NEWS: Former L.A. Master Chorale Music Director Paul Salamunovich dies at 86

The world of music in general and Southern California in particular lost a giant when word came today that Paul Salamunovich passed away last night at age 86 from complications resulting from West Nile virus.

The California native and long-time North Hollywood resident was Music Director of the Los Angeles Master Chorale from 1991 to 2001, Director of Choral Music at St. Charles Borromeo Church in North Hollywood for 60 years (1949-2009), an esteemed music educator who held academic posts at Mount St. Mary’s College and Loyola Marymount University, and an adjunct professor at the USC Thornton School of Music.

When he became the LAMC’s third music director, he rebuilt the sound style first established by Roger Wagner into an indelible choral instrument. He also worked with Morten Lauridsen, who was LAMC’s first Composer-in-Residence from 1995-2001 winning acclaim and awards for their performances of works such as Lux Aeterna and O Magnum Mysterium.

A detailed obituary is at the L.A. Master Chorale Web site HERE.

OVERNIGHT REVIEW: L.A. Master Chorale offers weekend-long tribute to composer Morten Lauridsen

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

mortenDuring its 50th anniversary season, the Los Angeles Master Chorale is looking back over some of the group’s high points during its first half-century. This past weekend the Chorale focused on its long relationship with composer Morten Lauridsen (right). Friday night the Chorale hosted a screening of Michael Stillwater’s 2012 award-winning documentary, Shining Light: A Portrait of Composer Morten Lauridsen, at the Alex Theatre in Glendale. Last night before a sold-out house at Walt Disney Concert Hall the Chorale presented a moving musical tribute to Lauridsen that was expertly crafted by Music Director Grant Gershon and beautifully sung by 48 members of the chorus.

William Hall, a well-known and long-time choral conductor, once said that the hardest program to conduct is a collection of short pieces; by comparison, he said, conducting Verdi’s Requiem is far easier. That last night’s program — which included two dozen pieces, sung in five languages — didn’t validate Hall’s opinion was due, in large measure, to the fact that “the Master Chorale has the music of Lauridsen in its DNA,” as Gershon noted in a post-screening discussion Friday night.

Predictably the weekend turned into a love fest. Gershon called Lauridsen “the greatest American choral composer of our time, all of all time.” Lauridsen later described the Master Chorale as “a jewel of our nation.” Fortunately the speeches were mercifully brief; the singing took the spotlight.

Lauridsen accompanied two of the works — Nocturnes and Les Chansons des Roses — on the piano. It’s interesting that most composers rarely perform music that they write for other groups or individuals. John Adams, for example, occasionally conducts his own works but almost never has the chance to play them. Choral and vocal composers are the exception to the rule, so it was both poignant and memorable that Lauridsen was able to accompany two of his best-known works last night, quite well, I might add.

Moreover, just to show that he’s not riding off into the sunset at the age of 71, Lauridsen has taken a 1991 poem, Prayer, by poet Dana Gioia, former chairman of the National Endwoment for the Arts and now Lauridsen’s colleague at USC, and set it into an evocative, six-minute anthem that was stunningly performed by the Master Chorale as the penultimate work last night. For good measure Gioia was on hand to recite the program before the Master Chorale sang Lauridsen’s setting.

Lauridsen’s history with the Master Chorale began in 1964, when the Pacific Northwest native came to Los Angeles to study at USC. A year later, when the LAMC was founded, Lauridsen began attending concerts in the Dorothy Chandler Pavilion, “from the cheap seats, high up,” he noted with a chuckle last night. In 1972, Lauridsen — now age 71 — joined the faculty of the USC School of Music where he still teaches. He served as LAMC’s Composer-in-Residence from 1994-2001.

For Gershon, Lauridsen’s music is truly in his DNA. Midwinter Songs on Poems by Robert Graves, which opened last night’s concert, was commissioned for the centennial of USC’s founding in 1980. It was premiered by the USC Chamber Singers, which included not only Gershon among the singers but also current LAMC members Elissa Johnston and Nancy Sulahian.

