A quick note to readers

The Los Angeles Newspaper
Group (which owns this newspaper and others) is switching its Blog platform.
This will have little impact on readers except that I won’t be posting anything
on this Blog for several days while the switch is made. Things should be updated
by next Sunday when I will post my next “Around Town/’Music” column and I don’t
plan on reviewing any concerts between now and Sunday. You will still be able
to read everything currently online during the switchover. Thanks for your patience.

AROUND TOWN/MUSIC: Local groups take center stage

By Robert D. Thomas

Music Critic

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

This article was first
published yesterday in the above papers.


During the first three-quarters of the 20th
century, community orchestras flourished. Many offered their concerts free of
admission charges; others charged modest ticket prices. In either case, support
– financial and emotional — came from dedicated groups of volunteers who year
after year, through economic boom times and downturns, raised the bulk of the
money necessary to survive.


Gradually things began to change. The rise in the amount and
quality of recorded music and the lack of music education cut into audiences.
People got tired of raising money. Some community orchestras — e.g., Pasadena,
Pacific and Long Beach — “grew up” and became significant players, so to speak,
in the musical landscape. Others — e.g., Highland Park — died. New ensembles –
e.g., New West, Cal Phil, Pasadena Pops, Muse-ique — emerged.


A few stalwarts in the community-orchestra field remain. The La Mirada Symphony begins its 50th
anniversary season Saturday night at 8 p.m. at the La Mirada Theatre for the
Performing Arts. Dr. Robert Frelly begins his second season as the ensemble’s
music director with a program celebrating nature that music by Handel, Vivaldi,
Smetana, Grof, Debussy, and concludes with The
Pines of Rome
by Respighi.


This is the first of four free-admission concerts (three of
which are classical and one pops). There’s also a benefit concert on April 6
that will feature Broadway star Susan Egan (among other roles, she was the
original Belle in the Broadway production of Beauty and the Beast).


Information: www.lamiradasymphony.com


An even older group, the Rio Hondo Symphony, continues its 80th season next
Sunday at 3 p.m. in Whittier High School’s Vic Lopez Auditorium with a program
spotlighting dance. Music Director Kimo Furumoto will conduct the program and
the Nouveau Chamber Ballet of Fullerton will perform in Prokofiev’s Peter and the Wolf and Copland’s Appalachian Spring.


The Prokofiev was performed last spring at a children’s
concert, and is on the main series by popular demand. Elizabeth Lauritsen, a
soprano, actress, music teacher and RHS board member, will narrate the popular


Information: www.riohondysymphony.org


Pacific Opera
a new locally based company, is opening its season with a fully
staged production with orchestra of Sweeney
Performances are today at 4 p.m., Oct. 26 and 27 at 8 p.m. and next
Sunday at 4 p.m., all at the Porticoes Theatre in Pasadena. Information: www.pacificoperaproject.com



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Choral music seasons soaring

By Robert D. Thomas

Music Critic

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

A shorter version of
this article was first published today in the above papers.


Various segments of the classical music world have been
unveiling their seasons. This week we focus on choral music.


Chorale Bel Canto
opens its 31st season on Saturday at 4 p.m. and 7:30 p.m. at
Whittier College’s Memorial Chapel with a program of part songs from three
centuries entitled “The Poet’s Voice.” Stephen Gothold will conduct his
80-voice chorale in music by Brahms, Eric Whitacre (Night Music) and Pasadena-based composer James Hopkins (The Rossetti Songs). Information: www.choralebelcanto.org


The Los Angeles
Master Chorale
will take advantage of one of the unique aspects of its
home, Walt Disney Concert Hall, when it opens its 49th season next
Sunday at 7 p.m. with “Organ Extravaganza.”


Music Director Grant Gershon and Assistant Conductor Leslie
Leighton will conduct 115 singers of the Master Chorale, and organists Paul
Meier and Kimo Smith.


