AROUND TOWN/MUSIC: Hollywood Bowl, L.A. Master Chorale announce upcoming seasons

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

Schedules for 2014-2015 continue to flow in:

• Three different versions of hair are among the highlights of the 93rd Hollywood Bowl season, which was announced Tuesday. The 2014 season begins June 14 and 15 with the 36th annual Playboy Jazz Festivals and spans 15 weeks through September.

Amid a dizzying number of pops, jazz, world music and movie nights, the Los Angeles Philharmonic will have its 10-week-long classical season, which begins July 8 and concludes September 11. Music Director Gustavo Dudamel, he of the curly hair, will lead four programs over five evenings, including another segment of his “Americas & Americans” series, an evening entitled “Noche de Cine” that will include a suite from Dudamel’s score to the movie Libertador on July 31.

The other hair-related programs will be a 50th anniversary re-creation of The Beatles appearance at Hollywood Bowl that will take place August 22, 23 and 24, and a production of the 1968 Broadway musical, Hair, on August 1, 2 and 3. Since the listing for Hair includes the words “contains mature subject matter and brief nudity,” one can assumed this will be a virtually complete production.

Esa-Pekka Salonen, the Phil’s Conductor Laureate, is among the conductors who will lead the Phil. He has programs scheduled on July 15 and 17.

Read the complete schedule HERE.
The entire Hollywood Bowl press kit is HERE.

The Los Angeles Master Chorale’s 51st season will have Music Director Grant Gershon leading 10 concerts (14 performances) in Walt Disney Concert Hall that feature world premieres by Shawn Kirchner and Nack-Kum Paik. Nearly half of the 20 composers represented in the schedule are alive.

One who isn’t alive (literally, at any rate) is Johann Sebastian Bach whose St. Matthew Passion will be featured twice: the Chorale, along with the Musica Angelica Baroque Orchestra and Los Angeles Children’s Chorus, will offer Bach’s version on Jan. 31 and Feb. 1, while Tan Dun’s Water Passion after St. Matthew will be sung April 11 and 12, 2015. Dun’s piece was commissioned by Helmuth Rilling for the 250th anniversary of Bach’s death in 2000.

Another “Passion” oriented work will open the season on Oct. 19 when the Chorale presents Richard Einhorn’s Voices of Light/The Passion of Joan of Arc. Written for chorus, soloists and orchestra, the piece accompanies Carl Dreyer’s 1928 silent film The Passion of Joan of Arc.

The season announcement also reveals a bit about the upcoming Los Angeles Philharmonic season as the Chorale will sing in performances of Beethoven’s Choral Fantasy and John Adams’ Harmonium led by Gustavo Dudamel October 9-12; for performances of Berlioz’ Romeo and Juliet under the baton of Esa-Pekka Salonen November 7-9; and in Beethoven’s Missa Solemnis to be led by Michael Tilson Thomas January 9-11, 2015.

Details on the Master Chorale season are HERE.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Orange County Philharmonic Society unveils 2014-2015 season

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

Season schedules for 2014-2015 are beginning to filter into email boxes and although the Orange County Philharmonic wasn’t first off the block (that “honor” went to the Long Beach Symphony — INFO),the OCPS announcement is noteworthy because it usually gives a tease of the Los Angeles Philharmonic’s upcoming Walt Disney Concert Hall season.

The L.A. Phil and Music Director Gustavo Dudamel will journey to the Renée and Henry Segerstrom Concert Hall in Costa Mesa on Sunday, Nov. 23 for an afternoon concert that will feature what’s being termed the world premiere of Stephen Hartke’s long-delayed Symphony No. 4 “Organ.” The Hartke piece was originally scheduled to debut in May, 2010.

Also on the program are Saint-Saëns’ Symphony No. 3 (also subtitled “Organ”) and Barber’s Toccata Festiva for Organ and Orchestra. Cameron Carpenter and the Phil’s own keyboard virtuoso, Joanne Pearce Martin, will be the soloists, playing the hall’s William J. Gillespie Concert Organ.

Assuming that this is not, in fact, the world premiere of the Hartke piece — i.e., if we presume that this performance will follow concerts in Disney Hall with the same program — that cycle will give organ lovers a chance to compare the Segerstrom Concert Hall Organ with Disney Hall’s much larger instrument.

The OC organ, a “tracker” or mechanical action organ built by C.B. Fisk, Inc. of Gloucester, Mass., has 4,322 pipes in 75 ranks with 57 stops. It was first played in concert in 2008. Glatter-Götz of Germany built the Disney Hall instrument under the tonal direction and voicing of Manuel Rosales and its first concerts were in 2004. The Disney Hall is much larger than its OC counterpart: 6,125 pipes in 109 ranks with 72 stops. Reflecting its Fisk design concept, the OC organ sounds much brighter than the Disney Hall instrument; its bright metal pipes also provide a much different look from the “overturned French fries” façade in Disney Hall, which was designed by Frank Gehry. The comparisons will be fun and instructive.

The upcoming OCPS schedule could easily have been termed “The British are Coming, The British Are Coming.” The season opens Oct. 11 when Vladimir Jurowski conducts the London Philharmonic in music by Dvorak, Tchaikovsky (Symphony No. 6) along with Prokofiev’s Piano Concerto No. 3, with Jean-Efflam Bavouzet as soloist.

