The
concert program this weekend, performed at Scottsdale Center for the Arts, the Mesa Arts Center and the Orpheum Theatre, comes with a twist: you picked it! In an era of "on demand" movies, television and online music, it seems fitting that a new level of interactivity be added to the symphony experience. In October, at the first Phoenix Symphony concert of the season held at those locations, ballots were distributed on which audience members could cast their vote for the pieces they most wanted to hear. The result is a program filled with the beloved sounds of Mozart, Smetana, Rachmaninoff and Beethoven. Close runners-up included Copland's
Fanfare for the Common Man, Tchaikovsky's
March Slave, and the Stokowski orchestration of Bach's
Toccata and Fugue.
Adding to the excitement will be pianist
Spencer Myer who, since the start of the new year, has already appeared with the symphonies of Santa Fe and Indianapolis and also performed solo recitals in Ohio, Tennessee, New York and South Africa.
Spencer's website is a wealth of interactive information and numerous audio and video clips from his past performances. This weekend he will lend his remarkable talent to Rachmaninoff's daring
Rhapsody on a Theme of Paganini. If you attend this weekend, let us know what you thought of your program!
The concert program this weekend, performed at Scottsdale Center for the Arts, the Mesa Arts Center and the Orpheum Theatre, comes with a twist: you picked it! In an era of "on demand" movies, television and online music, it seems fitting that a new level of interactivity be added to the symphony experience. In October, at the first Phoenix Symphony concert of the season held at those locations, ballots were distributed on which audience members could cast their vote for the pieces they most wanted to hear. The result is a program filled with the beloved sounds of Mozart, Smetana, Rachmaninoff and Beethoven. Close runners-up included Copland's Fanfare for the Common Man, Tchaikovsky's March Slave, and the Stokowski orchestration of Bach's Toccata and Fugue.
Adding to the excitement will be pianist Spencer Myer who, since the start of the new year, has already appeared with the symphonies of Santa Fe and Indianapolis and also performed solo recitals in Ohio, Tennessee, New York and South Africa. Spencer's website is a wealth of interactive information and numerous audio and video clips from his past performances. This weekend he will lend his remarkable talent to Rachmaninoff's daring Rhapsody on a Theme of Paganini. If you attend this weekend, let us know what you thought of your program!
23 Comments:
My companion Presto was happy to be going to a concert of all familiar music for a change.
Too bad we had to experience it at the Orpheum Theatre. Without an acoustic shell, the horns, trumpets, and first 2 trombones were practically inaudible.
The highlight was the Rachmoninoff Rhapsody. Pianist Spencer Myer and Maestro Christie were always on the same page. The orchestra responded with the most beautiful
pianissimos and quick exchanges. A clean-cut performance without too much emotional outpouring, but satisfying in its own way. Completely different than the Olga Kern version we experienced with the Phoenix Symphonix at the Orpheum a few years ago.
I was particulay impressed with the intesity of Principal Second Violinist Anna Kim Kazepides tonight in the Beethoven Seventh. It added a lot to the visual and audio exchange with the first violins. Too bad the rest of her section, beyond the 2nd stand, didn't share her passion. I also had a rare direct view of cellist Fred Chao, who showed a smile and bowed the Beethoven with great vigor.
A few comments about concert stage etiquette. 2 front row second violinists and 1 front row
first violinist were observed sitting casually with their legs crossed at the beginning of the
second half while the Maestro was addressing the audience. Unprofessional? And ladies, I don't want to sound "catty," but please no unsightly panty lines.
Regarding "close runners-up included Copland's Fanfare for the Common Man."
Next season's special concert featuring pianist Lang Lang lists yet another performance of Beethoven's Fifth. Is this really necessary?
In the alternative, let's have Maestro Christie conduct Copland's Symphony No. 3. This would be more meaningful to us since that was the big piece on his successful New York Philharmonic debut.
Isn't it a little inappropriate to be discussing pantylines? Who is looking for pantylines during a concert? And we also can't cross our legs on stage? Considering the amount of work put into this concert, a little relaxation while not playing doesn't seem unprofessional to me. If we were paid by the note for this week, we'd all be millionaires!
Pantylines? Pantylines?????? Good grief. I attend Symphony concerts for the music and the emotions associated with the experience -- not to ogle the orchestra members.
