia, New York and a few others play with less enthusiasm and excitement.
Bravo to the PSO!
Yes Sonny, I too was delighted to hear the wonderful contrast in dynamics during the Mozart and Mahler concert on Sunday. My husband and I were in the very center of the audience and the blend was wonderful. The PSO has come a long way since 1998. It was a very treble dominated orchestra then. We are finally getting the rich bass, tenor and alto of the orchestra.
Maestro Christie gave us many brilliant accents with his baton, drawing them all the way from behind the shoulder. I was especially aware of the energy he inspired in the brass section. The principal trumpet player, Charles, performed a mighty Mahler solo. We heard an excellent interview at intermission from bass trombonist John Lofton, who has been with the symphony for 24 seasons. The French horn solos were bold and powerful.
I loved hearing how sensitively timpanist Bruce Pulk played in his Mahler solos. As Pinchas Zuckerman told me once, "The pianissimos are always ignored. We need to explore the full dynamic range." There was one passage in the cellos where we really had to listen closely to hear the melody.
I enjoyed the Adagietto very much. I always get goose bumps in that movement when I hear the harp and the low strings. Paula played her solo beautifully! What was truly magical about this movement was seeing the incredible eye contact between Maestro Christie and Concert Master Karen Johnson. She was on top of every cue he gave. Karen matched Michael's energy on every movement. They were like good dancing partners who never miss a beat together.
The whole orchestra danced with Christie in the Scherzo movement. He brought out the charismatic yet interrupted waltz of Mahler's Post-Romantic reverie. The waltz emerged in and out of this titanic network of fugues. We were indulged in waves of melody surging and swirling across the stage. The brass rode triumphantly to the call of the trumpet herald (probably an autobiographical role that Gustav enjoyed as he reveals the hero's journey).
There was a spontaneous and unanimous standing ovation at the end of Mahler's 5th in Phoenix. Even a man in a wheel chair stood himself up on his hands in his chair to voice his pleasure at this outstanding performance.
"King of Egypt" was a real treat. Most of the selections were crackling with fire and electricity. The program notes mentioned that we would hear "a more muscular Mozart". Indeed, there were many of his famous forte piano accents to reve up the intellectual engines. We had to fasten our safety belts for a short ride in a fast machine.
I have never felt that Mozart was a "dandy" with too much lace. He was a showman and a rebel. He was a rock star from the 18th century. Many conductors underestimate Mozart. I have seen great conductors conduct Mozart with one hand tied behind their back. This was not true with Maestro Christie. He conducted "King of Egypt" with all of the energy and spirit that this work deserves.
There are a couple of points that could be improved. The opening movement of the Mozart seemed understated. I am not sure if this was by design or default. Christie and the orchestra seemed to reserve their energy for the later movements. This was also true of the Mahler.
The Funeral March did not have the familiar crescendos leading up to the first beat of each measure. I think the bass instruments and the percussion could come to the rescue on this effort. The orchestra needs to exaggerate the dynamics so that they seem more funereal. At times the hemiola of the two against three did not come out in this movement.
There is a great challenge in bringing out the sardonic nature of Mahler's love death motives. We need to understand that he is mocking death with a macabre waltz born out of a four meter. Romantic irony is his goal. Mahler does more than hint at the insanity and chaos of his era. He revels in it, and then he masters these urges.
How Sonny the Cat prepares for a new season:
While I am disappointed that you could not secure Tan Dun or John Corigliano as the Living Composer Spotlight, I applaud your choice of Jennifer Higdon. She, along with Joan Tower, leads the way atop American composers, regardless of gender.
The first thing a listener should do is to buy a CD of Higdon pieces.
That way, you won't be shocked at the first concert. Remember Christopher Rouse's Symphony No. 2?
I was prepared for the musical assault. Were you?
I just listened to clips from Higdon's "Concerto for Orchestra" and "Skyline." Both are available on one CD recorded by the Atlanta Symphony. Wow! She's no pushover. Hints of Bartok and Shostakovich. Be prepared! Maybe the Phoenix Symphony can negotiate another recording deal?
I am happy to see one piece each by Rouse and Golijov. It shows some continuity in the dedication to the past composer spotlights.
I am disappointed that you have discontinued the Opera in Concert initiative of the last 2 seasons.
With Stravinsky being the composer in the spotlight, you could have programmed "Oedipus Rex."
Is the puppet theatre Petroushka supposed to be an alternative to an opera?
I would like to see more of our own principal players taking their turn performing concertos with the orchestra. Saying that the new concertmaster will play the violin solos in Ein Heldenleben hardly fills the void.
Overall, I'd say that Maestro Christie has outdone himself again. How can I not subscribe to the entire Classics series!? Can you throw in free parking with that?
I've just been perusing the new season brochure. Some good things, yes. But c'mon! Carmina Burana...AGAIN! Brahms 1...AGAIN! Beethoven 2...AGAIN!
Ok, the Stravinsky will be nice. The Prokofieff 5th hardly suffers from neglect, but we don't here it in Phoenix much. The Higdon music is ok, but there sure is a lot of it. Mahler 4 is better than no Mahler. And that last concert! That's one long sit, but since we were not given any Sibelius symphony in 2007, the suite will be most welcome. Still, I hope in the future we can have a complete Sibelius cycle in one season.
There are many fine works that I wish Phoenix would program, both from audience enjoyment and performer interest...
Elgar, symphonies 1, 2, or 3
Bax 3rd symphony (or 5 even)
Korngold Symphony in F#
Gliere Ilya Murometz
One can dream.
I am starting my WISH LIST for the 2009-2010 season, which should be under construction now:
1. Michael Christie (Music Director of the Brooklyn Philharmonic & Guest Conductor at the San Diego Symphony on 5/10/08) bringing John Corigliano's "Pied Piper Fantasy" to Phoenix. Of course, we'd have our Principal Flutist Viviana Cumplido as soloist, leading a mass flute choir down the aisles of Symphony Hall.
2. Guest conductor MARIN ALSOP (Music Director of the Baltimore Symphony and the Carbrillo Festival of Contemporary Music) bringing the newly premiered (summer 2008) Concerto for Orchestra by Christopher Rouse to Phoenix.
Maestro. Will you be doing Haydn's "The Creation" in English or Deutsch?
I need to know if I should by the Robert Shaw or Herbert von Karajon recording to study the piece.
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