Also coming across the pond is the London Symphony Orchestra, led by Michael Tilson Thomas on March 28, in a program including Britten’s Four Sea Interludes from the opera Peter Grimes, Shostakovich’s Symphony No. 5, and Gershwin Piano Concerto in F with Yuja Wang as soloist.

As part of a 50th anniversary season tour, the Monteverdi Choir makes appearances at Segerstrom Hall April 24 and 25, 2015 led by Sir John Eliot Gardiner. The first concert is Monteverdi’s Vespers of 1610 and the second is that composer’s L’Orfeo. The English Baroque Soloists accompanies the choir.

Other orchestras on the schedule:
The Czech Philharmonic, conducted by Jiří Bělohlávek on Nov. 14, with a program of Dvorak’s “New World” Symphony paired with Liszt’s second piano concerto, with Jean-Yves Thibaudet as soloist.
The Rotterdam Philharmonic, led by Yannick Nézet-Séguin, on Feb. 11, 2015 in a meaty program of Tchaikovsky’s Symphony No. 5 and Brahms’ Piano Concerto No. 1, with Hélène Grimaud as soloist.
The Venice Baroque Orchestra on Feb. 28, 2015 playing with Israeli mandolinist Avi Avital.
• The State Symphony of Mexico, commemorating the 40th anniversary of its first U.S. Tour, on March 5, 2015, with Enrique Batiz conducting a program of two works by Manuel Maria Ponce: his Piano Concerto, with Irina Chistiakova as soloist, and Concierto del Sur, with Alfonso Moreno as guitar soloist. Music by Rimsky-Korsokov and Borodin rounds out the evening.

The season also includes recitals and chamber-music concerts, some at Segerstrom Hall and others at the Irvine Barclay Theatre. One of those evenings will be a salute to Carl St.Clair’s 25th anniversary as music director of the Pacific Symphony. Another will performances of the Mark Morris Dance Company’s production of Dido & Aeneas on May 15 and 16.

The complete media release is HERE: www.philharmonicsociety.org

Subscriptions are now on sale (Info: www.philharmonic society.org). Single tickets are scheduled to go on sale this summer.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Los Angeles Master Chorale celebrates 50th anniversary season with Bach’s B Minor Mass

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Los Angeles Master Chorale; Grant Gershon, conductor
Bach: Mass in B Minor, BWV 232
Saturday at 2 p.m. (note the unusual start time)
Jan. 26 at 7 p.m. Preconcert lecture with Grant Gershon and Alan Chapman one hour before each performance
Walt Disney Concert Hall, 1st St. and Grand Ave., Los Angeles
Tickets: $29-$129 (student rush seats may be available at the box office two hours before performance)
Information: www.lamc.org

MC4Web
Forty-nine years almost to the day (Jan. 27, 1965) from when Roger Wagner stepped onto a podium in the newly minted Dorothy Chandler Pavilion to conduct Los Angeles Master Chorale in its inaugural concert, a performance of Bach’s B Minor Mass, the Chorale will celebrate that first concert with a performance of Bach’s masterpiece on Saturday afternoon and next Sunday evening in Walt Disney Concert Hall.

Grant Gershon, who became the Chorale’s fourth music director in 2001, will lead 115 singers including 12 soloists (all Chorale members) plus a symphonic orchestra in what turned out to be one of the final pieces that Bach completed, a work considered to be a pinnacle of choral music. The Mass contains music that Bach had composed over a quarter-century, although most of it was revised for the final work. The B-Minor Mass was never performed in totality during Bach’s lifetime; the first documented complete performance took place in 1859.

The performance marks the Chorale coming full circle from when famed conductor Roger Wagner founded the chorus in 1964. Wagner — who had created his own small group, the Roger Wagner Chorale, in 1945 — formed the Los Angeles Master Chorale as one of three resident groups of the Music Center of Los Angeles. For the first 39 years, it performed at the Dorothy Chandler Pavilion. Since the completion of Walt Disney Concert Hall 11 years ago, the LAMC has joined the Los Angeles Philharmonic as resident groups at that iconic hall.

In addition to presenting history’s major choral works, the Master Chorale has commissioned 39 and premiered 88 new works, of which 57 were world premieres. The Master Chorale has half-dozen of its own CDs, most notably the first CD of Morten Lauridsen’s Lux Aeterna. The group will be featured on an upcoming CD of John Adams’ oratorio, The Gospel According to the Other Mary, scheduled to be released March 10 by Deutsche Grammophon. Gustavo Dudamel conducts the Los Angeles Philharmonic, the Master Chorale and soloists in this live recording at Disney Hall.

Next weekend’s concerts are among the 14 programs on the Master Chorale’s 50th anniversary season, along with its extensive work with the Los Angeles Philharmonic. The weekend will include a gala celebration entitled “Golden on Grand,” which will take place at 6 p.m. in the Eva and Marc Stern Grand Hall of the Pavilion. Tickets for that event are $650 per person. 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: Dudamel, L.A. Phil open subscription season with blockbuster concert

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Los Angeles Philharmonic; Gustavo Dudamel, conductor
Lieberson/Knussen: Shing Kham (Pedro Carneiro, percussion); Schubert Symphony No. 4
Tchaikovsky: Piano Concerto No. 1 (Yefim Bronfman, piano)
Last night at Walt Disney Concert Hall
Next performances: Tonight at 8; tomorrow at 2 p.m.
Information: www.laphil.com
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For most orchestras, first subscription concerts are a major event, complete with the high hopes attendant with the opening of a new season. In some cities — e.g., Chicago, New York and Los Angeles — the luster is dimmed a bit by an opening gala concert but not completely. Usually the galas are light-hearted affairs designed to lure major donors with easy-listening music and a party afterwards. The heavyweight fare comes with the first subscription concerts, which in L.A. usually includes a blockbuster piece to close the concert and, often, a premiere.

