NEWS AND LINKS: Cellist Narek Hakhnazaryan wins Gold Medal in Tchaikovsky Competition; Armstrong finished fourth in violin portion

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily
News

 

If you were in the audience on Jan. 22 for the Pasadena
Symphony concert at Ambassador Auditorium, you got a sneak preview of history
because the soloist that day, cellist Narek Hakhnazaryan, won the gold medal in
the 14th Tchaikovsky International Competition during the awards
ceremony today Moscow.

 

Meanwhile, Nigel Armstrong, the 21-year-old recent graduate
of The Colburn School, won fourth place in the violin portion of the
competition. Earlier, Armstrong — who has studied with Robert Lipsett at The
Colburn School — won a special award of about $2,900 for his performance of Stomp by American composer John
Corigliano. Armstrong, who finished ahead of the American Erik Silberger in the
violin competition, won about $7,250 for his fourth prize today.

 

Hakhnazaryan, a 22-year-old Armenia, won 20,000 euros (about
$29,000) in addition to the gold medal. He’s also eligible for an additional
10,000 euros that will be given to one of the gold medal performers following
concerts in Moscow tomorrow and St. Petersburg on July 2.

 

The young cellist, who also won first prize in the 2008
Young Concert Artists Competition in New York, will play a worldwide concert
schedule, although it’s worth noting that competition success is no real
predictor of a major performing career. The list of past Tchaikovsky winners
(LINK) reveals a smattering of well-known names and an even longer list of
musicians that most people wouldn’t recognize today.

 

Hakhnazaryan was embroiled in a controversy earlier in the
competition when conductor when Mark Gorenstein, artistic director of the
Svetlanov State Symphony Orchestra, used what was reported to be a racial slur
against the cellist during rehearsals.

 

According to ArtsJournal.com (<a
href=”http://www.artsjournal.com/slippeddisc/2011/06/race-slur-allegation-settled-at-tchaikovsky-contest/”>LINK)</a>
and the Tass News Agency (<a
href=”http://www.epress.am/en/2011/06/27/russian-symphony-conductor-apologizes-for-insulting-armenian-cellist.html”>LINK</a>),
Gorenstein called Hakhnazaryan “an au, something like a village fiddler, a term
which expresses Russian disdain for its former provinces.” Gorensetin later
apologized and withdrew from conducting during the competition.<br>

 

During the final round, Hakhnazaryan played the Dvorak Cello
Concerto (the piece he played in Pasadena — click HERE for my review) and Tchaikovsky’s Variations
on a Rococo Theme
(the latter was required of all five finalists).

 

For the first time, the competition included an audience
voting system (in person and online). Voters agreed with the judges in three of
the five categories. In addition to Hakhnazaryan, the audience winners were
Daniil Trifonov of Russia, who also won the gold medal in the piano
competition; and Sergey Dogadin of Russia, who shared the silver medal in the
violin competition with Itamar Zorman of Israel (no gold medal was awarded in
the violin portion, something that has happened occasionally in other Tchaikovsky
contests).

 

The two differences were in the vocal competitions. In the
female vocal portion, Sun Young Seo of South Korea won the gold medal while
Elena Guseva of Russia was the audience favorite. In the male vocal segment,
Jongmin Park of South Korea won the gold medal,while Enkhtaivan Chimed of
Mongolia captured the audience voting.

Competitors, some of whom had to
wait up to 48 hours between their second finals concerto and the awards
ceremony, had to endure an even longer suspense as the awards ceremony — which
was presented in both English and Russian — was delayed 80 minutes beyond its
scheduled 8 p.m. (Moscow time/9:00 a.m. PDT) start due to the late arrival of
some jury members from St. Petersburg by train, where the violin and cello
competitions were held.

 

Armstrong’s fourth-place finish capped a four-year stint at
The Colburn School, which earned him a Bachelor of Music degree this spring. He
will play a series of concerts this summer including a tour of Argentina,
before moving on to the prestigious Curtis Institute of Music in Philadelphia
where he will study in the Graduate Diploma program with Arnold Steinhardt and
Shmuel Ashkenasi (the latter won second prize in the 1962 Tchaikovsky
Competition).

 

Armstrong will return to Southern California as soloist in
Mozart’s Violin Concerto No. 3 in G Major, K. 216, with the Los Angeles Chamber
Orchestra on Jan. 21 in Glendale’s Alex Theater and Jan. 22 in UCLA’s Royce
Hall. Andrew Shulman, principal cellist with both LACO and the Pasadena
Symphony, will make his LACO conducting debut in the concerts. (LINK)

 

Armstrong’s competition bio, which shows the pieces he
played in each round is HERE.

The Tchaikovsky International Competition catapulted to
worldwide fame in 1958 when Van Cliburn, a lanky 23-year-old Texan, won the
inaugural contest. His victory, at the height of the Cold War, gained Cliburn
instant fame, including a ticker-tape parade in New York City and a cover story
in Time Magazine. His RCA Victor recording of the Tchaikovsky first and
Rachmaninoff third piano concertos (the pieces he played in the final round)
became the first classical album to go platinum. Cliburn was present for the
finals of this year’s competition, the first time he’s been back since winning
in 1958.

