OVERNIGHT REVIEW: Grams, Porter make impressive debuts at Pasadena Symphony concert

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

Andrew GramsOne of the advantages of the long interregnum between Pasadena Symphony music directors is that local audiences have heard a number of young conductors who are forging strong careers with orchestras in the United States and abroad. Saturday brought the last of those young maestros as Andrew Grams (right) took the podium at Ambassador Auditorium.

The 36-year-old Baltimore native was recently named music director of the Elgin Symphony Orchestra in suburban Chicago, an ensemble that is similar in size to the PSO. Grams reportedly was the unanimous choice of the ESO’s musicians and it’s easy to see why. He has an enthusiastic, energetic conducting style and, as he showed in the opening piece Saturday night, a cheeky sense of humor, as well.

For William Bolcom’s Commedia for (Almost) 18th Century Orchestra Grams tucked a trio of string soloists high on the back row of the orchestra, where percussionists would normally sit. Midway through their first solo lick, Grams turned to the audience and pointed to the soloists with a sly smile, as if to say, “Did you find them?” It was an appropriately light touch to Bolcom’s mashup of styles that range from Baroque to Mahler to slapstick.

Grams was all business in the final piece for the evening, Beethoven’s Symphony No. 5, although at the end of the first movement he peeked over his shoulder and smiled as if to say, “It’s okay to applaud.” Overall, Grams took things at a brisk pace, although he also found time to luxuriate in the woodwind solos that permeate the uber-familiar work. The orchestra was in top form throughout most of the performance.

In between those two pieces came Max Bruch’s Violin Concerto No. 1, with 17-year-old Simone Porter as the soloist. A native of Seattle, Porter studies with Robert Lipsett at The Colburn Conservatory of Music in downtown Los Angeles. She is also part of Colburn Artists, a program created in 2012 by The Colburn School to provide professional management services to its most-accomplished students, and Saturday night Porter validated her selection.

Playing a 1742 Camillus Camilli violin, Porter displayed a sweet, yet rich tone throughout the concerto, not just in the low notes but on the upper strings as well. She attacked this familiar work with exuberant, youthful gusto and seemed to thoroughly enjoy the moment, listening and bouncing along with the orchestral accompaniment when she wasn’t playing. It was an impressive performance; she is clearly someone to keep an eye and ear on.

Grams and the orchestra offered rich, luxuriant accompaniment, particularly during the broad, romantic moments of this familiar work. I hope that representatives of the Long Beach Symphony, which is searching for a new music director, were in the audience. Grams should be on their candidates list.

Hemidemisemiquavers:
• Porter’s PSO appearance is one of several important local concerts for her this year. On April 27 she will play Beethoven’s Romances 1 & 2 with the Pacific Symphony, led by Carl St.Clair, at the SOKA Performing Arts Center in Aliso Viejo. On Sept. 4 she will make her Hollywood Bowl debut as soloist in Samuel Barber’s Violin Concerto with the Los Angeles Philharmonic conducted by Seattle Symphony Music Director Ludovic Morlot.
• The final concert of the PSO’s 2013-2014 classics season will be held May 10. Jahja Lang, long-time music director of the San Diego Symphony, will lead a program of Shostakovich’s Symphony No. 5 and Tchaikovsky’s Piano Concerto No. 1, with Shai Posner as soloist. Information.
• Audience members got the first public look at the PSO’s 2014-02015 season. Music Director David Lockington and Principal Guest Conductor Nicholas McGegan will alternate leading the five classics series concerts, with Lockington conducting the first, third and final program and McGegan leading Nos. 2 and 4. Opening night is Nov. 1. I’ll have more on this tomorrow in a Blog post.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Pasadena Symphony resumes youth movement

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this story was printed today in the above newspapers.
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Pasadena Symphony; Andrew Grams, conductor, Simone Porter, violin
March 29 at 2 p.m. and 8 p.m. Preview one hour before each performance.
Ambassador Auditorium; 131 South St. John Ave., Pasadena
Tickets: $35-$105.
Information: www.pasadenasymphony-pops.org
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Simone_Porter_4_WebFor more than a quarter-century the Pasadena Symphony has distinguished itself by discovering young, talented soloists. Earlier this year 13-year-old pianist Umi Garrett soloed in Chopin’s Piano Concerto No. 1. For the PSO’s programs on March 29 at Ambassador Auditorium, a “grizzled veteran,” 17-year-old violinist Simone Porter (pictured right), will join the orchestra and guest conductor Andrew Grams for a performance of Max Bruch’s Violin Concerto No. 1. The concerts will open with William Bolcom’s Commedia for (Almost) 18th Century Orchestra and will conclude with Beethoven’s Symphony No. 5.

Porter’s PSO appearance is one of several important local concerts for her this year. On April 27 she will play Beethoven’s Romances 1 & 2 with the Pacific Symphony, led by Carl St.Clair, at the SOKA Performing Arts Center in Aliso Viejo. On Sept. 4 she will make her Hollywood Bowl debut as soloist in Samuel Barber’s Violin Concerto with the Los Angeles Philharmonic conducted by Seattle Symphony Music Director Ludovic Morlot.

A native of Seattle, Porter studies with Robert Lipsett at The Colburn Conservatory of Music in downtown Los Angeles. She is also part of Colburn Artists, a program created in 2012 by The Colburn School to provide professional management services to its most-accomplished students.