Although last Monday’s L.A. Phil gala was an unusually serious program for such an event, this weekend’s opening subscription concerts at Walt Disney Concert Hall follow the familiar pattern. Gustavo Dudamel, beginning his fifth season as the Phil’s music director, offered a program that concluded with Tchaikovsky’s Piano Concerto No. 1, performed with equal parts musicality and ferocity by Yefim Bronfman, Dudamel and his brilliantly playing band.

There was, however, a touch of nostalgia to the world premiere of Shing Kham, the final piece written by Peter Lieberson before he passed away in 2011 at the age of 64 from complications of lymphoma. What was going to be a three-movement, 25-minute percussion concerto written for Portuguese percussionist Pedro Carneiro became instead an unfinished single movement of about 10 minutes that was later “realized” by English composer Oliver Knussen partly from Lieberson’s sketches and partly from Knusses’s and Carneiro’s best guess as to how Lieberson would have finished the movement.

You might expect a product to be a mishmash, but actually the result was a somewhat episodic set of mini-movements that was, nonetheless, fascinating from start to finish. There were measures of driving intensity, interspersed with jazzy sections, lyrical moments and a final flourish that sounded like vintage Leonard Bernstein.

As is often the case with a percussion concerto, watching Carneiro maneuver around an array of instruments was part of the attraction. The list included a marimba, snare drum, 12 tom toms (six of which were wood), bass drum, four suspended cymbals and a triangle — the last was the only instrument that Carneiro brought with him from Portugal; he also brought the two dozen or so mallets that he used in the performance, often holding two in each hand. The array was lined up to the right of the podium.

The work also called for some heavy-duty work from six percussionists in the orchestra, so another part of the interest came from the interplay between Carneiro and the orchestra (in the program note, Carneiro said, “Every step of the way I need to connect with every single player in the orchestra.”) The stylish performance received a respectful semi-standing ovation from the Friday-night crowd.

After intermission came the blockbuster. Many pianists come determined to show all of their formidable technique in Tchaikovsky’s famous work. Bronfman, instead, chose to probe the work’s musicality first; in the process, of course, he also displayed plenty of musical chops but that’s not surprising for those who have heard him play during the past quarter-century.

Given that I’ve heard this concerto played live at least 50 times and who knows many times in recordings of various formats, I was surprised and pleased how involved I became last night.

This was a big-boned performance both by Bronfman and the orchestra (this is, after all, Tchaikovsky, not Mozart). Bronfman probably missed a note or two somewhere but not so as you would notice. Dudamel had the trumpets and trombones on the top tier with nobody on the level below them, so they were ultra-bold but not strident in their opening measures and beyond. Dudamel, who conducted without a score, shaped phrases expertly; the buildup to the descending octaves that herald the first cadenza, for example, was gripping. That subtle phrasing meant that the “attack” chords, particularly in the first and second movements, really jumped out.

The second movement unfolded without haste, even in the second section. Bronfman studied with Rudolf Serkin at The Curtis Institute and in this performance was channeling Serkin’s elegant playing. The third movement was fast but not perilously so, until the final climactic measures when all hell broke loose from everyone.

I don’t think I’ve every heard this concerto conclude when a standing ovation didn’t occur but for once, this one was eminently deserved. After several curtain calls came an encore. Many pianists would offer something delicate or playful as a contrast to the concerto; not “Fima,” as he is known to many; he alternately powered through and toyed with what someone in the audience said later was a Paganini Caprice.

Before intermission, Dudamel and Co. offered an elegant, refined, albeit large-scaled performance of Schubert’s Symphony No. 4 in C minor. This was one of a torrent of works that Schubert wrote during the years 1815 and 1816 when he was still a teenager; he later appended the moniker “Tragic” to the title. According to Brian Newbould, Schubert’s output during those months included more than 20,000 bars of music, more than half of which was for orchestra including nine church works a symphony, and about 140 songs.

The long first movement last night (it takes up about 40% of the piece) and the second movement, with its wonderfully Schubertian song tune, featured luxuriant strings interplaying with the winds; I was again reminded how well Disney Hall allows inner voices to be heard. The third movement, with what Lucinda Carver noted in her preconcert lecture is a meter similar to Beethoven’s fourth symphony, allowed Dudamel a chance to dance but he never overdid it. The final movement was a blaze of majestic glory.