Methinks Sonny The Cat is really a peeping Tom!
As for this particular concert the Beethoven was waaaaaaayyyyyyyyyy too fast, but unfortunately that's to be expected with our current Music director. I mean really, the Beethoven should not seem faster than Flight of the Bumble Bee. Most unsatisfying.
Kudos to the members of the orchestra, though. You managed to play all of the notes. Enjoy your well deserved week off. You've certainly earned it.
Here are some other important
issues that I hope you will print.
Item number one - My husband and I have had a subscription to the Phoenix Symphony for several years now. He has a meeting every Thursday night and I usually perform in various concerts on Friday and Saturday nights. We were very happy that Phoenix Symphony offered a Sunday Classics series in the afternoons or evenings. We are very sad to learn that the symphony has
chosen to put a pops series on Sunday. There is simply no way that we can subscribe to the other nights in order to get our Classical music series. I hope that the symphony will reconsider this move. Currently, we are unable to subscribe for the 2008-2009 season :-(
Item number two - When the City of Phoenix remodled Symphony Hall they also downsized the seats in the auditorium. My husband and I were there for the grand reopening, which was very exciting. However, I found out that the new seats are extremely uncomfortable. Both of us felt sqeezed into these tight
wooden seats. Finally, we decided to pay extra for some real chairs in the middle of the auditorium. Symphony Hall needs to do what the movie theaters are doing. Build some extra wide, plush seats with a great view for those of us who are no longer in our twenties or thirties. We are happy to pay
extra for these seats. How many people just never come back?
Item number three - some of the audience members bathe in perfume and aftershave! When I perform in symphonies and choirs they usually have a "no perfume" rule. This is especially critical for singers. You go to take a big breath for the next entrance, and nearly pass out from inhaling someone's aftershave or perfume. I am very sensitive to chemicals. I have
a mild form of asthma called reactive lung dissorder. Sometimes I get a terrible caughing fit in the middle of the concert from the wild mix of
smelling twenty-five different colognes at once. It is very embarrassing to cough in the middle of a concert. Sometimes it gets so bad that I have to leave the auditorium. I imagine that anyone with a serious asthma condition would not even be able to go near Symphony Hall for fear of having a full blown attack.
Some people may feel that they would rather smell someone's perfume than whatever it is that they think they are covering up. I would rather not be breathing in their chemicals while I am trying to enjoy a concert. A tiny drop of cologne or deoderant should do the job. They do not need to take a bath in perfume to smell nice. Just imagine paying $36.00 for a ticket and you can't breath or enjoy the concert.
These are some of the real reasons why people are not subscribing to
concerts. Why are we worrying about a couple of musicians crossing their legs during the lecture? Comfort and convience are the keys to subscriptions. If patrons ears are bleeding from an ugly piece, the chairs are horrible, the lady next to you stinks so bad your are coughing, and the classics series are inconvienent, then the subscribers are not coming back. Most of the middle aged and retired patrons sitting in the audience cannot
see a pantyline even if they have their glasses on. Some of the patrons might even think that is a bonus if they could see it.
He shoots... and he scores!
Thanks you Mr. K for your quick comments on the rebound.
Why do we men have to wear those stuffy tuxes or formal black at every concert? Women don't have a standard dress or suit that they must wear. Why don't we all wear gowns like choirs do to make ourselves sexless? By the way, the women of the Czech Philharmonic wore tight sleeveless shirts that showed a lot of pale skin and muscle and armpits!
Why not wear casual clothing like you did at that open rehearsal. Let me tell you, there were some amazing sights. Mini-skirts and shorts! Why look formal at all?
Probably because we in the classical music business want to uphold an image of formality;
that this is a serious occupation; and we want to be treated with respect.
So, as long as the orchestra stands for such formality, let's enforce some basic etiquette.
Isn't it taboo to walk around the stage in public view without your coat and tie on? Or to walk off the side of the stage at intermission to mingle with friends and family? Do we ever see the members of the Cleveland Orchestra or the New York Philharmonic crossing their legs while on stage? Doesn't our TPS musicians' contract deal with these issues?
Whether we agree with Sonny or not about panty lines and crossed legs, there is something we should acknowledge as performers - people watch us as well as listen to us.