The PSO’s “youth movement” also includes its guest conductor. Grams, a 36-year-old Maryland native, last fall became music director of the Elgin Symphony just outside of Chicago, an ensemble that is similar in many respects to the Pasadena Symphony. In January he conducted the Baltimore Symphony in a concert that elicited from Tim Smith, music critic of The Baltimore Sun, the following: “The year is not even a week old, and there’s a contender for highlight of the 2014 music season in Baltimore.”

Meanwhile, two area choral groups resume their seasons this week.

• Jeffrey Bernstein leads the Pasadena Master Chorale in “The Voice of California” on Saturday at 7:30 p.m. and next Sunday at 4 p.m. at Altadena Community Church. The program features music by Eric Whitacre and Morten Lauridsen, along with premieres by Los Angeles-based composers Matt Brown and Reena Esmail. Information: www.pasadenamasterchorale.org

• Artistic Director John Sutton will lead his Angeles Chorale in “Romancing the Soul,” an evening of Brahms love songs on Saturday at 7:30 p.m. at Pasadena’s First United Methodist Church and March 30 at 4 p.m. at Northridge United Methodist Church. Information: www.angeleschorale.org

• This evening at 7 p.m. in Walt Disney Concert Hall, Grant Gershon leads 48 members of the Los Angeles Master Chorale in music by famed Southern California composer Morten Lauridsen. The program will include Mid-Winter Songs, Ave Dulcissima Maria, Canticle/O Vos Omnes, O Magnum Mysterium, , Madrigali, Nocturnes and Les Chansons des Roses (Lauridsen will accompany the last two pieces on the piano). Ironically, the only major piece the Chorale won’t be singing is Lux Aeterna, which has become a choral landmark since it was premiered and recorded by the Master Chorale in 1997. Information: www.lamc.org
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

OVERNIGHT REVIEW: Pasadena Symphony opens 86th season

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Igor Stravinsky’s score to the ballet, The Rite of Spring, is 100 years and five+ months old but it remains one of the most unsettling works ever written, no matter how often you’ve heard it. Pairing “Rite” with Leonard Bernstein’s Serenade and Shostakovich’s Festive Overture made for a formidable opening concert to the Pasadena Symphony’s 86th season Saturday afternoon at Ambassador Auditorium.

The program —David Lockington’s first as the PSO’s fifth music director — offered major challenges for the players, conductor and the audience; the latter included a sizeable number of children and young people (always a healthy sign for an orchestra).

The 57-year-old, British-born Lockington’s conducting style seems precise (judged from an audience seat) and he generates a great deal of energy on the podium. As we learned from when he first conducted the PSO in 2012, the orchestra clearly responds well to his leadership. Lockington also delivered erudite comments in the preconcert lecture and prior to the playing of Serenade.

In The Rite of Spring Principal Bassoonist Rose Corrigan spun an appropriately ominous line at the beginning and Lockington and the orchestra built the tension until the first driving, rhythmic section exploded. The orchestra’s winds and the percussion section, headed up by Timpanist Wade Culbreath, were in top form throughout the afternoon. The overall performance was solid, but not breathtaking and the audience responded with a generous standing ovation.

Lockington chose Bernstein’s Serenade as a companion piece because, in his words, “I think of it as a mid-century look at a musical language that was made possible by The Rite of Spring.” The rarely played 30-minute work, written in 1954, was inspired by Plato’s dialogue “Symposium” and is the most un-Bernstein sounding piece he ever wrote, although his familiar snappy, jazzy motifs (think West Side Story) do finally emerge in the final movement.

Anne Akiko Meyers gave a superbly virtuosic performance, playing on a 1741 Guarneri del Gesu violin, “Ex-Vieuxtemps,” for which she recently received lifetime performance rights (details HERE) Her lyrical portions sang sweetly (her pianissimos were particularly striking) and she sailed through the thorny sections as if they had been written for her instead of for violinist Issac Stern. Lockington and the orchestra provided supple support.

The program opened with a sizzling rendition of Shostakovich’s Festive Overture. Lockington took tempos that were just short of frenetic but not over the top and the PSO was at its razor-sharp best.

Hemidemisemiquavers:
• Because orchestra schedules are planned well in advance, this was the only concert that Lockington will conduct this season. Beginning next season, he’s expected to lead at least three of the classical concerts. Read my story on Lockington HERE).
• The Pasadena Symphony’s holiday concerts are Dec. 14 at 4 and 7 p.m. at All Saints Church, Pasadena. Grant Cooper conducts the orchestra, Los Angeles Children’s Chorus, vocalist Lisa Vroman and the L.A. Bronze handbell choir. INFO.
• Nicholas McGegan (LINK) makes his first appearance as the PSO’s principal guest conductor when he leads the orchestra on Jan. 11 at 2 p.m. and 8 p.m. at Ambassador Auditorium. The program is scheduled to be Dvorak’s Symphony No. 6 and Chopin’s Concerto No. 1 in E minor, with 13-year-old (yes, you read that right) pianist Umi Garrett (LINK) as soloist. Info on the concert is HERE.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Pasadena Symphony, David Lockington open new chapters in their lives

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A version of this article will be published Friday in the above papers.
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Pasadena Symphony; David Lockington, conductor
Shostakovich: Festive Overture
Leonard Bernstein: Serenade for Solo Violin, Strings, Harp and Percussion (after Plato’s “Symposium”); Anne Akiko Meyers, violinist
Stravinsky: Le Sacre du Printemps (The Rite of Spring)
Saturday at 2 p.m. and 8 p.m. • Ambassador Auditorium; Pasadena
Information: www.pasadenasymphony-pops.org
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Lockington-pensive4WebWhen David Lockington (right) takes the podium Saturday at Ambassador Auditorium, it will mark a new chapter in the 86-year history of the Pasadena Symphony, as he becomes the orchestra’s fifth music director and the first to hold the position since Jorge Mester in 2010.

