PREVIEW: L.A. Philharmonic unveils adventureous 2014-2015 season

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

For the past two decades (at least) the Los Angeles Philharmonic has led the world in creating innovative programs for orchestras, but the 2014-2015 schedule at Walt Disney Concert Hall — entitled, appropriately, “Moving Music Forward” and announced officially yesterday — takes that concept into stratospheres never before envisioned, at least in a single season.

The various initiatives are complex enough that they can’t be fully grasped in one reading. Following is my first take on what’s ahead. In addition to the chronological schedule (HERE), you may want to download much of the press kit (HERE) and take some time to study what it contains.

Several sets of programs feature multiple disciplines, including three that combine video with music. LA Phil Conductor Laureate Esa-Pekka Salonen will combine with artist Refik Anadol in a program that incorporates a new video into Berlioz’s Romeo and Juliet Nov. 6, 7 and 9. Salonen and the Phil will be joined by three soloists and the Los Angeles Master Chorale.

The Friday program will inaugurate the Phil’s new “in/Sight” series of music and videos. The other programs include Beethoven’s Missa Solemnis on Jan. 9, to be conducted by Michael Tilson Thomas (part of a series of events celebrating MTT’s 70th birthday); a staged production of Unsuk Chin’s opera, Alice in Wonderland on Feb. 27 and 28, 2015; and a program featuring music by Steve Mackey and Steve Reich on May 29 and 31. Music Director Gustavo Dudamel will conduct the last two programs; all four programs will be repeated on days surrounding Friday.

The Romeo and Juliet program will be one of three sets of concerts that Salonen will conduct during the upcoming season. On Oct. 24, 25 and 26, Salonen and organist Olivier Latry will celebrate the 10th anniversary of the Disney Hall organ with a program that includes the U.S. premiere of Kaija Saariaho’s Maan varjot (Earth Shadows).

The upcoming season will feature the largest emphasis on the Disney Hall organ since the instrument made its debut in 2004. Dudamel will conduct programs on Nov. 20, 21 and 22 that will feature organist Cameron Carpenter in the long-delayed world premiere of Stephen Hartke’s Symphony No. 4 (Organ), originally slated to debut in May 2010, along with Samuel Barber’s Toccata Festiva and Saint-Saëns’ Symphony No. 3 (Organ). Carpenter will also play his own arrangement of Scriabin’s Sonata No. 2. There will also be five organ recitals during the upcoming season.

Another new Friday series will be “Inside the Music with Brian Lauritzen,” four programs hosted by the KUSC radio personality. Each concert will include a Lauritzen-produced video sent to audience members ahead of time, along with pre- and post-concert discussions with the hosts and artists and an online forum. Dudamel will conduct two of the four programs, one of which will be the organ program noted above.

In his sixth season as the Phil’s music director, Dudamel will conduct 12 subscription programs during the upcoming season, along with the annual Opening Night gala concert, which will feature violinist Itzhak Perlman and the music of John Williams. In December Dudamel will lead a program celebrating the 50th anniversary of the Music Center that will include a performance of Salonen’s Helix, with the music being relayed live into the Dorothy Chandler Pavilion where it will accompany a world-premiere presentation from LA Dance Project.

Dudamel will also lead the orchestra on an Asian tour in March 2015 that will visit Hong Kong, Bejing, Seoul and Tokyo. The programs will include Dvorak’s Symphony No. 9 (from the New World), Mahler’s Symphony No. 6, and John Adams’ City Noir, which was composed for Dudamel’s inaugural gala program in 2009.

Another new series, “Next on Grand,” is being described as “a recurring festival that converges upon a creative force or cultural element.” Next season’s focus will be on contemporary Americans ranging from “old-timers” such as Phillip Glass, Adams and Reich to relative compositional newcomers such as Bryce Dessner, guitarist for the band, the National, and Chris Cerrone.

As part of this venture, the Phil will collaborate with L.A. Opera in a production of David T. Little’s Dog Days at REDCAT, the black-box theatre inside Disney Hall, and will also produce John Adams’ Available Light at Disney Hall with Frank Gehry designing the sets and Lucinda Childs creating choreography.

Overall the season will have 10 commissioned works, eight world premieres, five U.S. premieres and seven West Coast premieres. Orchestras along with the Phil will be the London Symphony Orchestra, conducted by Michael Tilson Thomas on March 24, 2015 and the Seoul Philharmonic, led by Myun-Whung Chun on April 15, 2015. The “Sounds About Town” series has been bumped back up to three local orchestras: The Colburn Orchestra (led by Sir. Neville Marriner), USC Thornton Symphony, and the American Youth Symphony. There are also numerous other programmatic genres; as noted at the top of this Blog, there’s almost too much to absorb in one reading.
_______________________

(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
______________________

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
_______________________

(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Make your holiday season a musical one

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.