It could be an interesting discussion. I will warn our posters however that this could very well be one of the most prickly topics to address with this particular art form (only to be eclipsed with one's like or dislike of a conductor or guest artist!).
Boiled down to its essence the question is whether the visual component of concert giving should matter. And secondly, what responsibility the performers have for maintaining that image.
Let's see if this topic has any teeth. Perhaps we can shed some light on a subject that has caused rifts between Boards of Directors and orchestras, managements and musicians and orchestra musicians amongst themselves.
1. I am never OK with a player crossing their legs when a piece is being played no matter how few notes that player has.
2. Women: please test out your clothes: when you sit down with your instrument, the back of you shirt/blouse has to meet the waistline of you pants/skirt. I don't need to be seeing any of your back ever. Please note that this is not directed to any of The Phoenix Symphony ladies, just a general observation from over the yearsfor all performers- highschool to professional ensembles.
3. I'm not a big fan of sleeveless tops for women either. It is just an asthetic thing for me. I'm a woman instrumentalist myself, so I'm looking in the mirror when I write this.
4. I am OK with women wearing pants onstage as concert dress, as long as they aren't skin tight, follow No. 2. I like the look of a nice pants suit on a woman player.
5. Gum chewing. You'd think this one was a given.
6. Smile at the end when the conductor stands orchestra up. You don't have to give a big grin or even show teeth, but just some expression on your face instead of a blank stare is appreciated. I know you are tired and not all concerts are fun to play, nor all conductors fun to play under, but pretend just a little, for me, your ticket buying concert goer.
The appearance of an orchestra on stage is something that has had a great deal of discussion. On one hand some people may feel that the tux and tails things looks ridiculous. Some may feel that the suit on a Sunday afternoon is not formal enough. Some may like performers to appear loose, others may want them to seem businesslike.
I see no time when discussing panty lines is appropriate; however, if the body language of the players is distracting then that is another issue. When Sonny writes about etiquette he seems to be speaking as though there were some rule. One could certainly argue that a conductor speaking in a relaxed and audience friendly manner is a new thing. It certainly projects a relaxed, or at least more relaxed, mood. I don't know if any hard and fast rules apply yet on how the players should sit during these moments. I am sure that some in the audience must feel that the hyper formality of the concert hall is a least a little ironic. But the more conservative audience clearly has different expectations.
I like the look of a nice dark suit with a long tie for matinees. The splash of color from the ties add a nice variety, but isn't distracting.
I will agree with another poster here that the amount of perfume and aftershave that some audience members put on is overwhelming. What you are thinking (or smelling) when you do this?
Despite the new seat sizes in Symphony Hall, I will say a hearty Amen for the new aisles.
Maybe Sonny is right and an essential key in being treated with respect is appearance. Except we look foolish. No other place in the world does anyone wear tails. Except actors in Jane Austen movies. The thing that makes it worse is most often the hall is half full. It might even have a tinge of irony but mostly all the silly rituals of the concert hall are embarrassing, not serious. If the hall were full we could get away with the period acting, but given the state of attendance here and elsewhere it wreaks of arrogance and indifference.
Being a vital art form. Being a vital institution to our cities would bring us some respect. However, until we get a grip on what most people think of us or don't think of us we will never have the genuine respect of a community. I mean all classical music not just PHX.
Sonny, if you would like to find out whether the musicians' contract deals with pantylines or not, why not ask for one and peruse it? At least it will put your mind at piece and you'll never have to ask yourself, or rhetorically whether that is a contract issue or not.
I think we are losing focus here on the quality of the performance. It's a good 'derailment' to bring up pantylines, isn't it?
Someone mentioned a way too fast Beethoven? That's an understatement! It felt more like a Reader's Digest version instead of a traditional listening.
Slow down, Mr. Christie!
Rock'n'roll over Beethoven? I didn't hear any such thing last Saturday night. If anything, my complaints about Maestro Christie's Beethoven Symphonies (e.g. 4th, 6th, 7th) is that the tempo is slow and deliberate. Every single note is articulated. They all sound "pretty" without too much drama. (Didn't we have this discussion earlier this year?)
The "Anonymous" must have been listening instead to Gustavo "Speed Racer" Dudamel butchering Beethoven's 7th.