Hemidemisemiquavers:
• Bronfman was either exhibiting a dry sense of humor or twitting Carver in the preconcert lecture. Carver, who is a well-known pianist, conductor and teacher, characterized Bronfman’s sound as unique and asked how he did it. “With my hands,” he deadpanned. Later she described a report that Tchaikovsky made changes to the concerto after Nikolai Rubinstein originally excoriated it. When Carver asked Bronfman what changes were made, he said, “Nothing important.”
• Carneiro said that he almost never travels with instruments because they’re too hard to ship. He does bring his mallets but other than that, he assembles instruments from the place he is going to perform. He did bring a small triangle to Los Angeles because he thought Lieberson would have particularly liked the sound.
• The Phil rearranged the play order at the last minute (the original called for the Schubert first, followed by Shing Kam. The array of solo instruments was probably easier to take down than set up and the changeover took only about five minutes, although one of the stage crew nearly knocked over the snare drum before adroitly catching it on the way down.
• I’m not sure whether Bronfman played the encore Thursday night (Mark Swed’s review in the L.A. Times today doesn’t indicate — I was hoping to get a confirmation of the title, which Bronfman did not identify).
• The program note on Shing Kam is HERE.
• This program is part of the 10th anniversary celebration of Walt Disney Concert Hall. Details on upcoming concerts are HERE.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Celebrating the 10th anniversary of Walt Disney Concert Hall

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.
Disney Hall
Since it opened 10 year ago, Walt Disney Concert Hall has become both a Los Angeles architectural icon and one of the world’s great concert halls.
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Los Angeles Philharmonic; Gustavo Dudamel, conductor
• Free Concert with YOLA (Youth Orchestra of Los Angeles)

Today at 4 p.m. • Walt Disney Concert Hall, with simulcast in Grand Park
Information: www.laphil.com
• Gala Opening Concert
Tomorrow at 7 p.m. • Walt Disney Concert Hall
Information: www.laphil.com
• First week of Subscription Concerts
Thursday, Friday and Saturday at 8 p.m. Sunday at 2 p.m.
Walt Disney Concert Hall
Information: www.laphil.com
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Hard as it is to believe, this month begins the 10th anniversary season of Walt Disney Concert Hall. Where has a decade gone? What was once a long-held dream by a handful of Los Angeles Philharmonic administrators, musicians and supporters finally emerged on Oct. 24, 2003 to become both a Los Angeles architectural icon and an acoustically marvelous new home for an orchestra just beginning to realize its potential.

Not everyone loves the hall, of course. Its “billowing sails” exterior isn’t to everyone’s taste and the goal of making a 2,200-seat concert hall as intimate as possible means that some seats and aisles are a mite cramped. (Christopher Hawthorne, in a laudatory Los Angeles Times article (LINK), described the seats as “upholstered in an almost-garish floral pattern that dares you to dislike it.”) Moreover, the hall still doesn’t project amplified spoken words well.

However those, I submit, are quibbles. When you hear the orchestra (or the Los Angeles Master Chorale) in the hall, the transparency, blend and power of sounds are simply amazing. I have been lucky enough to hear concerts in many of the world’s best-known and greatest venues (those two descriptions are not necessarily interchangeable), including Carnegie Hall, Boston’s Symphony Hall, and Vienna’s Musikverein, and I can still remember how stunned I was to hear the sound in Disney Hall for the first time. That feeling has never left me and the sound is excellent from all parts of the house (to which I can attest from personal experience).

The L.A. Times has produced an extensive retrospective on Disney Hall in the run-up to this week’s opening concerts, with Hawthorne, Music Critic Mark Swed and more than a dozen others writing about the history and importance of the hall and other informative tidbits. The articles are definitely worth your time; read them HERE. The Phil also has an extensive section on the hall’s anniversary HERE and Rob Lowman has an article in the papers of the Los Angeles Newspaper Group (which includes the Pasadena Star-News ) HERE

Never one to turn down a marketing opportunity, the Philharmonic is, of course, going all out with its season-long “Celebrat10n”, turning the “io” into “10” on a logo appearing seemingly everywhere throughout Los Angeles. A number of concerts, lectures and other events are directly tied to the celebration and to the future of the hall and Grand Ave. (including a panel discussion with architect Frank Gehry, LA Phil President and CEO Deborah Borda and others on Oct. 2 — INFO). Details on the Disney Hall celebration events (aka “Inside Out”) are HERE.

The party begins this afternoon at 4 p.m. with a free concert pairing the L.A. Phil and YOLA appearing side-by-side for the first time. YOLA (Youth Orchestra of Los Angeles) is the first of the youth orchestras that are part of the Phil’s goal of bringing music to under-served neighborhoods, a project similar to Venezuela’s “El Sistema” system that has produced, among others, LAPO Music Director Gustavo Dudamel).

Tickets for inside Disney Hall have long since been snapped up but you can be part of the festivities in the new Grand Park where folks will watch and view the concert via a simulcast on giant screens. Dudamel is scheduled to lead part of the program (Tchaikovsky’s Symphony No. 2 “Little Russian,” Mozart’s Overture to The Marriage of Figaro, and Conga del Fuego Nuevo by Arturo Márquez), while legendary jazz pianist Herbie Hancock and La Santa Cecilia will be among the soloists.

BTW: Avoid parking hassles by taking public transit; the Metro Red Line’s Civic Center Station exits at the new park, which is east of the Music Center complex between Grand Ave. and Temple St. MAP

Dudamel-9-29-13
Dudamel will also conduct tomorrow night’s gala opening concert, an unusually serious program for a gala, but a fascinating one. The evening opens with John Cage’s 4’33”, a famous (or infamous, from your perspective) piece in which a musician or combinations of musicians sit in silence for four minutes and 33 seconds. The idea is for the listener to absorb the sounds surrounding him or her at that moment (at least, I think that’s the idea; I’m not a big John Cage fan).