However, it will also mark a new chapter in the life of the 57-year-old Lockington, a career that has spanned two continents and carried him from coast to coast in the United States. Although he was born in England, in a sense he’s returning to family roots because his wife, acclaimed violinist Dylan Jenson, was born in Los Angeles and has many family members in Southern California.

Saturday’s programs, at 2 p.m. and 8 p.m. will include Shostakovich’s Festive Overture; Stravinsky’s The Rite of Spring; and Leonard Bernstein’s Serenade, with violinist Anne Akiko Meyers as soloist. This marks the second consecutive concert Meyers has soloed for a conductor making his PSO debut; in 2010 it was James DePreist leading his first concert as the orchestra’s Music Advisor.

Meyers (below, right) will also be playing an historic instrument: the “Ex-Vieuxtemps” Guarneri del Gesu, which was crafted in Cremona, Italy in 1741 and got its name from a former owner, Belgian violinist and composer Henri Vieuxtemps. Earlier this year, Meyers received lifetime use of the “Vieuxtemps” for concerts and recitals thanks to an unnamed benefactor who purchased it at a Chicago auction (read more about the story of Meyers and her violin HERE).

Lockington has served as the Music Director of the Grand Rapids Symphony Orchestra since 1999 and has held the same position with the Modesto Symphony since 2007 (where he worked with current Pasadena Symphony Association Executive Director Paul Jan Zdunek). He is also Principal Guest Conductor of the Orquesta Sinfonica del Principado de Asturias in Spain.

However, when he was named PSO Music Director last March his focus changed. He’s not yet certain whether he and his family, which includes three grown children and a daughter in middle school, will relocate from Grand Rapids to Southern California. Nonetheless, he says, “I’ve always had a strong belief that if I can’t literally live where I’m working that it’s important for me to have a strong presence in the community, and that certainly will be the case with Pasadena.”

Since he first conducted the Pasadena Symphony in January 2012, Lockington has been in the city five times, meeting people and planning for the future. “The Pasadena Symphony musicians are so quick and so responsive and so professional, says Lockington. “They want to be led but they have a strong desire to make it work and are willing to go wherever you take them, However, if we don’t reach people, if I’m not strongly enough here as the face of the orchestra, then we won’t be doing our job.”

One thing that Lockington has learned is the Pasadena Symphony musicians’ high quality. “Southern California is a London sort of situation with this incredible pool of musicians,” notes Lockington from first-hand experience. Over the years, he has collaborated with several London orchestras; a new recording of Vivaldi’s The Four Seasons he and Meyers made with the English Chamber Orchestra (the first with Meyers playing the “Vieuxtemps” violin) is scheduled to be released next Valentine’s Day.

Although Lockington will continue to conduct the Modesto Symphony, he will end his relationship with the Grand Rapids Symphony after next season. “That will be 16 years with the orchestra and will mark its 85th season,” explains Lockington. “It was an appropriate time to move on to another chapter.”

He remains unsure about the Spanish job. “My contract is through end of next year (he has led up to 10 concerts a year) and after that we’ll see,” he says. “I love going there,” he says with a chuckle. “Among other things, I can take a long weekend to visit my mother, who still lives on the outskirts of London.”

That kind of innovative planning characterizes Lockington’s musical life, as is evidenced by Saturday’s program. The Rite of Spring was an obvious gift,” says Lockington, “because this year is its 100th birthday. I suppose virtually every orchestra has programmed it (Lockington opened the current Grand Rapids Symphony season with the work).

“Gustav Mahler said of his music, ‘My time will come.’ You wonder whether Stravinsky could have imagined the vast number of performances of “Rite of Spring that have taken place this year and how it has become a staple of orchestral repertoire. It doesn’t have the same shock value as when it premiered, but when you look at the audience attendance numbers every time it’s played it draws well. That shows how more sophisticated audiences have become.”

MyersWebBernstein’s Serenade is much less known than The Rite of Spring Nonetheless, says Lockington, “I love this piece. It’s not typical of Bernstein; it’s so different than West Side Story, which was composed in 1957, three years after Serenade. There are measures that sound sort of Russian. There’s something knotty about it that reminds me of the Russian school. I think of it as a mid-century look at a musical language that was made possible by The Rite of Spring.”
Although this is the only PSO concert that Lockington will conduct this season (orchestra schedules are typically planned several years in advance), he will lead three of the five classical concerts beginning next year; the other two will be led by newly named Principal Guest Conductor Nicholas McGegan.

Lockington also indicated he would be open to conducting a summer concert at the Los Angeles County Arboretum; he has led outdoor concerts in Grand Rapids and Modesto and attended two concerts at the Arboretum last summer. “The setting is great and the programs are so diverse, always interesting,” he marvels. “I think it’s amazing so see so many people sitting at so many tables; it was mind-boggling! I loved the atmosphere and the peacocks in the background.”