Midwinter Songs was one of many pieces that reflect the composer’s life-long love of poetry (he begins each class at USC by reading a poem). Stylistically, however, it’s quite different from the lush Lauridsen music for which he is now most famous (including Lux Aeterna, which didn’t appear on the program). The Chorale sang the icy music of Midwinter Songs expertly, accompanied by pianist Lisa Edwards (Lauridsen originally wrote the treacherous piano part for Mack Wilberg, now music director of the Mormon Tabernacle Choir).

Gershon had his singers performing in different locations throughout the evening: men in the center, women in the center and then all women left and all men right. He also programmed one piece, Ave Dulcissima Maria, for men alone and another, Canticle/O Vos Omnes, with the women accompanying Gary Bovyer who played a hauntingly evocative clarinet. Theresa Dimond played finger cymbals on the former piece and chimes on Canticle.

For choral singers in the audience, Gershon — now in his 13th season at the fourth music director of the Master Chorale — continues to be a pleasure to watch, his hands sculpting phrases elegantly and his cutoffs nearly imperceptible but nonetheless precise. The choir nearly always sings as a flexible, unified ensemble and they were particularly elegant in Sure on This Shining Night from Nocturnes, which was premiered by the Donald Brinegar Singers in 2005.

The second half began with Madrigali: Six “Fire Songs” on Italian Renaissance Poems and continued with Les Chansons des Roses. After its performance of Prayer, the Chorale concluded the program by singing one of Lauridsen’s best-known works, O Magnum Mysterium, which Gershon dedicated to Paul Salamunovich, the ensemble’s Music Director Emeritus, who is gravely ill.

Hemidemisemiquavers:
• CK Dexter Haven has a very long, but fascinating interview with Lauridsen posted on his Web site “All is Yar” HERE. If you’re a hardcore Lauridsen fan, you’ve heard much (but not all) of this before but it’s still worth reading.

• The documentary Shining Night is available through many brick-and-mortar stores, as well as on amazon.com
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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.

AROUND TOWN/MUSIC: Pasadena Symphony to pair Beethoven with Morten Lauridsen Feb. 15

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Pasadena Symphony, soloists and Donald Brinegar Singers; Kazem Abdullah, conductor
Sat., Feb. 15 at 2 p.m. and 8 p.m. Preconcert lecture one hour ahead of each performance.
Ambassador Auditorium, 131 S. St. John Ave.
Tickets: $35-$105. Student and senior rush tickets available
Information: 626/793-7172; www.pasadenasymphony-pops.org
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The Pasadena Symphony finishes its 2013-2014 season in a somewhat strange way as three guest conductors mount the Ambassador Auditorium to conduct the PSO during the next four months.

Symphony schedules are typically planned years in advance and the current list was created before David Lockington was named PSO music director and Nicholas McGegan was tapped as the orchestra’s principal guest conductor last year. As fate would have it, that duo led the opening concerts for this season, leaving each of the three remaining guests to lead programs centered on war-horse blockbusters.

On Feb. 15 at 2 p.m. and 8 p.m. Kazem Abdullah will conduct the orchestra and Donald Brinegar Singers in performances of Beethoven’s Symphony No. 9, along with two works by noted Southern California composer Morten Lauridsen: Midwinter Songs and Nocturnes. Soloists in the final movement of the Beethoven, “Ode to Joy,” will be Tracy Cox, soprano; Laura Harrison, mezzo-soprano; Casey Candebat, tenor; and Andrew Craig Brown, bass

You would think that in the 21st century it wouldn’t be necessary to note the obvious: Abdullah is one of the few African-American conductors working today. Of course, he had to go to Europe to find a regular job, in this case, Generalmusikdirektor of the City of Aachen, Germany, a post he assumed in 2012. Abdullah, who was born on July 4, 1979 studied, among other places, at USC.