The Cage piece will be followed by the “Prelude” from Bach’s Cello Suite No. 3. The concept that from out of the silence will come this solo cello work seems breathtakingly beautiful to me. Moreover, it hearkens back to that opening night nearly 10 years ago when the first sounds heard by the public in the hall were of Principal Concertmaster Martin Chalifour playing Bach from the organ loft (will the Phil put Yo-Yo and his cello in the organ loft? Stay tuned — sorry, couldn’t resist).

The Bach prelude will be followed by Tchaikovsky’s Variations on a Rococo Theme, with Ma as soloist, a four-minute piece by Thomas Adès, the third movement from Mahler’s Symphony No. 9, and the final movement from Saint-Saëns Symphony No. 3 (“Organ”). That, as I noted, will be a rich, full evening, especially for a gala with a party awaiting afterwards.

The subscription season opens with four concerts beginning Thursday night. Dudamel will lead a program that begins with Schubert’s Symphony No. 4 and continues with the world premiere of Shing Kam, a 10-minute work for percussion and orchestra that was begun by Peter Lieberson in 2010.

The piece, commissioned by several organizations including the L.A. Phil, came about because a request by Portuguese percussionist Pedro Carneiro. Lieberson died in April 2011 with only the first movement of what had been envisioned as a three-movement work in any sort of shape to complete, a task that fell to noted British composer Oliver Knussen. Carneiro will be the soloist this weekend. Read the Phil’s music note HERE for more details.

The second half of the weekend programs will be Tchaikovsky’s Piano Concerto No. 1, with Yefim Bronfman as soloist.

The entire first month of the Phil season celebrates Disney Hall. Dudamel and Norwegian pianist Leif Ove Andsnes continue their survey of the five Beethoven piano concerti with performances of the Nos. 2 and 4 on Oct. 10 and 11 and the fourth concerto on Oct. 12 and 13 paired with the U.S. premiere of The Last Days of Socrates by Australian composer Brett Dean. Beethoven’s The Ruins of Athens Overture opens all four concerts.

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Former LAPO Music Director Esa-Pekka Salonen takes the helm for the next two weeks, a particularly appropriate gesture since Salonen was one of the driving forces behind the conception and creation of Disney Hall.

On Oct. 18, 19 and 20, Salonen will lead the Phil in Debussy’s Nocturnes, Bartok’s Music for Strings, Celesta and Percussion and the world premiere of a new piece for cello and orchestra by Magnus Lindberg. The following weekend, Salonen and the Phil will pair Sibelius’ Symphony No. 5 with Salonen’s own Violin Concerto, one of the most important pieces in his growing repertoire. In between (on Oct. 23), Salonen will lead the Phil and L.A. Master Chorale in the world premiere of Frank Zappa’s 200 Motels as the opening concert in the Phil’s acclaimed “Green Umbrella” series, another element in the Phil’s history that Salonen was instrumental in building.

Exactly why this piece is dubbed a “world premiere” is not clear. Zappa (founder of the band “The Mothers of Invention”) originally wrote 200 Motels for a 1971 British film of that name and a soundtrack album was subsequently. Presumably (details have yet to come) the piece being played at the “Green Umbrella” is a new reconstruction or reworking of the original score by Zappa, who died in 1993 of prostate cancer just days shy of his 43rd birthday.

BTW: The Phil’s Web site notes that “mature language and content” as well as strobe lights will be used in this performance. According to an article by Sanchez Manning in London’s The Independent, (LINK) after the movie was released, a concert scheduled at London’s Royal Albert Hall was canceled because a representative of the venue found some of the lyrics obscene. In 1975, Zappa lost a lawsuit against the hall for breach of contract. Reportedly after the judge heard Penis Dimension (a portion of the score) he responded, “Have I got to listen to this?” Presumably most listeners in 2013 will be less offended, but the caveat is worth noting.

Also on the Disney hall celebration schedule are a recitals by organist Hector Olivera Oct. 13, Bach recitals by pianist András Schiff Oct. 9 and 16, and a panel discussion with Salonen and Gehry on Oct. 15 on the creative synergy and architecture, moderated by Nicolai Ouroussoff, formerly the architecture critic for the Los Angeles Times and The New York Times.

• For a calendar of the entire 2013-2014 LAPO season, click HERE.
• The L.A. Phil Web site can be linked HERE.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Free concerts abound

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

Several local organizations that sponsor admission-free concerts are unveiling their seasons during the next couple of weeks. Of course, few — if any — concerts are actually free; expenses are incurred, so whether it’s through a donation envelope, offering plate, sponsorship support or any combination of the three, all who can afford to do so are encouraged to contribute something — every little bit helps.

In chronological order, here is an admittedly incomplete list of some of the offerings :

• Rio Hondo Symphony; Kimo Furumoto, conducting
Today at 3 p.m. • Vic Lopez Auditorium (Whittier High School), Whittier
Information: www.riohondysymphony.org

Rio Hondo Symphony opens its 81st season of four free-admission concerts this afternoon with an all-Beethoven concert. Music Director Kimo Furumoto, beginning his fifth season, will conduct the Fidelio Overture, Symphony No. 5, and Piano Concerto No. 3, with Ben Hopkins as soloist. Hopkins, a 21-year-old Rochester, NY resident, was the piano winner of the orchestra’s Young Artists’ Competition last January.