Like many conductors, Lockington was an instrumentalist before he took up the baton. In his case, he played the cello, first in a youth orchestra conducted by his father and later for two years in the National Youth Orchestra of Great Britain (where one of his colleagues was Andrew Shulman, now the PSO’s principal cellist).

Lockington came to the U.S. to earn a Master’s degree at Yale University (he is now a U.S. citizen). He played cello in the New Haven Symphony and was assistant principal cellist for the Denver Symphony for three years before turning to conducting.

“I spent a lot of time observing conductors and what worked with them,” says Lockington. “As a cellist and sitting up front, I had a perfect nest-eye view of what was going on. Being unencumbered by my instrument was also important. If I’d been a violinist, I would have had my instrument in my ear but sitting with my head free couldn’t have been a better way to learn.

“Because I played the cello in an orchestra, I know first-hand what being an orchestra musician is like,” continues Lockington. “I realize it’s a stressful life and I know from experience the precision that’s required, the preparation, the emotional, mental and physical energy it takes to be engaged for long periods of time. So I have a lot of empathy and sympathy for musicians.

“I’m still a practicing cellist,” notes Lockington. “It keeps me honest. I’m asking people to do things every single day that I do when I practice. I know the process and efficiency that’s required to keep in shape and to be able to pull something off in a short period of time. So, in a funny sort of way, I feel like it gives me a license, the right to demand these sorts of things of people because I’m doing it every day.”

Lockington believe there’s another advantage that he has as a cellist. “Being in touch with the string family, the main sound producer of the orchestra, means that the sound I can draw out of the strings affects the total sound of the orchestra,” he believes. “Being a string player means that the sound I listen for and the sound that I draw out is different than if I were a pianist or a horn player for example; not necessarily better, just different. I hope it’s colorful and I hope it’s beautiful. The music has to be special and we have the musicians to do that here.”
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Violinist Anne Akiko Meyers isn’t just fiddlin’ around at the Pasadena Symphony

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
MyersWebMuch of the buzz for Saturday’s concerts by the Pasadena Symphony at Ambassador Auditorium surrounds David Lockington’s first concerts as the orchestra’s fifth music director. However, the soloist, violinist Anne Akiko Meyers, has quite a story to tell, as well.

When Meyers (left) played the Barber Violin Concerto to open the Pasadena Symphony’s 2010-2011 season, it was the first time she had played in a concert with her new violin, the “Ex-Molitor/Napoleon,” a Stradivarius dated 1697, which she purchased for a then-world-record price of $3.6 million (the “Lady Blunt” Strad was sold in 2011 for $15.9 million). In a review of that concert, I wrote that she “produced a rich, creamy tone throughout a vibrant performance and set off fireworks in the third movement with her prodigious technique.”

However, when she returns to open the PSO’s 86th season Saturday, she will be playing not her Strad but the “Ex-Vieuxtemps” Guarneri del Gesu, an instrument Myers calls “one of the most iconic violins ever made.” Earlier this year, Meyers received lifetime use of the “Vieuxtemps” for concerts and recitals thanks to an unnamed benefactor who purchased it at a Chicago auction.

“It is very big responsibility,” says Meyers of the “Vieuxtemps,” which was crafted in Cremona, Italy in 1741 and got its name from a former owner, Belgian violinist and composer Henri Vieuxtemps. “[The ‘Vieuxtemps’] has this projection and richness; there’s such a breadth and dimension to the sound that’s unlike any instrument I’ve ever played.” (Meyers writes about her first experience playing the instrument HERE)

“There are very few of these [iconic] instruments in existence now, maybe 50,” said Meyers to James Cushing for an article in the San Luis Obispo Tribuine earlier this year. “Fritz Kreisler and Jascha Heifiez played Guarneri Del Gesu violins. Paganini himself played one! Most of them — actually, most violins at this level of quality — are usually locked away in museum display cases and never touched,” she said. “Whenever I see these instruments behind glass, I feel like I’m visiting some sort of zoo. Animals were made to run free, and these instruments were made to be played.” (Read Cushing’s complete story is HERE)

The “Ex-Molitor” was actually the second Strad that Meyers had purchased; the other was a 1730 instrument named the “Royal Spanish.” She made good use of both violins; Meyers’s most recent recording, Air: The Bach Album with the English Chamber Orchestra conducted by Steven Mercurio, features Bach’s solo violin concerti as well as the double concerto with Meyers playing the solo parts on both the “Ex-Molitor/Napoleon” (which Meyers nicknamed “Molly”) and the “Royal Spanish” Strads. The album debuted at #1 on Billboard’s Classical chart and was one of the top-selling classical albums of 2012

The “Vieuxtemps” received its recording debut with Meyers playing when she performed Vivaldi’s The Four Seasons, along with Arvo Part’s Passacaglia, accompanied by the English Chamber Orchestra, conducted by Lockington. The recording is scheduled to be released next Valentine’s Day.

Meyers has not decided what to do with her two Stradivarius violins. “As I was given lifetime loan of one of the most important violins ever created,” she said in an email, “I am playing on the “Ex-Vieuxtemps” almost exclusively now. I am deciding what to do with the “Royal Spanish” Strad and the “Ex-Molitor/Napoleon” Strad.” Given her statement earlier about instruments in museum cases, one might expect that the two Strads will find their way to other musicians.