Selections will include West Coast premieres of A Good Understanding by Nico Muhly and Ascending into Heaven by Judith Weir,
along with other anthems and works that take advantage of the hall’s 6,125-pipe
organ, including C. Hubert H. Parry’s I
Was Glad
(which was performed at the April wedding of Prince William and
Kate Middleton) and Gerald Finzi’s God is
Gone Up.


Artistic Director Anne Tomlinson will lead her Los Angeles
Children’s Chorus as part of the program. The group will join the Master
Chorale in the Muhly premiere and on its own will sing David Wilcocks’ Psalm 150. Information: www.lamc.org


Further south, the Pacific
begins its 45th season on Oct. 28 at 5:30 p.m. at Rene
and Henry Segerstrom Concert Hall in Costa Mesa when Artistic Director John
Alexander leads his chorale and the Pacific Symphony in a performance of
Mendelssohn’s oratorio, Elijah.
Acclaimed American bass Eric Owens will sing the title role. Other soloists are
Christine Brandes, soprano, I-Chin Feinblatt, mezzo-soprano, and Nicholas
Preston, tenor.


Elijah was the
first work the Pacific Chorale performed, in its debut concert as the Irvine
Community Chorus under founding director Maurice Allard in January of 1969.
Alexander, who has led the Chorale since 1972, subsequently conducted Elijah in performances in 1977 and 1992,
but the group has not performed the full oratorio since that 1992 presentation,
when Metropolitan Opera baritone Sherrill Milnes sang the title role.


Information: www.pacificchorale.org



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

OVERNIGHT REVIEW: Los Angeles Chamber Orchestra opens season with scintillating concert

By Robert D. Thomas

Music Critic

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



Los Angeles Chamber
Orchestra; Jeffrey Kahane, conductor

Ravel Piano Concerto in G; Jeffrey Kahane, soloist.

Andrew Norman: The
Great Swiftness.
James Matheson: True

Beethoven: Violin Concerto; Augustin Hadelich,

Sunday, October 7, 2012 Royce Hall

Next performances:
Nov. 10 at Alex Theatre; Nov. 11 at Royce Hall

Information: www.laco.org



Orchestras love themes and the Los Angeles Chamber Orchestra
is no exception. According to the printed program book, the overall theme of
LACO’s 44th season is “Concerto Rhapsody” (although, interestingly,
the phrase doesn’t appear on LACO’s Web site). If the balance of the
orchestra’s concerts this season matches what I heard last night, it will be a
magical one, indeed.



Last night at UCLA’s Royce Hall Jeffrey Kahane (right) –
beginning his 16th season as LACO music director — scheduled not one
but two concertos: Ravel’s Piano Concerto in G Major to begin the program and
Beethoven’s Violin Concerto in D Major to conclude it. In between, he inserted
two interesting West Coast premieres. It made for a full evening, but a
memorable one.


Although I would have lost a bet guessing the answer to this
question, Ravel’s G Major Concerto has been played four previous times by LACO
and this was the second time that Kahane has conducted it from the keyboard
(the first was in 2003). He opened last night with a playful, almost jaunty
rendition of the outer movements and received wonderfully soulful playing from
his wind principals, particularly English horn player Laura Wickes, in the second movement. It
proved to be a delightful precursor of what would come after intermission.



Beethoven’s Violin Concerto is one of the staples of the
repertoire but I have never heard it performed like it was last night by
28-year-old violinist Augustin Hadelich, Kahane and the orchestra. Hadelich
(left) — who was born in Italy of German parents and studied at The Juilliard
School — has a stain-smooth tone and prodigious technique and displayed both
along with his own distinctive, but highly musical take on this very familiar


However, what set the performance apart was how he, Kahane
and the orchestra melded together as one musical unit. Golfers talk about
“being in the zone” and I felt like this was the case last night.


I was fortunate to have a seat that gave me an unusual angle
on Kahane as he conducted and the entire performance was mesmerizing. There
were moments when he beat notes in 4/4 time, others when he was beating in two,
and still others when he wasn’t beating at all. Sometimes he conducted with a
baton; at others he led solely with his hands. It was as if he and the
orchestra were absolutely on the same wavelength. In addition, they were locked
in with Hadelich, as well, which wasn’t easy because the soloist was making frequent
subtle shifts that could have spelled trouble in less-skilled hands.


