Meeting the Music of Martinů
Bohuslav Martinů is a composer with which audiences are typically unfamiliar. Last season, orchestras nationwide programmed his music only eight times (compared to Mozart’s whopping 425), but despite his underdog status, his music is surprisingly well-received. Most of his music – and there is a lot of it: sixteen operas, fifteen ballets, six symphonies and a respected canon of chamber music – is neo-classical; think of Samuel Barber with a hint of whimsy. Martinů was born in Bohemia and studied in France with Albert Roussel. Like many artists, he was forced to flee his home at the start of the Second World War, and taught in New York until 1956.Inspired by Berlioz’s masterpiece, Symphonie fantastique, Martinů’s symphony that we’ll hear this weekend is his last, titled Fantaisies symphoniques. In the spirit of Berlioz’s sprawling work, Martinů’s work is quirky, colorful and spontaneous.
Other highlights of this weekend’s concerts include performances of better-known works: Schubert’s “Great” C-major Symphony, and, by Mozart himself, the overture to Don Giovanni. This week’s guest conductor is the former music director of the Berlin Symphony Orchestra and the Detroit and Toronto Symphonies, Günther Herbig. Herbig was unable to conduct in the West for many years due to the political situation in East Germany, but built an astonishing reputation once he did, appearing with every major American orchestra. Come hear his decades of international experience perform works both familiar and fresh!
23 Comments:
Because of dreadful compositions such as the Music of Martinu, through which we suffered for about half an hour last night, we will not be renewing our 16-concert season tickets. Shame on Michael Christi for forcing unpleasant compositions on real music lovers. There is a great deal of beautiful music not being played while this dreadful music is forced on us. At intermission everyone looked unhappy. Farewell.
Now wait just a second "Departing Anonymous."
Don't just assume that our Music Director Michael Christie programmed the Martinu Symphony. It is my understanding that Guest Conductors, in most cases, are given a choice in the pieces to be performed other than an obligatory one.
So let's ask The Phoenix Symphony for a clarification on how this program came to being.
By the way, did you leave at intermission and miss the glorious Schubert 9th? Gunther Herbig was a pleasure to watch as he elicited maximum changes in dynamics and tempi with minimum arm motion. I was also intrigued by the unique "bass" sound he created with our orchestra.
Hi, Sonny the Cat:
No, we did not leave at intermission although some people did, probably having no hope for what was to follow the Martinu. We agree that the Schubert was well done and enjoyable. Regarding programming, if the Martinu piece was offered to the guest conductor by Christie as a "choice" for performance, it was a huge mistake. We are sad that we have missed so much beautiful music and had to listen to the many unpleasant dissonant "choices" of Michael Christie.
I understand what anonymous said. I'm among those who really like to hear something different than the same old stuff we've heard over and over and over. That includes the Schubert 9th. And the Mozart overture. BORING.
Frankly, I think that the 20th century turned out more exciting symphonies than the 19th or 18th combined, yet the Martinu certainly isn't one of them. There is a LOT of beautiful, meaningful music to be played. It was likely the conductor who wanted to do the Martinu. It's tough music for audiences. There are no tunes to grab the ear. Following the symphonic logic (if there is any) is impossible on first hearing. I would hope anonymous won't stop going to Phoenix Symphony concerts on the basis of this one concert, just as I haven't stopped going when they keep programming the same music repeatedly, with only a few new things once in a great while.
As a LONG time symphony goer, I also know that Phoenix audiences are not sophisticated enough for tougher music that might require an little work to listen to. So we get very little Sibelius, Bruckner, Prokofieff. But we sure get an annual dose of Brahms, Beethoven, Tchaikovsky, Mozart. Ho hum! Why not put all that stuff away for 10 years, and play other great stuff that we never get? And no, I don't mean Martinu. But...
Can we have some symphonies by Elgar, Arnell, Bax, Vaughan Williams, Schmidt, Zemlinsky, Raff, Glazunov or even Weingartner? Why not some of the old chestnuts that seem to be forgotten like Caucasian Sketches and other music of the Russian Nationalists? For the big guns, why not the Gliere 3rd or the Symphony in C# by Ernest Bloch? How is it that while so many conductors have done the brilliant Schoenberg arrangement of the Brahms g minor quartet that Phoenix seems to have missed it?