Saturday’s concerts mark the second consecutive “debut” concert for Meyers with the PSO; when she appeared in 2010, it was James DePreist’s first concert as the orchestra’s music advisor.

For Meyers, Southern California concerts count as homecoming. Her career began in Southern California (Meyers was born in San Diego). Now age 43, living in Austin, Texas, where she is Distinguished Artist and Professor of Violin at the University of Texas’ Butler School of Music and the mother of a two daughters, Meyers was living with her parents in Ridgecrest at the age of seven when her mother drove her more than three hours each way to Pasadena so Meyers could study with famed teacher Alice Schoenfeld at The Colburn School.

Meyers’ rise in the musical world was meteoric. She appeared twice on “The Tonight Show” with Johnny Carson at age 11, made her Los Angeles Philharmonic debut the same year and a year later soloed with Zubin Mehta and the New York Philharmonic. At age 23, she was awarded the prestigious Avery Fisher Career Grant, the only artist to be the sole recipient of this annual prize, and embarked on an extensive recording career with RCA Red Seal (at the time one of the most prestigious labels in the industry).
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Hemidemisemiquavers:
• Local violinist Laurie Niles (who also runs an excellent Blog site entitled “Violinist.com”) has two stories on Myers and her “Vieutemps” HERE and HERE
• You can see a YouTube video clip of Myers talking about the violin HERE and that same clip is currently the lead when you click on her Web site HERE.
• Information on Saturday’s Pasadena Symphony concerts is HERE.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

(CORRECTED) AROUND TOWN/MUSIC: Opening a new chapter for the Pasadena Symphony

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was first published today in the above papers.
Lockington PSO MD
In any musical organization’s life there are a number of key turning points, whether for good or bad. Often the full impact of decisions cannot be fully evaluated for several years but eventually we can look back and realize that an “aha!” moment did occur. Such a time would seem to be occurring with the Pasadena Symphony, which will open its 86th season Saturday with concerts at 2 p.m. and 8 p.m. in Ambassador Auditorium.

The program — Shostakovich’s Festive Overture, Stravinsky’s The Rite of Spring, and Leonard Bernstein’s Serenade, with Anne Akkiko Meyers as soloist — will mark the inaugural concerts of David Lockington (right) as the orchestra’s fifth music director. (INFO)

More importantly, they also appear to signal the end of more than six chaotic years in which the orchestra amalgamated with the Pasadena Pops Orchestra, weathered a nearly disastrous financial storm, remade its board and executive staff, successfully renegotiated a contract with its musicians through 2015, changed performance locales for both the Pasadena Symphony and the Pops (three times for the Pops), and completely overhauled the organization’s musical leadership team not once but several times.

Not all of these steps occurred seamlessly nor were they universally applauded. Good people lost jobs or volunteer positions. Two conductors beloved by audiences — Jorge Mester and Rachael Worby — departed; another, Marvin Hamlisch, died unexpectedly.

Nonetheless, the saga appears to have come to an end. In a decade where several orchestras around the world have folded or undergone significant labor strife, that statement may sound simple but it’s significant.

Michael Feinstein recently concluded a triumphant first season as principal conductor of the Pasadena Pops and his contract was quickly extended. Saturday’s concerts open a new era for the Pasadena Symphony, as well.

Owing to the fact that orchestra seasons are planned several years in advance, this will be the only concert that Lockington will conduct this season. In addition, Nicholas McGegan — like Lockington, a native of England — begins his tenure as the PSO’s principal guest conductor when he leads the season’s second concert on Jan. 11. (INFO) That more than two-month gap between concerts is one of several issues confronting the Pasadena Symphony Association at it marches forward.

Less than a decade ago, the PSO offered eight classical programs a season (my original post said nine concerts). Can the orchestra continue to rebuild to that former level or beyond and thus increase its relevance to the Pasadena arts community and beyond?

Lockington, McGegan and Feinstein all have busy careers; Lockington and McGegan have long-standing tenures with other ensembles. Both promise to conduct the PSO multiple times in succeeding seasons but can they become part of our community rather than simply “fly in, conduct, fly out” maestros?

Can the PSO find ways to reach out to an audience that more closely mirrors the increasingly broad age and ethnic makeup of Pasadena and the surrounding communities? One way may be a venture that will be launched with Saturday’s concerts: the Pasadena Symphony Lounge, which will be set on Ambassador’s outdoor plaza and feature a “small-plate” menu, hosted by Claud & Co; a full bar; and light music. That sort of ambience might appeal to a younger audience.

Finally, can the Pasadena Symphony Association find a way to solve the riddle that permeates the entire classical-music community: how can organizations offer high-quality programs at reasonable prices for patrons while paying fair compensation to musicians and staff members? That requires rigorous, visionary management, dedication and skill from musicians, and communities that care enough about classical music to donate the funds that will make up the difference between expenses and revenues from ticket sales. Keeping that balance continues to be a high-wire act

So more than a successful opening program is at stake Saturday. Stay tuned to learn whether this is, indeed, becomes an “aha!” moment.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

OVERNIGHT REVEW: Feinstein, Pasadena Pops close season in style

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

Russell-Feinstein
Vocalist Catherine Russell, conductor Michael Feinstein and the Pasadena Pops lit up the night in an arrangement of Gershwin tunes at the Los Angeles County Arboretum. (Photo by Steve Sabel for the Pasadena Pops)
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When the Pasadena Pops hired Michael Feinstein to replace Marvin Hamlisch as its Principal Conductor shortly after Hamlisch died unexpectedly on Aug. 6, 2012, the orchestra was taking quite a gamble. Although Feinstein is a prolific entertainer and musical scholar, he had never conducted an orchestra prior to the Pops’ opening night last June.