Few things better symbolize the Christmas season than music and this year brings an unusually rich assortment of concerts and recitals, beginning with the world-renowned Los Angeles Children’s Chorus presents its midwinter concerts Dec. 7 and 8 at 7:30 p.m. at Pasadena Presbyterian Church. On Saturday, LACC’s Concert and Apprentice Choirs and its Young Men’s Ensemble will perform; the following evening, it’s the Concert and Intermediate Choirs and the Chamber Singers. Info: www.lachildrenschorus.org

The LACC also appears in several other concerts this season, including four performances of the orchestral score for The Nutcracker played by Gustavo Dudamel and the Los Angeles Philharmonic Dec. 12-15 at Walt Disney Concert Hall. This is the first time that Dudamel has conducted the Phil in December concerts.

For those looking for something other than holiday music, the Phil has two offerings. Next weekend (Thursday and Saturday evenings and Sunday afternoon), Rafael Frubeck de Burgos returns to the Phil podium with two symphonies by Haydn and Rimsky-Korsakov’s Scheherazade. Dudamel will lead the Phil in four concerts (Dec. 19-22) that will feature Yuja Wang as soloist in Rachmaninoff’s Piano Concerto No. 3. Stravinsky’s score for the ballet Petrushka and Blow bright, a world premiere by Icelandic composer Daníel Bjarnason, are also on the program. Info on the Phil programs above: www.laphil.com

As usual, the Los Angeles Master Chorale will have an ultra-busy holiday season at Disney Hall beginning on Dec. 7 at 2 p.m. with its “Festival of Carols, with 115 singers and organ performing traditional holiday works. This program repeats Dec. 14 at 2 p.m., but as you will see below that’s a really jam-packed day so you might want to consider the first program instead. Info: www.lamc.org

Other LAMC holiday programs are
• “Rejoice! Ceremony of Carols” on Dec. 8 at 7 p.m., when Music Director Grant Gershon leads a program of music by Respighi, Vaughan Williams and Stephen Paulus, along with Britten’s A Ceremony of Carols, performed as part of the Southland’s “Britten 100/LA” tribute to the centennial of Britten’s birth. Info: www.lamc.org
• Handel’s Messiah on Dec. 15 and 22 at 7 p.m. Gershon leads 48 singers, soloists and a chamber orchestra in this most familiar of Christmas oratorios. Info: www.lamc.org
• “Messiah Sing-Along” on Dec. 11 at 7:30 p.m. Grab your score (or buy one at the door) and join with the Master Chorale and other audience members in singing Handel’s memorable score. Info: www.lamc.org

As noted above, Dec. 14 will be one of those jam-packed evenings that cause concertgoers indigestion because they have so much from which to choose. In addition to the Master Chorale’s “Festival of Carols” listed above, consider:
• The Pasadena Symphony’s Holiday concerts on Dec. 14 at 4 and 7 p.m. at All Saints Church, Pasadena. Grant Cooper leads the program that will also feature vocalist Lisa Vroman, members of the Los Angeles Children’s Chorus, and the handbell choir, LA Bronze. Info: www.pasadenasymphony-pops.org
• The Pasadena Master Chorale will offer its Christmas concert of Vivaldi’s Gloria and Bach’s Magnificat at 7:30 p.m. at First Congregational Church, Pasadena. Info: www.pasadenamasterchorale.org
Pasadena Presbyterian Church will present the 69th annual rendition of its free-admission “Candlelight and Carols” program at 7:30 p.m. The concert will feature the church’s six choirs, two organists and an instrumental ensemble, and will include plenty of audience caroling. The featured work will be On Christmas Night by English composer Bob Chilcott. Info: www.ppcmusic.org
Angeles Chorale will present “Divine Joy: a Christmas Celebration in Music” at 7:30 p.m. at First United Methodist Church, Pasadena. Artistic Director John Sutton will conduct the program, which will feature the first part of J.S. Bach’s Christmas Oratorio. Info: www.angeleschorale.org

One organization that chose not to join the Dec. 14 clog is Pasadena Pro Musica, which continues its 50th season the following afternoon at 4 p.m. in Pasadena’s Neighborhood Church. Artistic Director Stephen Grimm leads a program of music by Benjamin Britten and Tomas Luis de Victoria. Info: www.pasadenapromusica.org