I’ve just read back over the above paragraph and it doesn’t
do justice to what occurred — you had to be there to experience it. Moreover,
if anyone wanted a prime example of why a live performance is preferable to
even the finest recording, last night was it. Seldom has an instantaneous
standing ovation been so well deserved. Hadelich obliged with an encore,
dashing off Paganini’s 24th Caprice as if it were mere child’s play.


Subsumed in the euphoria over the Beethoven were the two
West Coast premieres, which is too bad because they each proved to be worth


62568-Calder Stabile.jpg

The Great Swiftness, by
Andrew Norman, is a five-minute musical description of an Alexander Calder
stabile in Norman’s hometown of Grand Rapid, Michigan. “My
piece is a bit like talking a walk around the Calder,” he wrote in the program
book. “The same melodic shapes happen over and over, but with each repetition
their relationship to each other shifts, as if one is looking at a stationery sculpture
from an every-changing point of view.” The title also refers to the river
flowing through the town that gives the city its name.


All of that translated to a series of swoops and musical
curves, which proved to be intriguing. The piece also served as a sort of
calling card; Norman is beginning a three-year-term as LACO’s
Composer-in-Residence and next spring the orchestra will perform the world
premiere of a work he is writing under LACO’s “Sound Investment” commissioning


Far more substantive was True
a work that American composer James Matheson wrote in 2010 on a
commission by the New York Philharmonic. Matheson revealed that the original
commission was for 22 players, including just two on each string part. “When I
heard that LACO was going to perform the piece with a full string complement,”
he said in introductory remarks, “I felt like a kid in a candy store.”


The genesis of True
was a Werner Herzog documentary entitled Encounters at the End of the Earth, i.e., the South Pole). There
were moments that felt like the icy wastes of that region (with overtones of
Ralph Vaughan Williams’ Simphonia
sneaking in), interspersed
with lush, melodic sections and swooping screeches that sounded like birds
wailing. I found it all fascinating and would love to hear it again. Of course,
that was true of the entire concert.




The evening began with the announcement that the Center
for the Art of Performance at UCLA (the new unwieldy name for the arts
impresario arm of the university) has named LACO as CAP UCLA’s
Orchestra-in-Residence for the next three years.

In 2011, The American Academy of Arts and Letters honored
Matheson with the Charles Ives Living, an award of $100,000 a year for 2 years
(2012-2014). Matheson was well aware of LACO; in 2009 he was named director of
the Los Angeles Philharmonic’s Composer Fellowship program.

Kudos to LACO for having the most informative program book
among local arts groups. The program notes by Christine Gengaro, PhD, are
highly informative even to non-musicians, the orchestra always includes the
group’s complete performance history of each piece being played, and there’s a
box with composition dates, instrumentation used, and the estimated duration of
each piece.

Now, if we could just get the concerts to start on time.
Speeches last night began 11 minutes after the scheduled 7 p.m. “curtain time”
and the music didn’t actually commence until 7:16 p.m. Even so, the orchestra
allowed latecomers to be seated after the first movement of the Ravel.

In LACO’s Nov. 10 and 11 concerts, Benjamin Wallfisch will
lead the world premiere of his Violin Concerto, which was written for Tereza
Stanislav, LACO’s assistant concertmaster. The balance of the program will be
Elgar’s Introduction and Allegro for
Op. 47 and Beethoven’s Symphony No. 2. Information: www.laco.org



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

OVERNIGHT REVIEW: Pasadena Symphony opens 85th season

By Robert D. Thomas

Music Critic

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



Pasadena Symphony; Mei-Ann
Chen, conductor

Beethoven: Egmont
Overture; Rachmaninoff: Piano Concerto No. 2 (George Li, soloist)

Shostakovich: Symphony No. 9

Saturday, October 6, 2012 Ambassador Auditorium

Next performances: November 3 at 2 p.m. and 8 p.m.