Although many people will come to Ambassador for Beethoven’s 9th, the two pieces by Lauridsen are intriguing. Lauridsen, who lives in Hollywood and has been a professor of music at USC for 40 years, is one of the most important choral composers in the world today. Although best known for his later works, including Lux Aeterna and O Magnum Mysterium, Lauridsen’s unique style was first fully shown off in Midwinter Songs, which is based on a text by English poet Robert Graves. Midwinter Songs was written in 1980 and orchestrated in 1983.

Nocturnes was written in 2005 and is based on texts from poets Rainier Maria Rike, Pablo Neruda and James Agee. A highlight of the piece is Sure on This Shining Night, based on an Agee poem. That piece is also featured in a 2012 documentary on Lauridsen’s life, Shining Night, which will be shown on March 14 at the Alex Theatre in Glendale (INFO). That program is sponsored by the Los Angeles Master Chorale, which will sing a concert of Lauridsen’s music two nights later in Walt Disney Concert Hall (INFO)
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Angeles Chorale to celebrate Morten Lauridsen Sunday

By Robert D. Thomas

Music Critic

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

 

59647-Lauridsen.jpg

For choral singers and choral music fans, few — if any –
people have been more significant in the past quarter-century than Morten
Lauridsen. Angeles Chorale will pay tribute to the Los Angeles-based composer
Sunday evening at 5 p.m. with a reception, dinner and concert at Town and Gown
on the campus of the University of Southern California.

 

Members of the Pasadena-based Chorale will sing Lauridsen’s
music and there will be a screening of the first two chapters of Shining Night, a documentary by Michael
Stillwater released earlier this year about the man who received the National
Medal of the Arts in 2007 “for his composition of radiant choral works
combining musical beauty, power and spiritual depth that have thrilled
audiences worldwide.” KUSC’s Kimberlea Daggy will emcee the event.

 

The location is appropriate because Lauridsen, now age 69,
is a USC graduate and for more than 30 years has been on the faculty of the USC
Thornton School of Music, where he chaired the composition department from
1990-2002 and is now Distinguished Professor of Composition.

 

Lauridsen was born in Washington and raised in Portland,
Ore. After attending Whitworth College for two years, he came to USC in 1963
(his classmates included Michael Tilson Thomas, now music director of the San
Francisco Symphony).

 

Although Lauridsen grew up loving the music of Jerome Kern,
Richard Rodgers, Cole Porter and George Gershwin, he didn’t begin composing
until he came to USC. “I came down here with a clean slate,” he recalls. “I had
never written a note of music but Halsey Stevens let me in to a class by
saying, ‘Let’s try it for a semester and see what you can do.’ He gave me a
great opportunity and I ran with it.” Lauridsen later repaid that favor by
editing several of Stevens’ pieces when Stevens, by then stricken with
Parkinson’s Disease, was too ill to finish the works.

 

Among Lauridsen’s first jobs was teaching theory to the
master classes of violinist Jascha Heifetz. He sang in the USC Concert Choir
under James Vail, who took his first piece, Psalm
150,
on tour with Lauridsen conducting it. After Lauridsen finished his
Master’s degree, he stayed on to teach. “At one time, I was the youngest faculty
member,” he says with a chuckle. “Now I’m among the oldest.”

 

However, for most singers it’s the music that they remember
whenever the name “Morten Lauridsen” is mentioned. His output includes seven
song cycles, the motet O Magnum Mysterium
and, in particular, Lux Aeterna,
which Lauridsen wrote when he was composer-in-residence for the Los Angeles
Master Chorale (a position he held from 1994-2001). Noted local musicologist
and conductor Nick Strimple calls Lauridsen “the only American composer in
history who can be called a mystic.”

 

Poetry plays a huge part in Lauridsen’s life. He begins
every class at USC with a poem and many of his works are based on texts of
poets including James Agee, Rainer Maria Rilke, Robert
Graves and Federico Garcia Lorca.

