Michael Christie to conduct the New York Philharmonic
Due to illness, Riccardo Muti had to cancel his engagement conducting the New York Philharmonic this weekend. The Phoenix Symphony's own Michael Christie will step in making his debut with America's oldest professional orchestra. With Pinchas Zukerman performing Elgar's Violin Concerto as well as Copland's Symphony No. 3 on the program, it will certainly be an exciting weekend! The Big Apple is already starting to buzz about the debut with articles appearing today in the NY Times as well as the NY Sun.The concerts themselves (held March 27 - 29) are all but sold out, but if you're the classical-music-loving, jet-setting type looking for a quick weekend get-away, you might still be able to grab a pair of seats online at NYphil.org.
Check out our full press release at PhoenixSymphony.org as well as a preview article appearing in the Arizona Republic.
UPDATE: Check out the comments section of this post to read some daily accounts from Michael Christie about his rehearsal process this week with Pinchas Zukerman and the NY Philharmonic.
UPDATE: Check out the comments section of this post to read some daily accounts from Michael Christie about his rehearsal process this week with Pinchas Zukerman and the NY Philharmonic.
12 Comments:
congratulations and good luck, Mr. Christie.
ALthough we miss you here.
Our Maestro Christie: Good luck with the New York Philharmonic. I wish I could hop on a plane and write a blog LIVE from Lincoln Center. We're all proud of you.
I saw you LIVE with the LA Philharmonic at Walt Disney Hall. I will anxiously await the reviews by the NY critics.
I had my first rehearsal with the NY Phil this morning.
I should start by giving a little background of how this all happened. Typically, when an illness such as this happens the orchestra management will contact various artist managers to ascertain who would be available and the experience of those potential replacements with the scheduled repertoire. Sometimes the orchestra will change the program but in this case I had done both pieces many times. I found out early on Saturday the 22nd about the possibility of this happening and then sweated through most of the day whilst the NY Phil considered their options and consulted their committees. I was in auditions for our new Assistant conductor when the confirming text message came through. I made some travel arrangements and spent that evening and all day Sunday reacquainting myself with the pieces.
I flew out on Monday and here I am on the Upper West Side.
Needless to say I was a fairly nervous guy going into the experience but the staff and orchestra of the NY Philharmonic have been so welcoming that I instantly felt at ease.
We read through the Copland Symphony No. 3 first and started working through the first and second movements after the break. Interestingly, the orchestra hasn't played the symphony since December of 1999.
There is so much history with this group. The parts we are using are those used in Leonard Bernstein's 1985 recording with the NYP. At some point this weekend I'll take advantage of the opportunity to peruse Bernstein's own score of the Copland Symphony 3 stored in the orchestra's library. They even have some of Mahler's conducting scores!
Today's experience was surprisingly calm. The orchestra is a true marvel. I am so fortunate to have all of the principal players on the roster this week. To hear instrumental heros like Stanley Drucker, Glenn Dicterow and Phil Smith among others is inspiring and humbling. Every member of the orchestra exudes professionalism and I am struck by the overwhelming sense of the need to sound great.
Tomorrow will continue with Copland and in the afternoon I will meet with Pinchas Zukerman for an hour to go over the Elgar concerto before we work the piece with the orchestra.
I'll let you know how it goes!
Good luck to Mr. Christie, I hope all goes well with your performances with the NYP.
On the topic of Bernstien and Mahler scores in the orchestra library- the NYP and other long standing orchestras have taken their orchestra library and their librarians very seriously over the decades, and this is one reason why they hold such history on their shelves. They don't lend out their materials to other organizatinos and take the up most care that the markings are preserved. (There are smaller and newer orchestras out there whose orchestra librarians also have no less professionalism than those in the "top 5" orchestras or 10 or 15... but my comments are for these largest and oldest as they generally have the most history going back in some cases to the 1800s.)
I understand that the Phoenix Symphony library also holds some special music (Elmer Bernstein's Magnificant 7 is one, as well as other pieces no longer available in print, or for purchase) and I am curious if there is anything special that the orchestral librarians have to do to preserve the music. Can we have a spotlight on one of them sometime? How does one become an orchestral librarian? What type of professional training is involved? Do they play an instrument? What type of specialized knowledge does a librarian have that maybe a player in the orchestra, or even a conductor, not have? How about a spotlight on the production guys who make it all happen from behind the scenes? There are a lot of people who would be interested about what goes on behind the scenes. It must be more than just setting up a bunch of chairs and stands!
Thank you for your consideration and posting my comments.
We had two rehearsal today at the New York Philharmonic. Between orchestra session Pinchas Zukerman and I had about 45 minutes to work through the Elgar concerto. He has recently returned from Russia and had some great stories to tell. He is an amazing personality, full of energy, drive and humor.