I have also decided not to renew my excellent seats because of the trend that programming has taken. It seems that every year since Maestro Christie has been here, there have been more contemporary pieces that have been rather unpleasant to experience. That means that there are fewer baroque, classical and romantic era pieces offered. The program for next season continues this trend. Now I fully recognize that whether a piece of music is a joy to listen to is in the ear of the listener and that there is nothing wrong with someone liking a piece that I do not like and vice versa. Since the trend of selections seems to be against what I would prefer, rather than complain, I have decided to take the same route as anonymous and not renew my season tickets for next year. I truly feel sad that this decision is necessary because the concert experience has been a truly enjoyable one in the past. My non-attendance is preferable to complaining about several of the selections that the orchestra has played. I have a great deal of respect for the members of the Phoenix symphony and wish them well.
I am disappointed that some in our audience are feeling like the symphony's programming is not to their liking. For those who have left performances unhappy to listen to certain works - I am sorry.
I have been trying to be sure that there is a balance of guest artists bringing various perspectives to our season. What we don't see in one season we try to illuminate in others. I am very excited that Maestro Herbig joined us this season. There were three aspects of his program I was particularly excited about. 1) The orchestra would enjoy working with such a seasoned maestro and get a different rehearsal and performance experience. 2) I was confident his approach to the Schubert would be quite different than mine and would give the orchestra and audience a different view. 3) He was eager to perform the Martinu symphony, a work I knew of but had never heard up to that point. This was a work he sincerely wanted to perform. It was exciting that we could have a different viewpoint on core repertory as well as having a "new-ish" work our guest felt passionate about. Ultimately, I have the final say about what gets programmed but as Sonny the Cat accurately states, this particular work was a specific request of our guest.
I feel it important to enable our guests to express their artistic strengths and have been more than happy to share works that are typically "Music Director pieces" as well as discuss other works to further that vision. The scope of orchestral music is vast. When I look at the balance of our programs in the seasons I have been involved with the weight is heavily biased toward known works and/or known composers. Biased enough for all of our valued patrons? Perhaps not.
As I look back at seasons past I can't help but notice the adventures audiences have been taken on by my predecessors, including Maestro Michael's nine world premiers paired with the nine Beethoven symphonies. Perhaps times have changed and some appetites have changed as well but it's important for our couple of anonymous posters to realize that we try very hard to anticipate the predominant tastes of our audience and build in a proportion of works that speak to those desires. As is clear in the few postings here, a 180 degree view exists just among five people.
I can assure those that will continue to join us for concerts in the future that the programming of the Phoenix Symphony is for our community, trying to reflect its tradition as well as its ambition.
I am the insider here so my perspective may not be objective enough, but I don't feel like we've started a policy of ramming new music down the throats of our patrons to satisfy my personal taste as our posters seem to suggest. I don't like listening to a performance of music I don't resonate with anymore than you do but what the line is for what is good and what is bad is very subjective and we try to strike a balance.
If our departing posters wish to elaborate on what specific works they were unhappy with apart from the Martinu which is clear, I would be more than happy to hear your view.
If you'd like to enter the fray about what constitutes the music of "real music lovers" that would also be a very interesting posting I'm sure will prompt a great response from our fellow posters.
I do hope our departing subscribers will be single ticket buyers of concerts more suited to their tastes.
Respectfully,
Michael
I missed Friday's performance, but after seeing these comments I went looking for a sample of the Martinu 6th. It lacks the flowing, song-like melodies of a Tchaikovsky symphony, but it hardly seems worth cancelling one's subscription over this piece. There have been 30-minute portions of concerts that I haven't enjoyed (and I don't think I would have enjoyed the Martinu much), but that's why it's fortunate that the programs include several different pieces. If everyone stormed out the first time they heard something that wasn't exactly to their liking, the hall would probably be empty by the third concert of the season.
David,
Haven't you noticed all of the empty seats in the concert hall? Have you looked at the program for the 2008-2009 season? Several people we know are not renewing their season tickets for next year because of the contemporary offerings. Almost every classic program recently has included a very unpleasant composition (by Rouse, Grey, etc.), usually sandwiched between masterpieces that have drawn an unsuspecting audience into the hall. We've just had enough. For those who like it, enjoy!
Farewell to all of you Nonrenewing Anonymous season ticket holders! Stay home and listen to KBAQ and your ancient Beethoven and Mozart LPs.
This gives me a better chance of upgrading my Classics 16 season tickets to Main Floor, Section A, Row 10. Thank you!