 

One work not based on poetry was Lux Aeterna, which was premiered 15 years ago tomorrow. The
Requiem-like piece touched a wellspring in listeners throughout the world from
the time it appeared and its popularity hasn’t diminished.

 

“This is a very personal piece,” says Lauridsen, “and there
were two strong impulses to my writing the work. My mother was on her deathbed
at the time, and I was writing the piece as a meditation on light triumphing
over darkness. That’s why I wrote an ‘alleluia’ at the end. This isn’t a dark
piece. It’s a celebration.”

 

The second reason was the commission from the Los Angeles
Master Chorale. “I wrote Lux Aeterna
specifically for Paul Salamunovich and the Los Angeles Master Chorale,” relates
Lauridsen. The work’s ancient lyrics and Gregorian chant-inspired music were a
perfect fit for Salamunovich (an internationally recognized authority on
Gregorian chant) and the Master Chorale. “I told Paul, ‘You’re in every note of
that piece of music,’” remembers Lauridsen. “I had in my mind, especially, the
Chorale’s marvelous alto section and the wonderful sound that Paul got from his
men.”

 

From its premiere, the work has remained extraordinarily
popular throughout the world. “I gave Paul a pitch right down the middle,” says
Lauridsen with a chuckle, “and he belted it out of the park.”

 

The entire piece and one section in particular, O Nata Lux, have sold millions of
copies. “My publisher told me that there were about three dozen sets orchestral
parts of Lux Aeterna being used
throughout the world during Holy Week this year,” says Lauridsen, and that
doesn’t count the number of performances being sung with organ accompaniment.
Lauridsen wrote the piece with both accompaniments to broaden its
accessibility.

 

Thousands of people have written Lauridsen to tell him how
much the music has touched their hearts, either through performances or via the
two CDs that have been made. Many of those letters came after the 9-11
bombings.

 

That popularity will continue, believes Dana Gioia, who
headed the National Endowment for the Arts when Lauridsen received his National
Medal of the Arts. “He is one of the few composers,” says Gioia, “who I have
conviction will be performed a hundred, two hundred years from now.”

 

For information about Sunday’s event, call 818/591-1735.

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

OVERNIGHT REVIEW: Los Angeles Master Chorale at Walt Disney Concert Hall

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

Sunday, October 16, 2011 Walt Disney Concert Hall

Next concert:
Nov. 13, 2011 at 7 p.m. Gershon conducts David Lang’s The Little Match Girl Passion, the U.S. premiere of James Newton’s Mass and two motes by J.S. Bach (INFO)

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56070-Gershon10-16-11.jpg

Grant Gershon (left), music director of the Los Angeles Master
Chorale, LOVES program titles. When he designed last night’s concert — the
opening event in the ensemble’s 48th season — he originally called
it “From Here to Eternity.” Other marketing mavens intervened, however, and the
title ended up as “Lux Aeterna,” in honor of Morten Lauridsen’s famous choral
work that concluded the program at Walt Disney Concert Hall.

 

Smart move; the house was packed last night, which isn’t a
surprise. Since the Master Chorale commissioned the work from Lauridsen in
1997, no other piece has more defined the ensemble. And it’s not just the
Master Chorale that loves it. Since it was premiered and then recorded by the ensemble
and its former music director, Paul Salumunovich, Lux Aeterna has become one of the most popular choral pieces written
in recent years. In last night’s preconcert “Listen Up!” program, KUSC radio
host Alan Chapman remarked that whenever Lux
Aeterna
is played during one of his station’s innumerable pledge drives, phones
ring off the hook with donations.