In addition to what’s listed above, Disney Hall offers a number of varied holiday programs; my favorite would be “A Chanticleer Christmas,” which features the renowned San Francisco-based all-male a cappella choral ensemble. Info: www.laphil.com

And this list doesn’t include the ongoing Los Angeles Opera’s ongoing production of Verdi’s Falstaff, which concludes its run today at 7 p.m., nor the company’s presentation of Mozart’s The Magic Flute, which runs through Dec. 15. My preview story on The Magic Flute is HERE and a followup article is HERE. Info the operas: www.laopera.org
_______________________

(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: KUSC to air Disney Hall “War Requiem” concert on Sunday

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

If you weren’t able to attend the performances of Benjamin Britten’s War Requiem Sunday in Orange County or Monday in Walt Disney Concert Hall, KUSC (91.5 FM in Los Angeles and www.kusc.org) will air the L.A. performance on Sunday at 8:30 p.m. Details: www.kusc.org

James Conlon conducted The Colburn Orchestra, members of the USC-Thornton Symphony, three soloists and more than 400 choristers ranging from local universities to the Los Angeles Children’s Chorus in the performances.

Links to my preview story and my review are HERE and HERE.

BTW: A Caltech link has the complete text HERE so you can follow it. Although the diction was exemplary during the Disney Hall performance, being able to read Wilfed Owen’s gripping poetry would definitely be a plus.
_______________________

(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

OVERNIGHT REVIEW: Conlon leads combined forces in stunning performance of “War Requiem”

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

Benjamin Britten: War Requiem
The Colburn Orchestra and members of the USC-Thornton Symphony; James Conlon, conductor

Tamara Wilson, soprano, Joseph Kaiser, tenor, Phillip Addis, baritone
USC Thornton Chamber Singers (Dr. Jo-Michael Scheibe, conductor)
USC Thornton Concert Choir (Dr. Christian Grases, conductor)
Bob Cole Conservatory Chamber Choir from CSU-Long Beach (Dr. Jonathan Talberg, director)
CSU-Fullerton University Singers (Dr. Robert Istad, conductor)
Chapman University Singers (Dr. Stephen Coker, director)
Los Angeles Children’s Chorus (Anne Tomlinson, artistic director)
New Zealand Youth Choir (David Squire, music director)
November 25, 2013 at Walt Disney Concert Hall, Los Angeles.
________________________

Benjamin Britten’s War Requiem is one of the monuments of choral literature. It stands with the Requiems of Mozart, Brahms and Verdi and alongside other choral masterpieces such as Handel’s Messiah.

But there’s a catch. Britten’s magnum opus is so rarely performed that its emotional impact seems outsized when compared with the others on this list. Familiarity doesn’t breed contempt but it certainly lessens the effect of these better-known pieces.

At last night’s preconcert lecture immediately preceding a stunning performance of War Requiem at Walt Disney Concert Hall, when Conductor James Conlon asked how many people would be hearing the piece for the first time, nearly every hand was raised. Imagine how staggered you would feel if you were hearing, for example, Verdi’s Requiem or Handel’s Messiah for the first time.

Thus it’s truly amazing that this rare performance of War Requiem, was sung and played not by the Los Angeles Philharmonic or one of our other professional ensembles but by about 400 instrumentalists and choristers, all college age or younger, along with three soloists. What could have been a train wreck was instead a vibrant, cohesive unified front, all under the steady hands and baton of Conlon, who somehow managed to sandwich this concert and last Sunday’s performance in Costa Mesa between conducting Verdi’s Falstaff and Mozart’s The Magic Flute for Los Angeles Opera.

The two local War Requiem concerts took place just days after the 100th anniversary of Britten’s birth; the 50th anniversary of President John K. Kennedy’s assassination added to the emotional nature of the evening.

How Britten, a pacifist, came to write War Requiem is reasonably well known (you can read some of the details in my preview story HERE). The basics are that he was commissioned to write a piece of his choosing for the dedication of the new St. Michael’s Cathedral in Coventry, England. The premiere took place on May 30, 1962.

Part of Britten’s genius in writing War Requiem was that he melded the traditional Roman Catholic Requiem Mass text with gritty poetry written by Wilfred Owen during World War I. (Ironically, Owen died on Nov. 4, 1918, exactly one week — almost to the hour — before the signing of the Armistice that ended the war; he was awarded a posthumous Military Cross). As a preface to War Requiem, Britten quoted Owen: “My subject is War, and the pity of War. The poetry is in the pity. All a poet can do is warn.” That’s just a sample of the emotional impact of the poems.