Be careful...you might get what you ask for. When too many seats are empty, how much longer can an orchestra survive? I understand audience resistance to modern music, although it seems odd to consider 60 year old works as modern. Nonetheless, if people don't want to go hear Martinu you can't force them to.
Maybe there's a happy medium. Instead of playing things like Tchaikovsky 4, 5, 6 or Dvorak 7, 8, 9 repeatedly, play their earlier symphonies. It may not be the safe and familiar symphony, but hey, it's Tchaikovsky! 20 years ago we heard the Manfred only a few years apart. What a wonderful work it is, and it opened a lot of ears to alternative Tchaikovsky. So my suggestion is this: play music by well-known composers that isn't played much.
Dear Posters, I point out various compositions we've done by more famous composers that aren't as often played, Mozart King Thamos, Khachaturian Violin Concerto, Sibelius En Saga, Ravel Daphnis (complete), Bernstein Sym. 2, Schumann Violin Concerto. What the last poster advocates is exactly what I am trying to incorporate into our programming.
I'll check with marketing to see whether it would be useful to indicate where we are on ticket sales for next year but I can say anecdotally that the response has been positive and sales brisk. I know it's hard to get a good feel for the relative fullness of the hall but sales are still very strong. I think it is still worth being proud of the fact that the hall was full for a world premier (Navajo Oratorio).
No one getting into a discussion about "real music lovers"? I thought that rather unsubstantiated comment was going to get some people's goat!
Somebody get Sonny The Cat a cheerleader outfit.
In years past when I would get my season ticket renewal form I just automatically sent it in. This year, I had to seriously think about it and discuss things with my wife simply because I haven't been overwhelmingly happy with the many of the programs being presented, nor have I been pleased with the way some old favorites have been presented.
The point is that there are other choices out there for our entertainment choices other than KBAQ and CDs. Granted the Phoenix Symphony is the only "full symphony" in town. But I can get my live classical music fix from these same musicians and other musicians on the chamber music circuit here in the Valley very easily. It is also quite a simple matter to switch where my dollars get spent to the Theater, Chamber Music Society, Ballet, and Opera. Hmmm...the Symphony plays for the Ballet with a different conductor, and Arizona Opera has a fine orchestra. Next year this idea will merit serious consideration.
Thanks for the comments. To sum up what you are saying, the PSO is a cog in the wheel of the classical music entertainment industry where many options are open to people. Totally fair. Since you've been such loyal ticket buyers for a good deal of time and obviously are invested at some level in seeing the availability of this artform continuing I wonder if you could be more specific so I can better understand your concern.
"I haven't been overwhelmingly happy with the many of the programs being presented, nor have I been pleased with the way some old favorites have been presented."
Would you mind expanding on your above comment? Insight into what aspects of what we do well and what you aren't happy with give us a much better chance at evaluating our market and the people that are coming and going to/from the PSO.
I'm particularly interested in what hasn't been appealing about the way we present what you call old favorites.
I would like to point out the delicate balance we are all faced with regarding music in the Valley.
The scene for non-Symphony, Ballet or Opera is relatively small given our population. Being the largest regional employer of professional musicians playing this type of music, I naturally want to be sure our audience is getting what they need but also ensure the long term success of our company, without which I don't know how the arts scene would function.
Once again, I hope those that aren't renewing subscriptions find single events amongst our offerings that are more to their liking and attend those performances.
I'm all ears!
Thanks for writing.
Guess who bought the complete set of Martinu Symphonies 1 through 6 on a 3-CD box set a year ago?
Yes, this Cat had already done his homework in "meeting the music of Martinu." I had already been familiar with his First Symphony through repeated programming on late night KBAQ.
The Sixth Symphony was admittedly the most difficult to comprehend. I told Presto the Cat that I wished Maestro Herbig would have programmed any one of the others. But, by listening to the 28-minute piece countless times, I could at least anticipate the sequence of musical "fantasies" that I would be hearing at the concert.
It really helps to know your music before the concert. You owe it to yourself. Having purchased season tickets at high prices for a good seat, you can sure afford to go on-line to amazon.com and purchase the lowest priced recording of all the works for the following Phoenix Symphony season.