Information: www.pasadenasymphony-pops.org



62552-Chen 10-6-12.jpg

When Mei-Ann Chen (right) made her Pasadena Symphony podium
debut last fall, she concluded the program with a dynamic reading of
Tchaikovsky’s Symphony No. 5. Management obviously liked what it saw and heard;
it quickly re-engaged the now 39-year-old, Taiwan-born conductor to open the
orchestra’s 85th season with two performances yesterday at Ambassador
Auditorium in Pasadena.


However, her symphonic vehicle this tine around was a much
more challenging work: Shostakovich’s Symphony No. 9. Chen certainly could have
turned to one of the Russian composer’s more popular symphonies — the
triumphant No. 5 or the pulsating 10th, for example. Instead, she
chose No. 9, which — to judge by Saturday’s smallish crowd — proved far less
marketable than Tchaikovsky (no surprise).


Written in 1945, Shostakovich originally conceived his ninth
symphony as a massive work for chorus, soloists and orchestra that would
celebrate the victorious end of World War II. Lengthy grandeur had been his
symphonic style during the war. Symphony No. 7 (Leningrad) had been a riveting work documenting in musical terms
the terrible siege that city’s residents would endure for 900 days. Even
Symphony No. 8 had been infused with a heroic, albeit, dour mood.


Whatever caused Shostakovich to change his mind regarding
Symphony No. 9 (the program notes cited the tens of millions who had died, a
world still in chaos, and a Soviet Union with Stalin and his “apparatchiks”
firmly in charge), what emerged was a sardonically witty, 28-minute work that
infuriated the authorities and undoubtedly perplexed audiences, as well. The
composer reportedly said that, “musicians will like to play it, and critics
will delight in blasting it.”


To judge by Saturday night’s performance, the wind players
certainly enjoyed playing the piece because Shostakovich put many of them in
the spotlight; the list Saturday night was headed by Rose Corrigan, bassoon;
Geraldine Rotella, piccolo; Ben Lulich, clarinet; Louise DiTullio, flute; and
Concertmaster Aimee Kreston.


Chen skillfully navigated the five movements (the last three
are played as a unit) and, apart from a couple of rough transitions, the
orchestra played this unfamiliar work stylishly, although the last few measures
could have done with a bit more flourish — the audience didn’t realize the
piece was over until Chen spun around on the podium. As the applause swelled,
she waded into the orchestra to shake hands with the wind principals and then
had each section stand to share in the well-deserved ovation.


After intermission, 17-year-old George Li was the soloist in
Rachmaninoff Piano Concerto No. 2. Winner of the 2012 Gilmore Young Artist
Award, Li displayed an abundance of technical chops but not much patience;
after a properly sonorous beginning, he accelerated through the work like an
impetuous teenager.  The upside was
that this was a Rachmaninoff concerto that didn’t wallow; it also lacked much
gravitas or introspection.


Chen did her best to rein in Li but it was a losing battle.
She luxuriated in the orchestra’s rich string sound but ultimately it became a
race to the finish. Soloist and orchestra received a standing ovation — have
you ever heard a Rach 2 or 3 that didn’t get one? — and Li responded more
quickly than seemed warranted with two encores that again highlighted his


The evening opened with a well-played account of Beethoven’s
Egmont Overture that Chen led with
confidence and a minimum of podium pyrotechnics.