 

However, the piece performed last night was quite a ways
removed from the orchestral version that most people know. Gershon chose instead
to accompany the 30-minute work with Paul Meier (associate organist at St.
James Episcopal Church on Wilshire Blvd.) playing the 6,100-pipe Disney Hall
organ. (Lauridsen — obviously a canny businessman — wrote both versions of Lux Aeterna simultaneously, knowing that
far more choruses and church choirs would be able to perform it with an organ
accompanying instead of hiring an orchestra).

 

Thus, last night’s Lux
Aeterna
had quite a different sound and feel to it, but that wasn’t all due
to Meier. Gershon himself put his own distinctive stamp on last night’s
performance, as well. The 115-member Chorale was much more expressive and
subtle than on the recording, employing impeccable diction and bringing great
feeling to the Latin texts in the five connected movements, including its most
famous section, O Nata Lux.

 

I wasn’t totally sold on all of Meier’s registrations and
the balance between choir and organ wasn’t always perfect but the opening notes,
beginning with a single note from one of Frank Gehry’s 32-foot wooden organ
pipes, and the transition from O Nata Lux
to Veni, Sancte Spiritus were particularly
effective. The audience was mesmerized; there were at least 10 seconds of
silence after the final Amen before
the hall erupted in a standing ovation for Gershon, the Chorale and, in
particular, Lauridsen, who was in the audience.

 

The opening half of the program consisted of totally a
cappella works, all written by still-living composers. The earliest work on the
program dated from 1990: the U.S. premiere of Music for a big church; for tranquility by Swedish composer Thomas
Jennefelt, a 10-minute vocalize exercise with the male voices setting a
polyphonic chordal foundation while the women swirled above and below them.

 

The rest of the first-half pieces were notable for, among
other things, the composers’ ability to fit their music expertly to poetic
texts, beginning with Eric Whitacre’s 2002 anthem, Her Sacred Spirit Soars, which employs rising scales from a 10-part
double chorus to accentuate a text by Charles Anthony Silvestri. The Chorale’s
fortissimo ending raised the proverbial Disney Hall roof.

 

English composer Tarik O’Regan (whose first opera, Heart of Darkness, will be premiered
next month at Royal Opera, Covent Garden, in London) used mostly homophonic
writing that allowed the Chorale to declaim grim words by Chilean poet Pablo
Neruda with great feeling. Leslie Leighton, the Chorale’s associate conductor,
conducted but the Chorale couldn’t quite achieve the precision it demonstrated
under Gershon in the rest of the program.

 

The upbeat strains of Heavenly
Home,
a “bluegrass triptych” of 19th century American folk hymns
arranged by chorus member Shawn Kirchner, concluded the opening half. Premiered
by the Chorale last year, the three arrangements proved to be a perfect
antidote to Neruda’s tragic depiction of a battle, even if Kirchner’s subject
matter did deal with the trip from this life to the next. As far as Kirchner
and the text writers are concerned, the trip (and its destination) will be
joyous. Jaunty arrangements of Unclouded
Day
and Hallelujah bracketed the
winsome Angel Band, in which Kirchner
gave his fellow tenors soaring melodic lines in the middle verse.

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Hemidemisemiquavers:

Among the more interesting tidbits from the preconcert
lecture was the revelation that Lauridsen (who has been a professor at the USC
Thornton School of Music for more than 30 years) reads poetry every day and
begins every class with a poem

Photo caption: Grant Gershon conducted the Los Angeles Master Chorale last night in Walt Disney Concert Hall, the opening concert of the Chorale’s 48th season. Photo credit: Alex Berliner for Los Angeles Master Chorale.

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

Five-Spot: What caught my eye on October 13, 2011

By Robert D. Thomas

Music Critic

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

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With the classical music season back in full swing, it’s
time to revive my “Five Spot” column. Each Thursday morning, I list five events
that peak my interest, Usually there’s at least one with free admission (or, at
a minimum, inexpensive tickets) but this week’s listing omits the free event
because (a) nothing in that category jumped out at me today and (b) of the
large number of important ticketed concerts. I’ll have a couple of
free-admission events next week.