Another aspect of the work’s greatness is how Britten deployed his forces. The adult choral forces (182 voices, if everyone listed in the printed program actually sang) join with the soprano soloist to sing the traditional Requiem text, accompanied by a full-sized orchestra. A children’s chorus, accompanied by an organist, adds a potent angelic element at key points, sung last night from the top rear balcony. Tenor and baritone soloists, simulating a German and English soldier, sing Owen’s poetry, accompanied by an ensemble of 13 instruments.

In some performances, the male soloists and chamber orchestra are separated from the main body and led by a second conductor (indeed, that’s how the premiere performance was played; Britten conducted the smaller contingent while Meredith Davies led the City of Birmingham Symphony Orchestra).

However, Conlon chose to conduct the entire performance by himself, placing the chamber ensemble directly in front of him with the larger orchestra behind them. The male soloists — tenor Joseph Kaiser and baritone Phillip Addis — flanked the conductor’s podium, while soprano Tamara Wilson sat in the middle of the front row of choristers on the choral benches. Conlon led some portions using a baton; for many of the choral sections, he laid down the stick and conducted with expressive hands.

The choral forces delivered a beautiful tone and were amazingly precise throughout the 84 minutes, but particularly in the extended fugal writing in the “Dies Irae” sections . The combined children’s choruses floated gorgeous sound with precise diction from their “heavenly” location in Disney Hall.

Soprano Tamara Wilson, symbolizing a Russian soldier, poured out rich opulent sounds that carried even over the combined choral and orchestral forces. Her melding with the chorus in the “Lacrimosa” was a highlight of the evening.

Tenor Joseph Kaiser, singing music written for Britten’s life partner, Peter Pears, delivered that bright tone so favored by English composers and Kaiser’s diction so precise that the projected supertitles were not needed. Baritone Phillip Addis’s voice turned gravely in the lower registers but he was emotionally strong in delivering some of Owen’s most poignant lines.

The Colburn Orchestra and members of the USC-Thornton Symphony played splendidly, especially given the fact that, according to one story, only Concertmaster Jeffrey Myers had ever played the work before. The 13-member ensemble (the same number that Britten used to accompany his three chamber operas) passed Britten’s melodies from hand to hand, as it were, while offering sympathetic accompaniment to Kaiser and Addis.

All forces eventually join in the final movement, “Libera Me,” in which Kaiser and Addis sang Owen’s “Strange Meeting,” a commentary on companionship between enemies after one has killed the other, interspersed with the final words of the Mass. Two bells — C and F-sharp — continue to toll as they have throughout the piece and the chorus finally dies away in a mysterious vapor. The capacity audience sat spellbound, silent for 20 seconds, before erupting in wave after wave of standing ovations for the performers — and, one thinks, also for the piece. Conlon appeared to be spent emotionally; for most of the audience, the feeling was the same.

Hemidemisemiquavers:
• Conlon’s typically erudite preconcert lecture was particularly helpful in showing the influences of Verdi, Berlioz and Mozart on Britten’s writing.
• The organist last night was Christoph Bull, head of the organ department at UCLA, a nice — if somewhat ironic — touch to counterbalance the presence of the USC-Thornton Symphony and two USC choirs.
• In honor of the Britten centennial, Decca has released a newly remastered version of the original recording of War Requiem, featuring the three singers who Britten intended to sing the premiere: Galina Vishnevskaya (Russian soprano), Peter Pears (English tenor), Dietrich Fischer-Dieskau (German baritone). Because of international tensions, Vishnevskaya didn’t sing at the premiere (English soprano Heather Harper stepped in) but Vishnevskaya did perform in the original recording. The new version include a CD of War Requiem, , a Blu-Ray Audio format, which allows the recording to be heard at 24-bit, and a CD featuring Britten in rehearsal at the sessions in January 1963, which was produced by the legendary John Culshaw.
_______________________

(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Britten’s centennial to be remembered with two performances of “War Requiem”

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was published today in the above papers.