It would be interesting to see the attendance figures at this summer's Boulder Music Festival. Our Maestro will be presenting the entire Beethoven cycle in one week. I will be staying at home and looking forward to next season in Phoenix for Beethoven's 2nd. Will it be fast and furious or light and jolly?
Sorry Sonny, but you might find that more than a few of the Symphony musicians agree with me about the speed of the Beethoven as conducted by Michael "Faster Beethoven is Better" Christie. Yuck. Let Lawrence Golan or a guest conductor do the Beethoven pieces. There ought to be an 11th
Commandment -- "thou shalt not butcher the Beethoven!"
On the subject of dress, however, I must admit that a pet peeve of mine has to do not with the way the Symphony dresses (I like the formality of tails), but with the way the audience dresses. While I am glad that tickets are purchased and there are bodies in the seats, I would much prefer that people dress a bit less casually as a measure of respect for the abilities and lifelong work of the musicians on stage -- one of the things I miss from attending Pittsburgh Symphony performances over the years.
On the subject of perfumes and aftershaves, I too am bothered by synthetic scents and would much prefer that people do not overly douse themselves with such substances. Most inconsiderate.
Here is a link to short interviews on orchestra life. Some of the segments touch on the issues being posted here.
www.polyphonic.org/interviews.php?id=4
I'd just like to share that when I attend a concert, I go with the hope that it's going to transport me to a different place, both spiritually and emotionally. I almost always leave feeling better than when I arrived. I have to say that I don't pay attention to how the orchestra musicians sit, or what undergarments they choose to wear, or whether or not the tempo of a Beethoven piece falls into a rigid, acceptable window. I realize we all go to concerts for different reasons...but I do think that we should be grateful to have such a caring, committed conductor and talented, hard-working musicians. I believe that is what's important.
To the Anonymous Pittsburg Dresser: Have long has it been since you last attended a concert in another major city?
The trend in New York and LA is towards casual. Be comfortable when you have to sit through a 2-hour concert in those tight seats with little leg room.
Personally, I used to put on a tie and coat in the 80's when attending the Phoenix Symphony. Not to show off my attire, but to feel like I fit in. But now in the 21st century, I am most comfortable with "office casual." Maybe some day, I'll try the total dress down look. You are right, it does have a bit to do with your attitude, as an audience member, to the sanctity of the concert hall.
I really don't mind other people wearing jeans and sneakers. Evening gowns and suits don't intimidate me either. As long as everybody shows respect to the musicians, it's okay by me. Learn how to sit quietly and let the music, both audio and visual, move you.
Sonny,
I'd be happy to get the figures for you as we get closer to the Beethoven mini-festival in Boulder. We are offering all five concerts for $100 for those that are interested in hearing them all. You really can't beat twenty bucks per show and that is showing in the season ticket, design-your-own and single ticket sales thus far. Over the last seven seasons in Boulder we've averaged 7% ticket sales growth per season and, like the Phoenix Symphony we are seeing growing numbers in subscription packages.
To the various anonymous bloggers,
This whole business about fast tempi is another interesting strain I'd like to pick up on. There are so many factors to consider which I am happy to discuss, but before that I wonder what types of recordings people are listening to regularly which give them the sense that some pieces are too fast or too slow, particularly for Beethoven?
In my listening library I have Toscanini, Walter, Karajan, Bernstein, Dohnanyi, Harnoncourt, Gardiner, Barenboim, Zinman and most recently Igor Markevitch. I know how personally people take their favorite recordings of these pillars of the repertory but equating fast with butchering seems a bit rash.
As with most pieces of music the seventh symphony of Beethoven can hold itself together under a significant range of tempi. There are some interesting things for a conductor to consider when choosing tempi for this symphony. In the opening of the first movement there are several passages of rising sixteenth note scales punctuated by shifting harmonies in the winds and brass. The melody is a series of half notes exchanged between the two violin sections. In this example one needs to decide if the scales and consequently the harmony should feel held or slightly pushed. I chose slightly pushed although we never discussed rushing the scales in the rehearsals. I find the dramatic harmonic journey Beethoven takes us on in only the first two or three minutes of this A Major (the brightest key) to be most fascinating and while one could easily choose to arduously climb the scales to the next harmony I find that he seems to be searching to escape the harmonic loop he has set up only to be thrown back into the spiral by the accented brass and timpani along with many unexpected harmonies. Feel unsettled? In my opinion I wanted it to feel that way without question. It made taking a bit of time for the gentle woodwind responses more sensible.