To all the "Dreadful" Anonymouses out there, I wish you would try this method before you show up unprepared for Osvaldo Golijov's modern opera AINADAMAR: Fountain of Tears. If you want to borrow my CD, let me know. I'll bring it next Saturday to the Brahms Third concert. That way, you won't be shocked when AINADAMAR starts and you can focus your attention on the beauty of the performance by the great soloists, Dawn Upshaw and Kelly O'Connor, and members of the Phoenix Symphony Chorus.
Speaking of being prepared, neither Maestros Christie nor Gentry have answered my previous critical question:
Will Haydn's "The Creations" be sung in English or German? That concert comes early on in the 2008-2009 season. I am not familiar with that work. I need to get the correct recording and study it over the summer break.
Dear Sonny,
The Creation will be performed in English. Look forward to hearing your thoughts!
Kimberly Koniecki
Artistic Manager
Hi, Sonny:
Thanks for the warning about the possibly "shocking" "Ainadamar."
Didn't realize we had to study before an enjoyable musical evening. I doubt that the new, young audience members are going to do that. I thought we were trying to attract the unitiated.
We will see it through but are now not looking forward to it.
I've had the pleasure of experiencing Ainadamar performed live before, and am considered young by classical music audience standards. It is a "must see" event, and it isn't necessary to study the music ahead of time. I would describe it as a powerful, mind-blowing, musical journey.
I don't think Sonny meant "shocking" in a bad way. I think what he meant was that the music goes by fast (the opera is 80 minutes without intermission) and having an inkling of what is ahead will only serve you in your enjoyment of the piece.
I will be surprised if you find the piece shocking in the negative sense.
I just checked in after an absence from this blog and was frankly shocked by some of the comments. For me, not only was the Martinů the main reason I went to this concert; indeed, the chance to finally hear this work live was a reason to renew and upgrade my subscription. It is a fact that in some musical circles, the symphonies of Martinů (particularly the last few) are considered not insignificant contributions to 20th-century symphonic repertoire. "Following the symphonic logic (if there is any) is impossible on first hearing," wrote one commenter. This is probably true with much Beethoven as well (I went to see the Missa Solemnis, which is not frequently heard, last season and was quite confused by it). In my case, I distinctly remember being pleased and surprised at the way traditional sonata-allegro form is used in the first movement of the Martinů symphony. He really was not a revolutionary, though this was his least traditional symphony. He had a strong personal voice and I'll bet hearing additional work(s) of his would lead one to recognize and maybe even come to like that voice.
At least to me, the balance of repertoire across time periods that is represented on our concert season seems fine. It's important to have some exposure for contemporary work, or there won't be any created (another example of being "careful what you wish for"). I think some of what's being called "contemporary" really isn't. Takemitsu has been gone for over a dozen years ago. Bartók and Stravinsky are recognized masters. The Respighi works are chestnuts that should be a delight in our fine hall. The presentation planned for Petrushka sounds brilliant. So I have to say that if I don't enjoy every piece programmed it won't drive me away. Who knows, I might do a little research and end up with a lot more knowledge, if not a changed opinion.
Maestro Christie, we want to compliment you on the grace with which you answer all of your bloggers. You are truly a class act, both on and off the podium.
Anne,
I appreciate your compliment. In all fairness, it can be uncomfortable to be cast in the public arena like this but I think it's important to have a free but fair dialogue with our posters. On the other hand, it is exciting to have an avenue to connect with people who clearly have a stake in what we do. Writing about the complexities of what we present, how and why followed by your responses has been very helpful to me in getting to know the tastes of at least some of our patrons. I will admit that I've typed a few responses that I've deleted before hitting send! Sometimes what people write is very personal and it has taken time to get used to the often raw emotions people direct my way.
The people that are posting on this blog are very interesting though, and I appreciate the time and effort people put into this.
My mother has a great saying that I try to live by, "Maintain the high moral ground." Sometimes it's hard, but doing so makes sure I don't violate another great axiom, "don't burn bridges". So important in our global arena!
Who knows how we will communicate with each other in a few years time?! It's only been 10 or so years since the internet has become the great connector and leveler. In the meantime, keep writing. I grow as a result and the Symphony learns more about the people who love us and give us a reason to perform the world's greatest music.
This is my first comment and I want to say that I have never heard a piece by Martinu that I did not like. I also want to recommend Ned Roren's 3rd symphony. There is a lot of interesting contemporary music waiting to be played and I hope the symphony will continue to try to program some of it. the Golijov opera was incredible!
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