Benjamin Britten: War Requiem
The Colburn Orchestra and members of the USC-Thornton Symphony; James Conlon, conductor

Tamara Wilson, soprano, Joseph Kaiser, tenor, Phillip Addis, baritone
USC Thornton Chamber Singers (Dr. Jo-Michael Scheibe, conductor)
USC Thornton Concert Choir (Dr. Christian Grases, conductor)
Bob Cole Conservatory Chamber Choir from CSU-Long Beach (Dr. Jonathan Talberg, director)
CSU-Fullerton University Singers (Dr. Robert Istad, conductor)
Chapman University Singers (Dr. Stephen Coker, director)
Los Angeles Children’s Chorus (Anne Tomlinson, artistic director)

Today at 8:15 p.m. • Renée and Henry Segerstrom Concert Hall, Costa Mesa. Preconcert lecture at 7 p.m. by Dr. William Hall.
Information: www.philharmonicsociety.org

Tomorrow at 8 p.m. • Walt Disney Concert Hall, Los Angeles. Preconcert lecture at 7 p.m. by James Conlon.
Information: www.laphil.com
__________________________

Brittenr4WebWe’re in the penultimate two months of a year honoring birthdays of three of history’s most important composers: the bicentennials of Giuseppe Verdi and Richard Wagner and the centennial of Benjamin Britten (right), which occurred on Friday (Nov. 22). The Britten centennial reaches its climax locally today and tomorrow with a massive collaboration on Britten’s most significant work: War Requiem.

These performances are among hundreds that have been part of Britten 100/LA, which has been spearheaded by LA Opera but which has involved hundreds of different organizations, large and small, throughout the Southland.

Los Angeles Opera Music Director James Conlon takes a break from conducting the company’s new production of Verdi’s Falstaff and Mozart’s The Magic Flute to lead The Colburn Orchestra and members of the USC-Thornton Symphony (the work calls for a large main orchestra and a smaller-sized ensemble), organ, three soloists, five university choirs and the Pasadena-based Los Angeles Children’s Chorus in War Requiem tonight at 8:15 at Renée and Henry Segerstrom Concert Hall in Costa Mesa and tomorrow at 8 p.m. at Walt Disney Concert Hall in Los Angeles.
“Break” may be a misnomer; Conlon leads a Falstaff performance beginning at 2 p.m. on Sunday at the Dorothy Chandler Pavilion, so he may be changing clothes as he drives/flies down the freeway.

Coventry_Ruins
War Requiem premiered on May 30, 1962 in the new Coventry Cathedral in the center of England. The city’s 14th century Gothic cathedral, St. Michael’s, had been destroyed by a Nazi air raid on Nov. 14, 1940. Only the tower, spire, outer wall and the bronze effigy and tomb of its first bishop, Huyshe Wolcott Yeatman-Biggs, survived.

Following a competition that received entries from more than 200 architects, Basil Spence was selected to design a new cathedral. He insisted that the ruins of the old cathedral be kept as a stark memorial and his dramatic new cathedral was built alongside; a glass canopy connects the two buildings. For his stunning conception, Spence was knighted by Queen Elizabeth II in 1960.

Britten, a renowned pacifist, was 48 when the piece was first performed and was given free rein to compose the dedicatory work. He chose to interleave portions of the Roman Catholic Requiem Mass with gritty poems written by Wilfred Owen during World War I. Britten used one of Owen’s poems as a preface to the work: “My subject is War, and the pity of War. The poetry is in the pity. All a poet can do is warn.” Owen died on Nov. 4, 1918, exactly one week (almost to the hour) before the signing of the Armistice that ended the war.

The piece lasts about 85 minutes (there is no intermission), and is considered by most to be a landmark 20th century composition. A unique part of the composition is that Britten wrote for soloists (soprano, baritone and tenor) who were meant to characterize individual Russian, German and English soldiers.

According to the Britten-Pears Foundation, “Britten intended that the soloists at the first performance should represent three of the nations involved in World War II: Galina Vishnevskaya (Russian soprano), Peter Pears (English tenor), Dietrich Fischer-Dieskau (German baritone). In the event, precisely because of this tri-national partnership of representatives, Vishnevskaya was refused permission to attend by the Russian Minister of Culture. Although she was later able to record the work, she did not sing it until 1963; her place at the première on 30 May 1962 was taken by Heather Harper.”

The Disney Hall performance is part of the Los Angeles Philharmonic’s “Sounds About Town” series, which this season has dwindled to just two concerts, both by The Colburn Orchestra. One feature of this series has always been its low prices: tickets for “War Requiem” range from just $15.99 to $41.50. By contrast, the Segerstrom Concert Hall tickets are scaled from $20 to $150.

Conlon will give a preconcert lecture an hour before the Disney Hall performance. At Segerstrom Hall, Dr. William Hall, who led one of the first Southern California performances of War Requiem, will deliver the lecture at 7 p.m. In part because of the work itself and in part because it is so rarely performed, this is a “don’t miss” event.