 

The first competition had two categories: piano and violin.
Among the pianists, American Daniel Pollack, a long-time professor at USC,
finished eighth. In the second competition in 1962 cello was added, and vocals
came last in 1966.

 

Click HERE for the competition Web site.

_______________________

 

(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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NEWS AND LINKS: Contreversy at Tchaikovsky International Competition has Pasadena angle

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily
News

 

What would a music competition be without a little controversy
— or even a big one? The 14th International Tchaikovsky Competition
was jolted last week when Mark Gorenstein, artistic director of the Svetlanov
State Symphony Orchestra, used what was reported to be a racial slur against Armenian
cellist Narek Hakhnazaryan, who is one of five finalists in his discipline. According
to ArtsJournal.com (LINK) and the Tass News Agency (LINK), Gorenstein called
Hakhnazaryan “an au,
something like a village fiddler, a term which expresses Russian disdain for
its former provinces.”

 

Gorenstein apologized and withdrew from his conducting
assignment. The competition organization committee posted the following
statement on its Web site:

 

“The Organizing Committee of the XIV International
Tchaikovsky Competition regards as insulting the statements addressed by
Artistic Director of the Svetlanov State Symphony Orchestra of Russia Mark
Gorenstein to competition participant Narek Hakhnazaryan.

 

We consider that words reflecting on an individual’s dignity
do damage to the creative atmosphere that we have worked so hard to establish.
The purpose of the Tchaikovsky Competition is to support young musicians, and
every one of the competition’s organizers and participants is obliged to treat
its competitors with the utmost respect.”

 

According to the Tass report, Hakhnazaryan said, “All is
well. My head, my thoughts are now only on the competition. I am concentrating
on the music for my upcoming performance in the finals.” He played the Dvorak
Cello Concerto and Tchaikovsky’s Variations
on a Rococo Theme
in the final round yesterday and today.

 

Hakhnazaryan, 22, appeared with the Pasadena Symphony last
January as soloist in the Dvorak Cello Concerto. Of that performance, I wrote: “It’s
no surprise that Hakhnazaryan displayed prodigious technique; what might be
more noteworthy was his somewhat lean, but silky tone (he plays a 1698 David
Tecchler cello). He ripped through the Dvorak’s arpeggios, luxuriated in the
second movement and, apart from a momentary intonation bobble at the opening of
the third movement, brought grace and style to this most famous of cello
concertos.” Read the entire review HERE.

_______________________

 

(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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NEWS: Cal Phil to shift to Santa Anita Racetrack in 2012

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily
News

 

Less than three months after being dumped by the Los Angeles
County Arboretum, the California Philharmonic will shift a quarter-mile east to
the Santa Anita Racetrack for its 2012 “Festival on the Green” concert series.

 

Music Director Victor Vener made the formal announcement to
the audience at tonight’s first concert in the current summer season, which
will be Cal Phil’s 15th and last in the Arboretum. The Pasadena Pops
is scheduled to move into the Arboretum in 2012.

 

In a preconcert media conference, Vener and racetrack
officials said a multi-contract would be signed that would, as Vener termed it,
be a partnership, not a tenant relationship as the Cal Phil had with the
Arboretum for 15 years. Further details are expected to be announced in a few
weeks.

 

Racetrack officials indicated they would “move dirt” in the
infield to create a space specifically designed for the orchestra that would also
include BBQ pits for corporate preconcert use and several family-oriented
options, including a children’s playground, musical instrument petting zoo and
pony rides.

 

Seating will be similar to the setup at the Arboretum, with
tables, chairs and lawn seating, and Vener said he hopes to add large video
screens adjacent to the stage for next season’s concerts. Among the Santa Anita
amenities Vener cited were substantially increased onsite parking, permanent
restrooms, four full-service bars (including liquor) and access to Santa
Anita’s current food vendors.

 

The 2012 season will open June 30 and will continue every
two weeks: July 14 and 28 and Aug. 11 and 25. The orchestra also expects to
continue its summer series indoors at Walt Disney Concert Hall.

 

One of America’s most famous racetracks, Santa Anita was
opened on Dec. 25, 1934, making it the oldest racetrack in Southern California.
With spectacular views of the San Gabriel Mountains (haze and smog permitting),
the track has been scene of many memorable racing moments, including Seabiscuit
winning the 1940 Santa Anita Handicap (made famous in the movie Seabiscuit). The track, through its
tenant, Oak Tree Racing Association, has also hosted five Breeders’ Cups; the
last was in 2009. Oak Tree left Santa Anita and held its fall meeting last year
at Hollywood Park.

 

Santa Anita has also had its share of less-memorable
occasions. From 1942 to 1944, Santa Anita was used as a Japanese-American internment center with up to 17,000 people living in horse
stables. In 2009, the company’s Canadian owner, Magna Entertainment, filed for
bankruptcy, although racing continued.