In one of those scheduling quirks that tantalize audiences
and bedevil arts organizations, Rachmaninoff’s Concerto No. 2 shows up in next
weekend’s Los Angeles Philharmonic concerts, which — if nothing else — should
provides a contrast for those who attended the PSO concert. German-born pianist
Lars Vogt will be the soloist. Robin Ticcati, a 29-year-old English conductor,
leads the concerts, which conclude with Sibelius’ Symphony No. 2. Ticcati is
the first in a four-month-long series of guest conductors leading the Phil
until Gustavo Dudamel returns to the podium on Feb. 21. Informatioon: www.laphil.com

Chen returns to Southern California
April 4-6, 2013 when she leads the Pacific Symphony at Rene and Henry
Segerstrom Concert Hall in Costa Mesa. The concluding work is Beethoven’s
Symphony No. 5; the program also includes the Zhanhao/Gang Butterfly Lovers’ Concerto, with George Gao on erhu, and
Saibei Dance, the piece with which Chen opened
her Pasadena Symphony debut concerts last October. Information: www.pacificsymphony.org

The PSO continues its pattern of using guest conductors in
the Nov. 3 concerts, which will be led by Edwin Outwater, now in his sixth
season music director of the Kitchener-Waterloo Symphony in Ontario, Canada.
The program will open with Spring
Festival Overture
by Hong Kong-composer Li Huanzhi and will include
Tchaikovsky’s Symphony No. 4 and Rachmaninoff’s Rhapsody on a Theme of Paganini, with Rueibin Chen as soloist. Information: www.pasadenasymphony-pops.org



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution

(Revised) AROUND TOWN/MUSIC: Chamber Music seasons emphasize variety

By Robert D. Thomas

Music Critic

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

A shorter version of
this article was first published today in the above papers. The revisions are the additions of the two stories in the “Where the Wild Things Are” section.


One of the real joys of chamber music is the myriad variety
of numbers and types of performers that can be found in any particular concert.


Consider, for example, the Coleman Chamber Music Association, which opens its 109th season of
concerts this afternoon at 3:30 in Caltech’s Beckman Auditorium. The Emerson
String Quartet will play music by Mozart, Dovrak and English composer Thomas


Three of the six groups in the series will be string
quartets, arguably the most-familiar chamber-music ensemble. However, the
series will also include the Imani Wind Quintet with pianist Anne-Marie
McDermott on Nov. 4; the Schubert Ensemble of London, which can number up to
five players but for its Caltech performance on Feb. 17 will play three piano
quartets: and the Kavafian-Schub-Shifrin Trio, which will conclude the season
on April 7.


Information: coleman.caltech.edu


One of the most-traveled groups in Southern California is Camerata Pacifica, which this season
has moved into a new venue: the Pasadena Civic Auditorium’s Gold Room, one of
four locales for each concert. For their October performances, pianist Warren
Jones and cellist Ani Aznavoorian will play music by Brahms, Chopin and George
Crumb on Oct. 16 in the Gold Room and Oct. 18 at The Colburn School’s Zipper
Hall in downtown Los Angeles. The group also performs with combinations ranging
from three to eight instrumentalists in Santa Barbara and Ventura. Information: 805/884-8410;


The Los Angeles
sponsors three different chamber-music series, including its
“Green Umbrella” contemporary music programs that begin Oct. 16 at Walt Disney
Concert Hall. John Adams, the Phil’s Creative Chair, will conduct an evening
that, interestingly enough, contains none of his music. Instead, the program
includes the world premiere of Over Light
by Icelandic composer Daniel Bjarnason, along with the U.S. premiere
of Bjarnason’s Bow to String. Also on
the agenda are the West Coast premiere of Nico Muhly’s Seeing is Believing (an electric violin concerto) and Muhly’s
arrangement of two motets by English Renaissance composer William Byrd. Information: www.laphil.com


Speaking of the Phil and English music, this week’s LAPO subscription
concerts feature performances of Oliver Knussen’s fantasy opera based on
Maurice Sendak’s children’s book, Where
the Wild Things Are.
Dudamel conducts the orchestra and a large group of performers in an evening
that the Phil’s publicity folks describe as “Cutting edge video technology
meets classic hand-drawn illustration.” Video will also be used in the
performance of Ravel’s complete Mother

Mark Swed has a story in the Los Angeles Times about Knussen HERE.  Zachary Wolfe has a story in the New York Times about director Netia Roberts HERE.