• Rudy de Vos, organist
Friday at 7:30 p.m. • Pasadena Presbyterian Church, Pasadena
Information: www.ppcmusic.org

De Vos will open the church’s 2013-2014 Friends of Music season with a program of music by Marcel Languetuit, Charles Tournemire, Louis Vierne, Guy Bovet, César Franck, Maurice Ravel, Edwin Lemare, Joseph Bonnet and Maurice Duruflé.

A native of South Africa (and the son of a Dutch Reformed Pastor), de Vos has been organist and director of music at the Cathedral of Christ the Light in Oakland since 2009. A laureate of the prestigious St. Albans International Organ Competition, he has appeared with the Chamber Orchestra of South Africa, Artium Symphony, Natal Symphony and the Eastman School Symphony.

In addition to the eight concerts (two choral, three organ, one chamber music, one with vocal soloists and one jazz), the church sponsors its “Music at Noon” series of free concerts every Wednesday from 12:10 to 12:40 p.m.

• Los Angeles Philharmonic and Youth Orchestra of Los Angeles (YOLA)
Gustavo Dudamel, conductor

Sunday, Sept. 29 at 4 p.m. • Walt Disney Concert Hall and Grand Park
Information: www.laphil.com

This free concert begins a season-long celebration of the 10th anniversary of Disney Hall (I’ll have more on this in my column next Sunday). Next Sunday’s concert will feature the L.A. Phil and YOLA appearing side-by-side for the first time. For those not in the know, YOLA is the first of the youth orchestras that are part of the Phil’s project to bring music to under-served neighborhoods, similar to Venezuela’s “El Sistema” system that has produced, among others, LAPO Music Director Gustavo Dudamel.

Tickets for inside Disney Hall have long since been snapped up but you can be part of the festivities in the new Grand Park where folks will watch and view the concert via a simulcast on giant screens. Dudamel is scheduled to lead part of the program (Tchaikovsky’s Symphony No. 2 “Little Russian,” Mozart’s Overture to The Marriage of Figaro, and Conga del Fuego Nuevo by Másrquez. Legendary jazz pianist Herbie Hancock and La Santa Cecilia ensemble will be the soloists.

BTW: Avoid parking hassles by taking public transit; the Metro Red Line’s Civic Center Station exits at the new park, which is east of the Music Center complex between Grand Ave. and Temple St.

• American Youth Symphony • Alex Treger, conductor
Sunday, Oct. 6 at 5:30 p.m. • Royce Hall, UCLA
Information: www.aysymphony.org

Traditionally one of the finest ensembles of young orchestral musicians in the nation, the AYS opens its season at 5:30 p.m. by screening the San Francisco Symphony’s “Keeping Score” program on Berlioz’s Symphonie Fantastique, led by the SFS’s music director, Michael Tilson Thomas. Then at 7 p.m., Alex Treger leads his young charges in a performance of this famous and familiar work, along with the West Coast premiere of Timo Andres’ Bathtub Shrine and Tchaikovsky’s Variations on a Rococo Theme, with Alan Steele as soloist.

• Mus/ique: Free for All; Rachael Worby, artistic director
Friday, Oct. 11 at 6 p.m. • Pasadena Civic Center plaza
Information: muse-ique.com

This free family-oriented program will mash up hip-hop and orchestra in a way that only Rachael Worby can conjure. The concert is being held in conjunction with Pasadena’s “ArtNight,” a citywide celebration of the arts.

• Pasadena Master Chorale; Jeffrey Bernstein, conductor
Saturday, Oct. 12 at 7:30 p.m. at Altadena Community Church, Altadena
Information: www.pasadenamasterchorale.org

Normally the Pasadena Master Chorale charges for its concerts but the opening program on its fifth season features an interesting challenge. Patrons are invited to hear the all-Britten program and then ante up whatever they think the concert was worth.

The program — which commemorates the centennial of the English composer’s birth on Nov. 22, 1913 — will include Jubilate Deo, Festival Te Deum, Hymn to St. Cecilia and Rejoice in the Lamb. James Walker, organist/music director at All Saints Church, Pasadena, will accompany the concert on the church’s recently renovated 3-manual, 27-stop pipe organ, which was made by Casavant Brothers, Ltd. of St. Hyacinthe, Quebec, Canada, one of the best-known organ builders in North America.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

NEWS: LA Philharmonic and its musicians reach new labor accord

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

The big news that came out of the announcement from the Los Angeles Philharmonic yesterday wasn’t the positive but what might be termed in linguistic terms the double negative.

The orchestra and Professional Musicians, Local 47 (the union that represents the orchestra’s instrumentalists) reached a new four-year agreement effective immediately and two weeks in advance of the opening of the Phil’s 2014 season. The old contract had expired Sunday.

The agreement meant that the two sides avoided the sort of acrimony that has plagued orchestras across the U.S. during the past years, bitterness that has seen strikes at symphony orchestras in San Francisco, Chicago and Detroit, a lengthy bankruptcy battle at the Philadelphia Orchestra, and a now-months-long lockout at the Minnesota Orchestra.

The new agreement calls for salary increases totaling 3.8% over the four years, bringing the annual base pay up to $154,336 in the final year of the contract (according to a Los Angeles Times report HERE, the base in the old contract ended at $148,700). As is the case with most orchestras, many members make far more than the base. The last contract had increased musicians’ salaries 17% over four years.