_______________________

 

(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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OVERNIGHT REVIEW: California Philharmonic opens at L.A. County Arboretum

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily
News

______________________

 

California
Philharmonic; Victor Vener, conductor; The Fab Four, soloists

Beethoven and The
Beatles: Men Who Changes Music Forever

Saturday, June 25, 2011 Los Angeles County Arboretum

Next concert: Today at 2 p.m., Walt Disney Concert Hall

Info: www.calphil.org

______________________

 

At first glance, Beethoven and The Beatles might seem like
an odd combination for a concert. Not for Victor Vener, music director of the
California Philharmonic, who revels in such crossover programs. As Vener told a
large audience last night at the Los Angeles County Arboretum, these were — as
his subtitle said — men who changed music forever.

 

Beethoven — the Egmont
Overture
and Symphony No. 5 — occupied the first half of the program. The
overture was somewhat ragged, which, as it turned out, was a precursor to what
was to come in the symphony. Moreover there was nothing in the program, nor did
Vener say anything from the stage, as to why this was an example of the way
Beethoven changed music.

 

Vener did answer that question in setting up Beethoven’s 5th.
The conductor has spent decades studying this work and it showed. Vener’s
tempos were very close to the composer’s own markings, he reduced the orchestra
to approximately the size Beethoven had in mind, and allowed Principal Oboist
Francisco Castillo to interpolate a nifty brief cadenza midway through the
first movement (a practice that would have been quite common in the composer’s
time).

 

Unfortunately when some in the audience applauded at the end
of the first movement, Vener turned around and proceeded to tell them it was
quite all right to do so and offered examples of Mahler and Shostakovich to
buttress his belief. Perhaps this was reverse psychology because it seemed to
have the reverse effect at the end of the second movement as would-be applauders
seemed intimated.

 

Moreover, the orchestra appeared to be thrown off by the
interruptions. The first three movements were taken at quite brisk tempos but
each movement got progressively more ragged. To compound matters, the sound
engineers seemed to make the musicians sound quite raw, even from 2/3 of the
way back in the venue. The microphones seemed to be right on top of the
instruments, which meant that what came out had almost no blend at all. No
doubt, things will be considerably improved this afternoon at Disney Hall.

 

After one round of tepid applause, Vener came onstage to
announce the news that the Cal Phil will move next season to the Santa Anita
Racetrack (LINK). The news of permanent restrooms (as opposed to porta-potties)
at the new facility got more applause than Beethoven.

 

After intermission, Vener introduced The Beatles music by
noting that the group was the first to employ a large symphony orchestra in the
recording studio, which may not be the most noteworthy accomplishment of the
Liverpool quartet but provided good justification for what ensued.

 

The Fab Four — a group that approximates the look and sound of
The Beatles — joined the orchestra for 50 minutes of mostly mellow nostalgia.
Since the group had played many of The Beatles’ best-known hits when it
appeared at the Cal Phil two years ago, this performance had some lesser-known
songs along with a few mega-hits.

 

After a somewhat slow start, the audience got into the flow
as the group donned psychedelic costumes moved into I Am the Walrus, and things picked up steam from then. A
performance of Penny Lane showed off
the considerable talents of Principal Trumpeter David Washburn on the baroque
piccolo trumpet, while renditions of All
You Need is Love
, Imagine and the
lone encore, Hey Jude, had the
audience singing along and waving all sorts of light sources from batons to
cell phones. A good time was had by most.

_______________________

 

Hemidemisemiquavers:

The evening began not with The Star Spangled Banner but with America. Nice choice, IMHO.

Wonder of wonders, there were no preconcert speeches.
However, there were two verbal announcements during the evening and a flyer
about an upcoming appearance by The Fab Four on July 29 in Pasadena, a concert that
is being presented by a Pasadena Entertainment, which is owned by Andr Vener,
the composer’s son. The company was also listed as the concert sponsor.

_______________________

 

(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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FOLLOWUP: Nigel Armstrong’s performance times in finals of Tchaikovsky International Violin Competition

Nigel Armstrong, the 21-year-old Colburn School student who
is in the finals of the 14th Tchaikovsky International Violin Competition, will
perform the Tchaikovsky Violin Concerto at 8 a.m. (PDT) on Monday, June 27, and
the Prokofiev Violin Concerto No. 1 on Tuesday at 8:45 a.m. (PDT).

 

Both concertos will be conducted by Nikolai Alexeev and
played by the “Honoured Team of Russia Academic Symphonic Orchestra of
Saint-Petersburg Philharmonie” (I’m not actually sure what this group is but
Alexeev is permanent conductor of the St. Petersburg Philharnonic so it may be
connected somehow).

 

The competition has been available via Webcast, although
it’s sometimes difficult to access. Here’s a LINK and here’s a LINK to my story
about the semifinals.

_______________________

 

(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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