Concert information: www.laphil.com

Musica Angelica, one
of the nation's premiere period-instrument ensembles, opens its 20th
season on October 28 at the AT&T Center in downtown Los Angeles and October
28 at First Presbyterian Church, Santa Monica. The program features the
ensemble's string players joining harpsichordists Jeremy Joseph, Ian Pritchard,
Davide Mariano and Patricia Mabee. They will play concerti by J.S. Bach for two,
three, and four harpsichords. Information:

Speaking of First Pres., Santa Monica, that's where the
splendid contemporary music group Jacaranda
will open its season on Oct. 20 at 7:30 p.m. American composer Tobias
Picker will narrate the West Coast premiere of his The Encantadas, as part of a concert, entitled "Different Islands."
The evening will juxtapose Picker's evocation of the unspoiled Galapagos
Islands with Steve Reich's City Life,
a gritty depiction of urban Manhattan (to quote the publicity blurb). 


Also on the program are Joan Tower's Island Prelude, a depiction of the Bahamas, and Esa-Pekka Salonen's
Dichotomie, a solo piano work written
by Esa-Pekka Salonen for Gloria Cheng, who will perform it. How does this
latter work fit the theme? Best I can think of is that a solo performer is
always on a metaphorical island.


Information: www.jacarandamusic.org



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

Why music critics are important (IMHO)

By Robert D. Thomas

Music Critic

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


A friend of mine who is a regular reader of my Blogs and
print articles was curious as to what I thought of the Los Angeles
Philharmonic’s season-opening concerts last weekend. He hadn’t attended the
concerts but asked because he had read several widely divergent reviews of the
program over the past few days.


Since I was busy performing, I didn’t attend any of the Phil
performances either, but my friend’s question (coming at the beginning of
another indoor concert season) prodded me to write a bit about what you read
when I and/or my fellow critics review a concert.


The first thing to know is that a review is one person’s
opinion. It’s not a poll of other people’s views.. Each reviewer — and, indeed,
each listener — brings to a performance his or her body of personal historical
and musical knowledge, as well as other psychological and even physical
elements (how you feel physically when you listen to music affects your
perception of the performance). Every person who attends a concert is a
“critic.” Even a phrase as simple as, “I liked it” or “I didn’t like it” is a
critical opinion, however superficial.


A second important thing to note is when the reviewer heard
the performance. Of the four reviews I read of last weekend’s concerts, Mark
of the Los Angeles Times
attended Friday; Timothy Mangan of the Orange
County Register
reviewed Saturday’s performance; Brian, who writes a Blog
entitled Out West Arts, attended on
Sunday; and CK Dexter Haven, who writes All
is Yar,
was so enthralled that he he trekked to Walt Disney Concert Hall on
both Friday and Sunday. (If you haven’t read the reviews, they are linked to
the writers’ names above.)


Even for a group as top-notch as the L.A. Phil, differences
– sometimes substantial, sometimes subtle — show up in performances even a day apart,
so bear that in mind when you read reviews of different performances.


Moreover, there really is no pattern. Sometimes the
excitement of a first night produces an unparalleled performance; on other
occasions, concerts improve from one performance to another. CK Dexter Haven,
who, as noted above saw the Friday and Sunday concerts, wrote: “Friday’s
opening night concert was very good, but Sunday’s was noticeably better … In
fact, Sunday was the best concert I’ve ever heard Mr. Dudamel and the LA Phil have


A third point to bear in mind is the reviewer’s background
and experience. These aren’t always easy to find. Mark Swed’s BIO can be found
online at the Times (albeit with some
difficulty). Timothy Mangan’s BIO is on his Web site, Classical Life. Mine — a short version, I confess — is on my site,
as well — LINK. CK Dexter Haven’s bio information is HERE. Brian at Out West Arts (LINK) says even less, not
even his last name. You may not care about this information but it could affect
how you evaluate a review.