 

Here is today’s grouping:

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Today, Tomorrow and
Saturday and Sunday at 8 p.m. at Walt Disney Concert Hall

Los Angeles
Philharmonic: Dudamel and and Bronfman

Life comes full circle, in a sense, for Gustavo Dudamel, who
made his American debut in 2005 conducting Tchaikovsky’s Symphony No. 5 at
Hollywood Bowl. That famous work concludes this weekend’s Phil concerts and is
one of several performances of this work being done locally within the next
fortnight (LINK).

 

Tonight, Saturday and Sunday, the program opens with
<EM>Orion </EM> by French-Canadian composer Claude Vivier and
includes Ravel’s Daphnis and Chloe, Suite No. 2. The program was supposed to feature
Yefim Bronfman soloing in Bartok’s Piano Concerto No. 3 but he withdrew after
breaking a finger (presumably not when practicing the concerto, although it
would not be surprising if that were the case, since this a concerto often
described as “finger-busting”).

The choice of the Ravel is interesting; perhaps Gustavo will
explain it tomorrow, which is one of the highly popular “Casual Friday”
programs, The Orion gets deep-sixed in favor of a preconcert talk, usually by
an orchestra member, and an after-concert Q&A session that normally
features Dudamel and the preconcert lecture host, in this case, violinist Eric
Bromberger. Info: www.laphil.com

 

Tonight and Monday
night at 8 p.m. at Rene and Henry Segerstrom Concert Hall, Costa Mesa

Mariinsky Theatre
Orchestra; Valery Gergiev, conductor

As part of a cross-country tour, one of Russia’s finest
ensembles (which used to be called the Kirov) makes appearances with two
different all-Tchaikovsky programs in Costa Mesa under the auspices of the
Orange County Philharmonic Society. Tonight is Symphonies Nos. 2 (Little Russian) and 5. Monday night
brings the third and fourth symphonies. Performances conducted by Gergiev can
be “wild and wooly” on occasion but they’re also full of electricity. See also
my Tuesday listing below for another Mariinsky concert. Information: www.philharmonicsociety.org

 

Saturday at 8 p.m.
at Alex Theater, Glendale; Sunday at 7 p.m. at Royce Hall, UCLA

Los Angeles Chamber
Orchestra; Jeffrey Kahane, conductor

Kahane leads his band in Beethoven’s Symphony No. 3 (Eroica). This was one of the first
symphonies Kahane conducted with LACO which demonstrated that a chamber
orchestra could think outside the box (i.e., beyond music from the baroque and
early classical eras) when it comes to programming. The evening opens with
Dvorak’s Nocture in B Major, Op. 40
and includes Canadian soprano Karina Gauvin singing Britten’s Les Illuminations and Now sleeps the crimson petal. Info: www.laco.org

 

Sunday at 7 p.m. at
Walt Disney Concert Hall

Los Angeles Master
Chorale; Grant Gershon, conductor

In the opening concert of the Chorale’s 48th season, Gershon
leads 115 singers and organist Paul Meier in a program that includes the U.S.
premiere of Music for a big church; for
tranquility
by Swedish composer Thomas Jennefelt; Heavenly Home, a “bluegrass triptych” by Chorale member Shawn
Kirchner; and one of the landmark choral works of the last quarter century,
Morten Lauridsen’s Lux Aeterna. Info: www.lamc.org

 

Tuesday at 8 p.m.
at Valley Performing Arts Center, Northridge

Mariinsky Theatre
Orchestra; Valery Gergiev, conductor

Gergiev and his busy band journey to Cal State Northridge
where the new VPAC will get its biggest acoustic test to date from the Russian
musicians in a program that includes Stravinsky’s 1919 Firebird Suite; Shostakovich’s Symphony No. 1; and Prokofiev’s
Piano Concerto No. 3, with Alexander Toradze as soloist. Info: www.valleyperformingartscenter.org

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