Hemidemisemiquavers:
• How rare are these concerts? According to the Britten-Pears Foundation, these concerts and a set by the San Francisco Symphony next weekend are the only North American performances of War Requiem for the balance of this year (performances have been held recently in Baltimore, Washington, D.C., Boston and Chicago — see below). The SFO schedule is somewhat odd: Nov. 27 and 30 with nothing between.
• It’s possible that this will be the only time that most of the instrumentalists and choristers will play and/or sing War Requiem in their lifetimes.
• The program notes for tonight’s Segerstrom Hall concert are HERE (they come courtesy of the Cincinnati Symphony). Click on the note to make the type larger and click on the arrows to navigate the pages. These notes (actually pages from the program book) also include the text and performer bios.
• The program notes for the Disney Hall performance are HERE. These also include an iTunes link to the original cast recording with Britten conducting HERE.
• The writeup on War Requiem from the Britten-Pears Foundation is HERE.
• A fascinating interview in The Guardian with composer Oliver Knussen’s reflections on Britten is HERE.
• Anne Midgette, music critic of the Washington Post, and her husband and fellow critic, Greg Sandow (who is also a composer, consultant and educator) have written a series of articles on recent performances of War Requiem in Washington, D.C. and Baltimore, including somewhat contrasting reviews of the same performances. If you’re interested, click HERE for an overview and follow the various threads to the relevant stories. However, you might want to wait until you’ve seen either of the local concerts.
• When Charles Dutoit led the Chicago Symphony in War Requiem last week, he honored Britten by using Russian soprano Tatiana Pavlovskaya, English tenor John Mark Ainsley and German baritone Matthias Goerne as the soloists. Nice touch.
_______________________

(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Bramwell Tovey returns to conduct Los Angeles Philharmonic in his own work

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

Los Angeles Philharmonic; Bramwel Tovey, conductor
Britten: The Young Person’s Guide to the Orchestra (Saturday and Sunday only)
Tovey: Songs of the Paradise Saloon; Alison Balsom, trumpet
Shostakovich: Symphony No. 5
Friday and Saturday at 8 p.m.; Sunday at 2 p.m.
Walt Disney Concert Hall
Information: www.laphil.com
____________________

Tovey_2013There are multiple reasons why people choose concerts to attend. Sometimes it’s the ensemble or soloist performing. Sometimes it’s the hall. Sometimes it’s the program. Sometimes it’s the conductor.

Occasionally it’s all four and that’s the case for me this weekend when Bramwell Tovey (right) conducts the Los Angeles Philharmonic in three concerts at Walt Disney Concert Hall. Tovey, now in his 14th season leading the Vancouver Symphony, is always a welcome guest on the podiums at Disney Hall and Hollywood Bowl (where for several years his title was Principal Guest Conductor).

In addition to being a first-rate conductor, Tovey is one of the most erudite lecturers I’ve ever heard. Although Veronica Krauses is listed as the preconcert facilitator, I certainly hope Tovey will make an appearance; no offense to Veronica but Bram by himself would be just fine.

Friday’s concert is part of the orchestra’s “Casual Friday” series. After introductory remarks, usually by a member of the orchestra, this Friday will open with Tovey’s own work, Songs of the Paradise Saloon, which was written in 2008 for Toronto Symphony Principal Trumpet Andrew McCandless. It ultimately ended up in Tovey’s opera, The Inventor, commissioned by Calgary Opera and premiered in January 2011 (with a libretto by John Murrell). Rather that rewrite the story of Tovey’s work, I suggest you read his own program note HERE.

I would expect Tovey to spend a few minutes talking about the program and, specifically, about his own work, and there will be a Q&A session after the performance. The soloist for these concerts will be English trumpet soloist Alison Balsom, winner of Gramophone Awards “Artist of the Year” for 2013. (INFO)

Like many organizations, the Phil is pairing Tovey’s piece with a famous repertoire works: Shostakovich’s Symphony No. 5. It should be a big night for the Phil’s brass and percussion sections. The Saturday and Sunday concerts open with Benjamin Britten’s The Young Person’s Guide to the Orchestra, which would have been a perfect choice for a “Casual Friday” concert, although the two pieces selected are just fine, by me.
_______________________

(c) Copyright 2013, 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
______________________

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
______________________

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.
_______________________

(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.
______________________

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
______________________

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.

E
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.
_______________________

(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.