Throughout the course of a season, you occasionally get
widely divergent reviews; all critics have received their share of “Were you
and I at the same concert?” emails. That this divergence of opinion occurred in
this concert, where two of the pieces played — Ravel’s Pavane pour une infante dfunte and Stravinsky’s La Sacre du Printemps (The Rite of Spring)
– are pretty mainstream, made the spread of opinion interesting but certainly
not unprecedented (the middle work on the program was the world premiere of
Steven Stucky’s Symphony).


Digging a little deeper:


Each of the reviewers commented on the LAPO’s history with
The Rite of Spring; many of us
considered the work to be a signature piece of Dudamel’s predecessor, Esa-Pekka
Salonen and that note appeared in each review. Such information does count as
one difference between the casual concertgoer and the professional music
critic. Many critics have seen many performances of many works and are able to
remember and articulate the differences. That has its plusses and minuses for
you, the reader, but it’s worth bearing in mind. Moreover, reading each of the
reviews gives you a different perspective on this aspect and I, for one, find
that illuminating.


Everyone brings their own prejudices (i.e., likes and
dislikes) to any performance. When you read the concluding sentence of the
first paragraph of Brian’s post on the concert in question in Out West Arts, you certainly know where
he stands about Dudamel: “In fact, this weekend’s show, which I caught on Sunday,
may have been the worst single performance I’ve heard him and the orchestra
give together over his musically erratic, artistically lackluster tenure as
music director here in L.A.” You may agree or disagree with that sentiment but
it certainly colors his reviews about the Venezuelan maestro and, perhaps, your
reading of it.


By contrast, you usually get the reverse sentiment from a
Mark Swed review and from me because we believe that Dudamel’s leadership has
been galvanizing for the Phil. It doesn’t mean that Brian is totally incapable
of writing a positive review about a Dudamel concert or that Mark or I can’t
write a negative one.  It’s just
part of the process and is worth keeping at least in the back of your mind as
you read.


In most cases, there’s more to a writer’s output than
reviews. For example, Brian in Out West
has just posted one of his almost-always-interesting “10 Questions”
series — this one is about Andrew Norman, the new composer–in-residence of the
Los Angeles Chamber Orchestra. Even if you’re not going to the LACO concerts
this weekend (Saturday at 8 p.m. in Glendale’s Alex Theatre and Sunday at 7
p.m. in UCLA’s Royce Hall) where Norman will have one of his pieces performed,
this POST is worth your time.

So, why should you read reviews? I can think of three good
reasons. You may have others — if so, chime in by commenting:


1. Many critics and Bloggers — not all, I grant you — write
well. Moreover, we’re writing about a subject that we love, often with great
passion. The list of critics/writers/bloggers that I read runs into the many
dozens. Even if you don’t agree with everything (or, indeed, anything) a critic
has written (and I don’t), take the time to read, ponder and savor what he or
she has written.


2. You may learn something new. All four of the reviews
above had interesting pieces of information about the music, past performance
practices, and other elements. Both CK Dexter Haven and I like to add little
taglines to our reviews (he calls them “Random other thoughts” and I call them
“hemidemisemiquavers”) that we think are worth mentioning.  Some you may know; others you may not.
They add to the spice of life in our musical universe.


3. You may, after reading someone else’s review, rethink
your feelings about a particular performance you attended. What I (and others)
wrote may reinforce what you felt or challenge your reactions. The late, great
music critic, Alan Rich, believed fervently that the job of a critic was to
write critically, in every sense of that word. The purpose of a critic, he
wrote in his book, So I’ ve Heard,,
is “not to lead his readers into blindly accepting his truths, but to stimulate
them, delight them, even irritate them into formulating truths which are
completely their own.” (Few people did that as well as Alan). Or can just savor
the review for its craft alone.


I’m going to review both the Pasadena Symphony concert
Saturday night (LINK) and the LACO concert Sunday night (LINK). I hope you find
my reviews worth your time whether or not you attended. As we move into a very
busy indoor season, I also hope you’ll attend as many performances as possible
and read not only about those performances but other classical music items as
well. That reading will become part of your overall enjoyment. And don’t be
afraid to comment; we all read what you write either in comments or via email –
the interplay is part of the fun.



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.