To judge by the summer’s results — notably that first concert and Saturday night’s season finale — that gamble has paid off in a jackpot-large way. According to management, attendance at the Los Angeles County Arboretum has been up more than 30 percent and season renewals for next season have increased more than 200 percent. It’s no surprise that the board wasted no time extending Feinstein’s contract through the 2016 season.

Feinstein has worked on the music of George and Ira Gershwin since pianist Oscar Levant introduced Feinstein to Ira in 1977. Since then, Feinstein has been researching, cataloguing and preserving unpublished Gershwin sheet music and rare recordings, including a six-year-sojourn in the Gershwin’s home.

Thus it’s no surprise that last night’s concert, entitled “The Gershwins and Me,” included 20 Gershwin tunes, many of which were performed in arrangements that had not been played before or at least since their premieres.

As has been the case in all Feinstein concerts, his commentary Saturday was erudite, insightful and witty, laced with fascinating factoids drawn from Feinstein’s relationship with the Gershwin family and Hollywood. What was different from the opening concert was how much more comfortable Feinstein seemed on the podium (at least judging from the audience side). His beats were concise, his cutoffs more expert, and he seemed to swing and thoroughly enjoy himself, particularly in the arrangements of four songs that Nelson Riddle made for Ella Fitzgerald.

Catherine Russell was a creamy soloist in that set, which began with Nice Work if You Can Get It and ended with The Man I Love. In the second half of the concert, Tom Wopat emphasized lyrics in a set that opened with Love is Here to Stay and concluded with I Got Plenty of Nuttin, the latter using an arrangement that Riddle wrote for Frank Sinatra.

The JPL Chorus (Donald Brinegar, conductor) offered spritely lyrics to I Got Rhythm and the orchestra delivered lush sounds throughout the evening. Among the instrumental soloists, Aimee Kreston, violin, and Bryan Pezzone, piano, were standouts.

Before the final scheduled number, Feinstein sang a winsome arrangement of They Can’t Take That Away From Me from the piano, which he termed a preview of the 2014 season when Feinstein will conduct and/or sing in four of the five Pops programs beginning June 7, 2014. Judging by the audience’s reaction, that date will be eagerly awaited.
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HEMIDEMISEMIQUAVERS:
• Last night was Feinstein’s 57th birthday; the orchestra and audience serenaded him with Happy Birthday prior to the concert.
• Among the celebrities in the audience, Feinstein introduced before the concert’s end Mark Gershwin and other members of the Gershwin family, Patricia Kelly (widow of dancer-singer-actor-director Gene), Ginny Mancini (widow of composer Henry), singer Debby Boone (also known to us old fogies as daughter of crooner Pat) and actress Betty White, who Feinstein noted is older than Rhapsody in Blue (look it up).
• The camera work was spotty most of the evening. Sometimes they got the correct soloist (albeit a note or two late); at other times they were totally off base, which can be disconcerting for those watching. Directing a concert is an art form in itself.
• The Pops will offer its annual free “Music Under the Stars” concert on Oct. 5 at 7:30 p.m. in the Pasadena City Hall plaza. The orchestra’s resident conductor, Larry Blank, will lead the program. INFO
• The Pasadena Symphony opens its indoor season on Nov. 2 at 2 and 8 p.m. in Ambassador Auditorium when newly appointed Music Director David Lockington will lead a program that will include what CEO Paul Jan Zdunek joked last night will probably be the final performance in 2013 of Stravinsky’s The Rite of Spring (this year marks the centennial of the piece’s Paris debut and seemingly every orchestra in Southern California — and probably the world — has programmed it this year). Fortunately, it remains fresh and provocative each time I hear it. INFO
• Brinegar and the JPL Chorus opened the evening with The Star-Spangled Banner, accompanied by snare drum.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

(Revised) AROUND TOWN/MUSIC: Sat., Feb. 23 — Mark Your Calendars

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
The revision is a change of date in the Los Angeles Philharmonic concerts on March 7, 8 and 10.


The upcoming fortnight has several major orchestral concerts on the schedule and next Saturday (Feb. 23) is one of those occasional overflowing days in terms of classical music that seem to show up every year about this time.

The Los Angeles Chamber Orchestra returns to Ambassador Auditorium in Pasadena for its annual one-night “Discover” concert on Saturday at 8 p.m. During Ambassador’s heyday as an arts impresario organization, Ambassador was home to LACO for several concerts each season at the acoustically friendly auditorium (the orchestra now performs at the Alex Theatre in Glendale), but these days LACO returns for just one program annually.

On Saturday, Music Director Jeffrey Kahane will take the first half of the concert to delve deeply into Beethoven’s Piano Concerto No. 4, with the orchestra on stage to illustrate his lecture. Following intermission, Kahane will lead the orchestra from the keyboard and perform as soloist in this landmark concerto.