The rehearsal with the orchestra went well. As with any concerto experience, and this difficult concerto in particular some time is taken to work through the many tricky transitions. The majority of the time is spent playing large sections of the work so the orchestra can hear what he is doing and orient themselves to his sound and ideas for the concerto. He is clearly a favorite among the players and had some great suggestions for various sections of the orchestra. What an absolute pleasure!
Tomorrow is the dress rehearsal which is open to the public.
The orchestra has been fantastic, patient and helpful in both works and I look forward to seeing how the concerts go. As Mr. Dicterow (the concertmaster) said at the end of the rehearsal, "now it's time for the sparks to fly!"
Looking forward!
http://www.gsb.stanford.edu/news/packages/pdf/Flanagan.pdf
This is a link to a new Mellon report on the state of American Orchestras.
This is the ONLY on-line review I've seen so far.
The maestro has not posted a blog since 2 days ago.
Sonny, the Curious Cat.
Harry Rolnick of ConcertoNet.com stated:
"Michael Christie has been making a name for himself with virtually every American orchestra... he is well-schooled in music of the last century (and this), so he took to these relatively familiar works with skill and proficiency.
For the record, he did a very creditable job. This was not the front page news when Leonard Bernstein triumphantly took over from Bruno Walter many years ago. But Christie is not that kind of conductor. With his picturesque big broad arm motions, he pulled some find sounds from the orchestra, and gave some satisfaction.
Due to another commitment last night, I heard the matinee, so neither he nor Pinchas Zukerman, nor the orchestra were electrifying. During those mighty fanfares of the Copland Third Symphony, the brass had some bad flubbing. The strings, almost alone in the slow movement gave that balance between meditative and playful. And the finale, based on Fanfare For the Common Man made for a dazzling finale."
I thought you would appreciate this. I asked a question about the concert in New York this week on a trumpet list…
My message: How is the sub from Phoenix working out this week? I've certainly enjoyed what he does with the orchestra here.
Response - Trumpet Player from New York Phil: The conductor did a very good job, considering the huge program this week. Elgar Violin Concerto and Copland 3 were not easy pieces to just come in and conduct.
He was very clear, nice, AND a trumpet player. The perfect conductor to play Copland 3.
Read the New York Times review at
this link.
One of the sentences at the beginning of the review reads:
"It would be nice to report a star-is-born story, but such was not the case. "
It's a tough spot to be in.However, I've left many a Christie conducted performance here feeling only half-fulfilled.
Too bad the predominant headline across the WorldWideWeb read:
"Kid From Brooklyn Gets NY Phil Debut."
As we all know, our Maestro is from Buffalo, New York. The fact that he is currently the full-time music director of The Phoenix Symphony was downplayed. Perhaps understandably so. Growing up in New York City, I had no idea where those pesky Phoenix Suns came from.
Join me next week in welcoming our Maestro back with a standing ovation at the start of the concert!
While I understand that there is a great wish for Mr. Christie to "take New York by storm", it really is understandable that the higher-end press was rather lukewarm about his debut with the NY Phil. There can be all manner of reasons for this response, but truly the NY Times comments did not surprise me.
From personal experience I can tell you that critics in the NYC arena generally are looking to be impressed by something different - something fearless perhaps - in their musical heroes. The comment that, in essence, he was led by the orchestra rather than leading the orchestra with thoughtful nuance, interpretation and - fearlessness - is probably right on. If he had, they would have known it - believe me. For this reason the reaction of the press is probably correct. While it is tempting to disagree with NY critics because they don't give the responses that are desired and offend "hometown pride", promoting all young(ish) musicians is not their job. It is also important to understand that this was not particularly a "bad" review, just not one that will shake the world for Mr. Christie.
New York is a different place this way - it's what makes it the place that it is. The NY Phil has historically played brilliantly only for the very few conductors that exhibit these characteristics - for other conductors - less so. The press in NY reacts to extraordinary talents of this type, rather than simply talented conductors. Bernstein was indeed fearless and brilliant - and the orchestra (and all other orchestras) reacted to this and played for him. Mr. Christie is no Mr. Bernstein - and it's OK, really.
With all of that said, there is of course a place for talented conductors like Mr. Christie. Perhaps he will be able to shape the group in Phoenix to his liking and bring it to a different level. I am sure that many wish him luck. But to think that a last minute spot with the NY Phil should and will elevate him to superstar status is a bit naive. If he were to have been this type of superstar, he would probably been discovered before now and his life would not find him in Phoenix at this point. Mr. Christie is one of many - not an international superstar "Maestro".... and this too is OK.... really it is.
Certainly, Mr. Christie DOES NOT deserve a standing ovation simply for returning from New York. He accepted a challenge, did a credible job, and is coming home. Simple as that.
Why are we so free with our "Standing Ovations"?
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