The second movement is another story. He marks the tempo "allegretto". As listed above, I have many recordings where the tempo is extremely held. I also have those where the tempo flows - really flows. I think there are a couple of things to consider. First of all, is the melody to be felt as two beats per bar or a larger single beat? I personally go for the larger (slower) single beat. There is a brief fugue in the middle of the movement featuring sixteenth notes in the strings. I use this as a gauge of the overall tempo of the movement but I don't try to keep one tempo for the whole movement. The second section with the clarinets and bassoons featured can move slightly as we did in our performances.
How similar should the overall feeling of the final two movements be in relation to tempo? You'd be surprised how many recordings have a tempo relationship between the two movements. I don't think that is what he was looking for, particularly given the way he starts the fourth movement.
Look, I'm not saying one way or another is better or worse. All I'm trying to point out is that thought actually goes into these decisions. If the solutions aren't your cup of tea, I'm sorry we didn't hit your personal sweet spot. I'm glad to have the opportunity to discuss it though and I am especially happy you give us the opportunity to explore these masterworks every week.
Thanks for writing!
I totally agree that Beethoven, or any great music, can be played in many different interpretations, and tempos, and still be "correct", whatever that means. The ONLY thing that matters is this: does the listener enjoy it? Does it move him and make an emotional connection. Are some tempos too fast? Sure, but if the orchestra is reduced in size, the speed vanishes. That's why Klemperer is just dreadful in the 7th: a huge orchestra, and his lethargic tempos are deadly. I think the best solution for the 7th I've ever encountered is Furtwangler, who mastered the finale better than anyone: he starts moderato, and then almost imperceptably applies a stead accelerando, so by the closing pages it's moving like all get out, and the result is as exciting as can be imagined. Far too many conductors today keep the tempo in that movement constant, and if it's too fast, doesn't build.
One thing I wish the maestro would do to the 7th: Add a contrabassoon to the bass line. Charles Mackerras does it and the effect is magnificent. No stuff about respecting the score and the composer need apply: Beethoven didn't sweat the orchestration, and there's been so much tampering with the other symphonies (horn in place of bassoons in 5, added trumpet notes in 3, horns added in 9, etc) that this addition would be a minor change, and a tremendous improvement.
I shall endeavor to find a recording of this addition by Maestro Mackerras. Does it list contrabassoon somewhere? Or is it obvious enough to know?Knowing a bit about the mastering process for recordings I can tell you how easy it is to push the slider up on the bass microphone for the final mix and voila, a stronger lower register balance.
The Furtwangler recordings are sitting in my iTunes waiting for a careful listen in advance of the Beethoven cycle this summer. I do wonder what the reaction would be to a movement long stretto in this day and age?!
Thanks for writing.
We should all be grateful to have Michael Christie as our man. What other Music Director of a major orchestra opens himself up to scrutiny week after week like this?
Too bad we didn't get to discuss the Beethoven with him before the concerts. Then we would have seen if he actually followed through on his intended interpretation.
Imbedded in my teenage memory was the pre-concert interview that "young" Michael Tilson Thomas gave in New York before a Buffalo Philharmonic concert in Carnegie Hall. He insisted that, in the 4th movement of Beethoven's 7th, the composer really meant to stress the accents on the upbeats. However, I was disappointed that I did not hear as much of that effect at the concert. Maybe the timpanist felt that it would be inappropriate?
Almost 35 years later, I just happened to be the only percussionist who showed up at an open reading session of the 7th.
Even though I have no training as a timpanist, I own several pair of timpani mallets. So I volunteered to sight read this masterpiece. It felt so good to give the upbeats the heavy accents they deserved!
Dear Maestro Christie,
Thank you for your elegantly phrased questions regarding Beethoven's 7th Symphony and the tempi. No doubt there have been a few dissertations written about the tempi in Beethoven's symphonies. Those who fall into the Von Karajan camp would like to hear them so fast that they are spinning out of control. I understand that Von Karajan liked fast cars, beautiful women and fast tempi. I am not sure if he was trying to impress the Berlin Philharmonic musicians or the audiophiles.