Information: www.laco.org

There are several other Saturday evening concerts, as well, including:

Musica Angelica — one of the world’s premiere period-instrument ensembles — celebrates its 20th anniversary with performances of Handel’s Handel’s Music for the Royal Fireworks and a suite from Handel’s Water Music, and Telemann’s Concerto for Three Trumpets led by Music Director Martin Hasselböck. The concert is at 8 p.m. at the AT&T Center Theatre in downtown Los Angeles and at 3 p.m. Sunday at First Presbyterian Church, Santa Monica. Information: www.musicaangelica.org

The La Mirada Symphony plays the third free concert in its 50th anniversary season at the La Mirada Theatre for the Performing Arts as Music Director Robert Frelly conducts Wagner’s Prelude to Die Meistersinger, Dvorak’s Symphony No. 8, and Mozart’s Piano Concerto No. 21, with Teresa de Jong Pombo as soloist. Information: www.lamiradasymphony.com

Organist Meaghan King makes her Southern California recital debut in a free concert Saturday at 7:30 p.m. at Pasadena Presbyterian Church. King, the church’s assistant organist, will play music by J.S. Bach, César Franck, Franz Joseph Haydn, Olivier Messiaen and Charles-Marie Widor on the church’s massive Aeolian-Skinner pipe organ. Information: www.ppcmusic.org

The Los Angeles Philharmonic also plays Saturday night at Walt Disney Concert Hall but fortunately that’s just one of four opportunities to hear this week’s concert, which mark the return to L.A. of Gustavo after a four-month hiatus. He’ll be in town for a flurry of concerts during the next three weeks before he heads out again — this time with the Los Angeles Philharmonic in tow for a tour of London, Paris, Lucerne and New York City.

Dudamel’s latest sojourn begins Tuesday night when he leads The Colburn Orchestra in Disney Hall in a program of Revueltas’ Sensemayá, Tchaikovsky’s Symphony No. 5, and Copland’s Clarinet Concerto, with Colburn Conservatory student Sang Yoon Kim as soloist.

The program is noteworthy on several levels. First, since the concert is part of the Philharmonic’s “Sounds About L.A.” series (which presents student ensembles), tickets run from just $20.50 to $45. Second, Tchaikovsky’s fifth was the work with which Dudamel had his local debut, in 2005 at Hollywood Bowl.

Information: www.laphil.com

Dudamel returns to the L.A. Phil podium with concerts Thursday, Friday, Saturday and Sunday that feature Siegfried’s Death and Funeral Music from Wagner’s Götterdämerung, along with Schumann’s Symphony No. 3 (Rhenish) and Brahms’ Violin Concerto, with Gil Shaham as soloist. Information: www.laphil.com

The Feb. 28, March 1, 2 and 3 will showcase Debussy’s La Mer and the complete Firebird by Stravinsky. All except the “Casual Friday” concert on March 1 will open with the first LAPO performances of Zipangu by French-Canadian composer Claude Vivier. Information: www.laphil.com

The whirlwind series of Dudamel concerts concludes March 7, 8 and 10 with the first staged performances of John Adams’ The Gospel According to the Other Mary, with Dudamel conducting the L.A. Phil, L.A. Master Chorale, six singers and three dancers.

When the oratorio version of this work premiered last spring, I called it “a very important work, stunningly performed by all forces.” (LINK) It was also nearly three hours long and Adams was, reportedly, very late in delivering the piece to the Phil and others. So part of the intrigue will be whether Adams has trimmed the work in any way and if — or how — Sellars’ staging contributes to the work’s overall impact.

Information: www.laphil.com
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

OVERNIGHT REVIEW, Christine Brewer in Pasadena Symphony concert at Ambassador Auditorium

By Robert D. Thomas

Music Critic

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

 

59959-Brewer-Shustak Web.jpg

Christine Brewer was the soloist in Richard Strauss’ Four Last Songs in yesterday’s Pasadena
Symphony concert at Ambassador Auditorium with Michael Stern conducting. Photo
by Ivan Schustak for the Pasadena Symphony.

_________________________

 

Normally when you hear that Christine Brewer is going to
appear with an orchestra in Southern California, you’d expect that the ensemble
would be the Los Angeles Philharmonic. Not this year. For the final concert of
its 2011-2012 season, the Pasadena Symphony engaged the well-known American
soprano and had the good sense to ask her to sing one of her signature pieces:
Richard Strauss’ Four Last Songs in
two concerts yesterday at Ambassador Auditorium.

 

Actually, Brewer is better known for her Wagnerian roles
(she was a stellar Isolde in the L.A. Phil’s “Tristan Project” under Esa-Pekka
Salonen several years ago) but these were the 81st and 82nd
times she has performed Strauss’ magnificent look back on his 84 years of
living. She sang them sumptuously yesterday afternoon.

 

When Strauss wrote the songs, he was looking back to a
musical era — 19th century Romanticism — that had vanished amid the
wreckage of what World War II had done to Germany and, in particular, its
artistic life. Although there’s no evidence that Strauss intended to group the
songs (that was done after his death by his publisher), Strauss used a poem by
Joseph von Eichendorff and three by Hermann Hesse for his evocative texts.

 

Brewer’s lustrous voice swept over the four songs like a
soothing balm. The opener, Spring, was
bright and the second, September, was
wistful. In Going to Sleep,
Concertmaster Aimee Kreston’s rich solo line was a perfect complement to
Brewer’s singing, and the final song, In
the Twilight,
was full of aching melancholy.