However, the most intriguing line in the release was the inclusion of a “housing allowance” (undefined and unspecified as to amount), which would help compensate for the relatively modest salary increases. According to the Phil’s release, the new agreement also includes “managing the Association’s healthcare expenses through restructured healthcare plan offerings” and “new contributions to a 403(b)” (the nonprofit equivalent to the more familiar 401(k).

The new contract announcement comes on the heels of a LA Times report (HERE) that detailed significant compensation increases for Music Director Gustavo Dudamel and President and Chief Executive Officer Deborah Borda and a generally robust financial picture for the orchestra, particularly when compared with other arts organizations.

The Phil’s 95th season opens Sept. 29 with a free concert where tickets are already gone but which will be simulcast on the new Grand Park lawn just south of the Music Center. The annual gala concert takes place on Sept. 30 and the first subscription concerts are Oct. 3-6. This season marks the 10th anniversary of the opening of Walt Disney Concert Hall. Details HERE.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Dudamel returns to the Bowl

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.

Hollywood Bowl occupies a significant place in the life of the Los Angeles Philharmonic. For nearly a century, concerts have been ongoing in the venerable Cahuenga Pass amphitheatre, which has undergone major facility renovations throughout that time.

The Bowl is a Southern California tradition and an iconic symbol of Los Angeles. Moreover, revenue from the outdoor season gives the orchestra the financial flexibility to keep moving forward as one of the world’s most progressive ensembles.

Some of the Phil’s music directors have barely tolerated performing at the Bowl, but Gustavo Dudamel — the ensemble’s 11th and current leader — is decidedly different. The Bowl was where Dudamel made his U.S. debut on Sept. 13, 2005 and where four years later, he first conducted the Phil as its music director in a free, eclectic concert that concluded with Beethoven’s Symphony No. 9.

He speaks often and lovingly about making music for large masses of people under the stars at the Bowl and each summer he has returned to conduct there. Moreover, he has revived a tradition of opera at the Bowl that is nearly as old as the facility itself. His first concert this season next Sunday will be a performance of Verdi’s Aida, a logical choice since 2013 is the bicentennial of the Italian composer’s birth.

Kiev native Liudmyla Monastyrska will sing the title role, aided by a strong supporting cast including Jose de León as Radames, Eric Owens as Amonasro and Michelle DeYoung as Amneris. The Los Angeles Master Chorale will supply the important choral sections.

The concerts on Aug. 13 and 15 will be performances of Verdi’s Requiem, with Dudamel leading the Phil and Master Chorale, along with soloists Julianna Di Giacomo, soprano, Michelle DeYoung, mezzo-soprano, Vittorio Grigolo, tenor, and Ildebrando D’Arcangelo, bass.

The Aug. 16 and 17 concerts represent another Bowl tradition: the annual “Tchaikovsky Spectacular” concerts. Begun nearly a half-century ago, these were where the Phil’s management discovered the lucrative draw that fireworks concerts represent. Few, if any, groups do pyrotechnics choreographed to music better than the Phil and its technical team, now headed by Paul Souza.

However, the “Tchaikovsky Spectacular” tradition seems to be struggling a bit. True, the program will conclude, as always, with the 1812 Overture, aided by the Santa Clara Vanguard Drum & Bugle Corps, and Pacific Crest, marching bands. However, as of last Thursday, the balance of the program had not been announced and the conductor, Robert Moody, is a relatively young (46), relatively unknown (at least on this coast) maestro. On the other hand, that’s what we all thought about a young Venezuelan conductor named Gustavo Dudamel when he made his Bowl debut nearly eight years ago.

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

NEWS: L.A. Phiilharmonic 2013-2014 season to fete Disney Hall’s 10th anniversary

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

Some orchestras struggle to find an overarching theme for their seasons but the Los Angeles Philharmonic has not experienced that problem for a decade. Its 2013-2014 season, announced Monday, predictably centers around the 10th anniversary of Walt Disney Concert Hall, Frank Gehry’ iconic building that is both an acoustical marvel and a world-famous landmark for Los Angeles.

The Phil’s upcoming season will be headlined by its celebration of Disney Hall entitled — Inside Out — (the title comes from Gehry’s own description of the hall, which he said was designed from the inside out — i.e., he started with the interior of the hall itself and then build the now-famous shell to surround it).

The season will begin not in the hall itself but in three neighborhood concerts — at venues yet to be named — on Sept. 25, 26 and 28. On Sunday, Sept. 29, Dudamel will conduct the Phil and the Youth Orchestra of Los Angeles (YOLA) in a joint concert, the first official appearance by YOLA musicians in Disney Hall.

The “opening night” gala on Sept. 30 will feature cellist Yo-Yo Ma — he filled a similar role 10 years ago. Then come two weeks of subscription concerts led by Dudamel and two weeks of concerts led by the Phil’s conductor laureate, Esa-Pekka Salonen sandwiched around a “Green Umbrella” concert led by Salonen featuring the world premiere of Frank Zappa’ 200 Motels, which is described as —a combination of rock, jazz and orchestral music.—

As it continues to dedicate a healthy chunk of its programming to contemporary music, the Phil will present 11 world premieres, four U.S. premieres and four West-Coast premieres. Sprinkled into that group will be 13 LAPO commissions.

Beginning his fifth season as L.A. Phil music director, Dudamel will lead 13 weeks of subscription concerts and will take the Phil on a North American tour, with U.S. stops in San Francisco, Kansas City, New York City, Boston and Washington D.C., along with visits to Toronto and Montreal. The tour will alternate two programs: Tchaikovsky’ Symphony No. 5 with John Corigliano’ Symphony No. 1, and Brahms’ Symphony No. 2, Rachmaninoff’s Piano Concerto No. 1 (with Yuja Wang as soloist) and a new work by Icelandic composer Daniel Bjarnason.