There was a kind of war in the 1980's as I recall, about who was considered more of a purist on Beethoven's tempi. It is likely that the instruments of that day could not handle the tempos marked in the score. We must also consider how non-responsive gut strings are when playing the 16th notes. Was he then writing for the future? If so, are we the future that Ludwig intended? Maybe our computers can implement those tempi better than live musicians. Could it also be that the invention of the metronome was in its infancy? I have a very old metronome from my Grandfather that has all of the tempo ranges on it. You might be surprised to see what they considered an Allegro tempo to be.
Before the metronome was fully embraced by the music world composers relied on nature for their tempi. The heart beat, walking tempos, a horse's canter or gallop served as models. When the tempos go too fast in Beethoven's symphonies it feels like the conductor is whipping the musicians. Those people who advocate the extreme tempi that we often hear on 1980's recordings (both too slow and too fast), have never performed and/or conducted Beethoven's symphonies as we have. They may be audiophiles looking to be impressed by something that "has never been done before". I call this musical sensationalism. Others may call it worse names.
There is a perfect syntax in the sixteenth note string technique that works best for Beethoven's 7th. He was a fine violist and violinist, so many of his tempos reflect this. Yes his music does drive towards the bar line incessantly. It is that gallop so familiar to the 18th century mind that we need to lock in. I agree that the "Allegretto" of the 7th is easier to feel in one. Beethoven was paid to walk, as this was when he did his best composing. His head leaned forward with his hands behind his back such that he was almost falling into the next step. That is the feeling of conducting this piece. The beat is poised at falling into the next beat, but continues on. He wants the audience on the edge of their seat in this piece. The tension is held until the final chord. That is what makes it so exciting.
About those recordings, everyone insisted that they have the definitive Beethoven recording in the '80's and 90's. Bernstein seems to be pretty sensible about it all. Von Karajan was consistently over the top in speed. Walter a bit sluggish at times. I have a 78 of Toscanini, but get too distracted by the ancient recording noises. One of his violists was my teacher so I have heard the stories of Toscanini's temper. Talk about beating the musicians!
Harnoncourt would not be happy until we burn all modern instruments, record only in 200 year old halls, use crooks and gut strings and the conductor wears ear plugs so he is deaf. Or maybe this is so he cannot hear that it sounds exactly like a high school orchestra.
It may be helpful to listen to the recordings of Furtwangler to get an idea of how Beethoven's symphonies were conducted closer to his day. Furtwangler has gotten a bad wrap as the conductor for the 3rd Reich, but he saved his musicians from the oven at the same time. Furtwangler is said to have been the definitive Beethoven conductor. He taught Richard Lerht (sp.?) to conduct. Lerht taught Dr. Michael Zearott to conduct. Zearott introduced me to Lerht backstage when I was a teenager after we performed Beethoven's 8th Symphony. Lerht was about ninety at the time. Zearott has now conducted on five continents. Michael recently conducted Beethoven's music for a film about Napoleon. If there is one conductor who will know the answers to a Beethoven question, it is Michael Zearott.
A few assorted comments:
1) Many people think Beethoven's metronome marks are insanely fast. Yet, we know for fact that 100 years ago tempos in general were faster than now. Fortunately, orchetra players used to write timings on their parts and who was conducting. There's no reason that the 7th couldn't be played fast on those old instruments.
2) The problem with the 7th, in particular the finale is the scoring. It's too heavy to move quickly. Mahler certainly recognized the problem, and rescored the symphony. Too bad his edition isn't played more often.
3) Yes, Maestro Christie: as to the contrabassoon, Mackerras gave an interview to Gramophone several months back where he said he always adds a contra in the 7th, basically plays the double bass part. His new recordings of the symphonies is the only one I know of to use it.
4) Now that I'm thinking about it, since it's obvious we'll hear a Beethoven 9th in the next few years, Phoenix should do the Mahler version. It has been recorded, and is available on rental from Universal Verlag in Vienna. And to show you that I mean it, if Phoenix wants to rent it, I will write a check for the entire rental cost. Sonny knows how to reach me...
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