 

The orchestra, under the sure hand of guest conductor
Michael Stern (music director of the Kansas City Symphony), delivered rich,
sumptuous accompaniment for Brewer. Together, it was a memorable performance.

 

Stern (who by the way, is the son of legendary violinist
Isaac Stern) was subbing for the PSO’s music advisor, James DePreist, who is
recovering from recent heart bypass surgery. Stern kept the original program,
which began with Dawn and Siegfried’s
Rhine Journey
from Wagner’s Gtterdmerung,
the sort of music for which Strauss was longing in his Four Last Songs. Stern led a brisk rendition of Engelbert
Humperdinck’s concert version of Wagner’s music, highlighted by James
Thatcher’s horn solos.

 

After intermission, Stern concluded the program with
Dvorak’s Symphony No. 8. Stern obviously knows this piece well (he conducted
without a score) and offered a distinctive reading of this four-movement work
that Stern, in his preconcert discussion, characterized as another of Dvorak’s Slavonic Dances. You might not have
fully agreed with Stern’s push-and-pull tempos but the orchestra played
gorgeously and he made me think about what was being played — altogether, not a
bad combination for a very familiar work.

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Hemidemisemiquavers:

Although the classical season officially ended yesterday,
two free concerts have been added next Saturday at Ambassador Auditorium. At 2
p.m., Jack Taylor will lead his Pasadena Youth Symphony Orchestra in music by
Bach, Rimsky-Korsakov, Copland and others that will be a preview of the
ensemble’s upcoming European tour. At 7:30 p.m., Donald Brinegar will lead a
new chorus that has been formed at Jet Propulsion Laboratory along with the
Pasadena City College Chamber Singers in music by Britten, John Lennon and Paul
McCartney, Faur and others. Information:
www.pasadenasymphony-pops.org

 

The Pasadena Pops opens at its new home, the Los Angeles
County Arboretum, on June 16 when Marvin Hamlisch leads a concert version of
his own musical, They’re Playing Our
Song,
with Lucie Arnaz and Robert Klein as soloists. The evening will also
include a tribute to Arnaz’s parents, Lucille Ball and Desi Arnaz. Information: www.pasadenasymphony-pops.org

_______________________

 

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

AROUND TOWN/MUSIC: Major concerts on calendar during next fortnight

By Robert D. Thomas

Music Critic

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

This article was first
published today in the above papers.

 

Four major concerts occur in our region during the next
fortnight — and that doesn’t count the final two events of the Piatigorsky
International Cello Festival at Walt Disney Concert Hall: a 2 p.m. concert by
the Los Angeles Philharmonic, featuring cellist Alisa Weilerstein (LINK), and a
7:30 p.m. recital by 110 (!) cellists that will wind up the nine-day-long
festivities (LINK).

 

Also on today’s agenda is the final “LA Phil Live” movie
theater telecast: the season-opening all-Gershwin concert with Gustavo Dudamel
conducting and legendary jazz pianist Herbie Hancock as soloist in Rhapsody in Blue. (LINK)

 

And then comes:

 

MUSE-IQUE ON MARCH
19 AT PASADENA CIVIC AUDITORIUM

Rachael Worby begins this group’s second season with a
typically cheeky program entitled “Ebony Meets Ivory.” Six pianists, including
the Los Angeles Philharmonic’s Joanne Pearce Martin, will perform on three
Steinway pianos in a program that ranges from Baroque to jazz, rap to classical
(Moonlight Sonata), and the spoken
word. The program takes place on stage — literally — as both performers and the
audience will be on the stage and a loading bay of the Pasadena Civic
Auditorium. This is the first of seven performances on Muse-ique’s 2012 season.
Information: muse-ique.com

 

LOS ANGELES CHAMBER
ORCHESTRA ON MARCH 24 (Alex Theatre, Glendale) AND MARCH 25 (Royce Hall, UCLA)

Music Director Jeffrey Kahane leads his ensemble and
pianist-composer Timothy Andres in the world premiere of Old Keys, the latest installment in LACO’s “Sound Investment”
commissioning program. Also on the concert is the West Coast premiere of
Andres’ “reconstruction” of Mozart’s Piano Concerto No. 26, K. 531 (Coronation). Mozart wrote only a few
measures for the left hand of this work although the first published edition
was complete, possibly from Mozart’s publisher. In this new version, Andres has
replaced those left-hand sketches with his own creation; how this “mash-up”
works will be part of the concert’s intrigue. Information: www.laco.org

 

PASADENA SYMPHONY
ON MARCH 31 AT AMBASSADOR AUDITORIUM

Nicholas McGegan, known worldwide as one of the premiere
interpreters of Baroque music, takes on a larger task as he leads concerts at 2
p.m. and 8 p.m. in Ambassador Auditorium that conclude with Beethoven’s
Symphony No. 3 (Eroica). Prior to
intermission, Armenian pianist Nareh Arghamanyan will be the soloist in
Mozart’s Piano Concerto No. 20, K. 466. Information:
www.pasadenasymphony-pops.org

 

LOS ANGELES MASTER
CHORALE AND MUSICA ANGELICA ON MARCH 31 AND APRIL 1 AT WALT DISNEY CONCERT HALL

LAMC Music Director Grant Gershon conducts 40 singers of his
Chorale, soloists and one of the nation’s premiere period-instrument ensembles
in the first performances of Bach’s St.
John Passion
to be played at Walt Disney Concert Hall. Information: www.lamc.org

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