The Simùn Bolivar Symphony Orchestra of Venezuela, Dudamel’s other music directorship, will return to Disney Hall in February and join with the Phil in “TchaikovskyFest,” a series that will present all six of the composer’ symphonies, the violin concerto and Variations on a Rococo Theme, and a reprise of the program from two years ago presenting with the Bolivars playing the Hamlet, Tempest and Romeo and Juliet Fantasy-Overtures accompanied by staging and narration. Both orchestras will join together in the final concert on March 2 in a program that will include the 1812 Overture.

Interestingly, “TchaikovskyFest” omits any of the piano concertos, although the ubiquitous first shows up in the first subscription concerts, with Yefim Bronfman as soloist.

Dudamel and the Phil will present a staged production of Mozart’ Cosi Fan Tutte in May to complete its triology of Mozart/DaPonte operas. Other —minifestivals— taking place during the upcoming season will include —Minimalist Jukebox,— a reprise of the concept first presented in the 2005-2006 season. Once again, John Adams is both curator and conductor. Among the programs will be the world premiere of an organ concerto by Terry Riley, with Cameron Carpenter as soloist, and a presentation of the Rome section of Philip Glass’ the CIVIL warS, with Grant Gershon leading the Los Angeles Master Chorale.

Except for Manfred Honeck, all of the guest conductors have appeared at Disney Hall prior to next season and all are conducting for one week at a time. Notably absent from the list is Zubin Mehta.

You can get the complete season by clicking HERE. If you want to print the entire press kit, click HERE (but make sure you╒ve got lots of paper in your printer).
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Two conductors make big news

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

Two conductor announcements thousands of miles apart made news this past week. One has immediate implications for Los Angeles and the other might. One thing’s for sure: the year 2018 has just gained significance in the classical music world.

The immediate impact story
James Conlon has extended his tenure as music director of Los Angeles Opera through the 2017-2018 season. Conlon joined LA Opera in 2006, succeeding Kent Nagano. Among his many accomplishments, Conlon led the company’s first production of Wagner’s four-opera cycle, Der Ring des Nibelungen in 2010.

During his tenure with LAO, Conlon has conducted a total of 33 different operas at the Dorothy Chandler Pavilion, including 18 company premieres and two U.S. premieres. To date, he has conducted 190 performances of mainstage LA Opera productions, more than any other conductor in the Company’s history. He returns to the Dorothy Chandler Pavilion pit on March 9 to lead six performances of Wagner’s The Flying Dutchman and on March 23 to lead six performances of Rossini’s La Cenerentola.

It’s a measure of Conlon’s versatility that he could handle Wagner’s dramatic account of the sea captain doomed to wander the seas endlessly in his ghost ship and Rossini’s telling of the Cinderella story in the same month. In fact he conducts the two operas within 18 hours of each other on March 23 and 24.

He’s been a joy since he arrived and we’re lucky that this transplanted New Yorker has learned to love L.A. enough to sign on for another five years. Conlon’s commitment is also a reaffirmation of LAO’s continued rebound from the economic crash of 1998.

The longer-range story
Simon Rattle has announced that he will step down as chief conductor of the Berlin Philharmonic when his contract expires in 2018. Sir Simon (he was knighted by Britain’s Queen Elizabeth II in 1994) will be 64 when he leaves the prestigious post; he was named to succeed Claudio Abbado in 1999 and began his tenure in 2002. When he retires, Rattle will have been in the post longer than all but two other conductors: Arthur Nikisch (1895-1922) and Herbert von Karajan (1954-1989).

In his announcement, Rattle said he gave a long lead-time to allow the orchestra time to name a successor. Most orchestras have a gap — sometimes a long gap — between the end of one tenure and the beginning of another; to cite one example, the Chicago Symphony went four years between the tine Daniel Barenboim left in 206 and Riccardo Muti arrived in 2012. Berlin has a chance to avoid what can be a major problem.

Speculation about Rattle’s successor will, inevitably, center on Gustavo Dudamel, whose contract with the Los Angeles Philharmonic currently runs through 2018-2019 (which will be the Phil’s centennial season). Rattle, of course, has a history with the LAPO. He made his North American debut in 1976, conducting the London Schools Symphony Orchestra at the Hollywood Bowl. He first conducted the Los Angeles Philharmonic in 1979 and was the Phil’s Principal Guest Conductor from 1981╨1994. How ironic it would be if Rattle and Dudamel swapped posts.

NEWS FROM AROUND THE MUSICAL WORLD
The Grand Rapid Symphony apparently sounded like Southern California transplants this weekend. David Lockington — the group’s music director who was in town last year to conduct the Pasadena Symphony — led his orchestra in performances of John Adams’ City Noir, the work he wrote three years ago for Gustavo Dudamel’s inaugural Disney Hall concerts as the Los Angeles Philharmonic’s music director. Also on the GRS program was The Great Swiftness by Andrew Norman, a Grand Rapids native who is the Los Angeles Chamber Orchestra’s composer-in-residence. LACO played The Great Swirtnexx earlier this season. You can read what a local music critic had to say about the GRS performance HERE.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.