The Met in a “Disaster Scenario”?

15. January 2009 · 2 comments · Categories: Links

So this article says. Yikes.

Just as it was riding high in the opera world, the Metropolitan Opera has been bludgeoned by the recession and now faces a “disaster scenario” unless the company finds major cost cuts, including concessions from its powerful unions, the Met’s general manager, Peter Gelb, said on Thursday.

Its once-mighty endowment of more than $300 million has dropped by a third, to a point where it cannot be drawn from; donations are down by $10 million this season; and ticket sales are expected to be off by several million dollars from what was expected, Mr. Gelb said in an interview.

Mr. Gelb said that he and senior staff members have taken a 10 percent pay cut and that the rest of the staff would do so at the end of the fiscal year, which concludes after the season. He said at least four expensive productions have been canceled or replaced next season as well.

The article goes on to talk a bit about New York City Opera and its woes as well.

We are in rough times, and it appears it’s going to continue for a while.

In case you haven’t noticed …

15. January 2009 · 3 comments · Categories: Ramble

I’m having a difficult time with creativity these days. My blog posts are rather bland or mere links to other sites. What’s up with that, you ask?

I don’t know.

So whatever. I’m hoping I’ll get my blog back soon. (It’s like getting one’s groove back, right?)

Meanwhile I do see that I’m losing the small audience I’ve had. My stats this past month really took a nosedive. I shouldn’t really care; if I did this for stats I’d probably blog more about nude oboists or brawling English hornists or maybe find a picture of Paris Hilton playing the bassoon or some such thing. Hmm. She doesn’t seem like a bassoonist. What instrument should that girl play?

Meanwhile, I’m home from the first of three concerts. I thought it went well. I was happy with all of my solos, although not ecstatic. I wasn’t happy with one other thing I played, but I’m not sure how it came across in the hall. The audience seemed less than enthusiastic, but maybe I’m reading them wrong. Not that I would ever read anything or anyone incorrectly in a negative way, right? I really enjoy the Amram Piano Concerto. He’s calling it #1, so does that mean he’ll be writing another?

Now it’s time to pack everything up for the trip over the hill tomorrow. I have to do it tonight. If I wait until morning I always manage to forget something. I’ll probably forget something anyway, but at least I’m trying ….

More Struggles

15. January 2009 · Comments Off · Categories: News

Amato Opera is closing its doors.

Baltimore Symphony Orchestra has laid off five staff members, and Baltimore Chamber Orchestra has canceled two performances.

Florida Grand Opera has canceled one of their operas for next season.

I’m waiting here. And wondering. But I’m not going to worry.

Okay. Not much, anyway.

Must One Applaud?

15. January 2009 · Comments Off · Categories: Reviews

Itzhak Perlman was part raconteur, teacher and etiquette scold Monday night at his recital before a sold-out hall at the Kravis Center in West Palm Beach, but in the middle of all that the Israeli-born violinist managed to be a good advocate for an early work of Messiaen.

Perlman played the French composer’s Theme and Variations, written in 1932, not once but twice in the second half of his program. “I’m telling you, it’s a terrific piece,” he said, and then suggested that he and pianist Rohan de Silva might repeat it.

But first he had to gently upbraid the audience for its initial lukewarm response to the relatively brief work, which ends with a long diminuendo that expires at the bottom of the violin and piano registers. “Tell me something: Was it really that bad that half of you didn’t want to clap?” Perlman said, then advised them on good concert manners, which involves applause even after you hear something you don’t like.

Hmmm. I wonder about this. Do we clap to be polite no matter what?

I’m not saying this performance didn’t deserve applause; I don’t know the work. I do know Mr. Perlman’s playing, and I certainly can’t imagine not applauding him.

But, according to the review, Mr. Perlman is saying one should always applaud.

I’m just not sure about that.

Charles Schultz

15. January 2009 · Comments Off · Categories: Links

In a strip from 1953 Schroeder embarks on an intensive workout. He does push-ups, jumps rope, lifts weights, touches his toes, does sit-ups (“Puff, Puff”), boxes, runs (“Pant, Pant”) and finally eats (“Chomp! Chomp!”). In the last two panels he walks to his piano with determination and begins playing furiously, sweat springing from his brow.

The eighth notes above Schroeder’s head are from the opening bars of Beethoven’s “Hammerklavier” Sonata (Op. 106), a piece so long, artistically complex and technically difficult that it is referred to as the “Giant” Sonata. When Beethoven delivered it to the publisher in 1819, he is believed to have said, “Now you will have a sonata that will keep the pianists busy when it is played 50 years from now.”

I read this at the New York Times. Unfortunately I can’t get to the article now. I’m not sure why I could access it earlier, but I could.

Day Over

14. January 2009 · Comments Off · Categories: Ramble

I’m home. I’m tired. I’m frustrated.

I played okay. I received compliments. But it didn’t feel good, and that does matter. I do like the Amram, although I’d love to hear it from the hall, as I can’t hear the piano much from where I’m sitting. I have a pretty mini-solo (really mini) in it … actually I have two, I suppose, but the second doesn’t feel as important to me … and I like the way he writes for English horn.

The Respighi is a bit of a mystery to me. It’s loud. Very loud. Not throughout — the second movement is lovely at the beginning of it. But I can’t quite figure the work out. I’m hopeful that the light’ll go on tomorrow and I’ll fully wrap my ears around it.

While at work Dan called to tell me our credit card company had put a hold on our card and needed to check some charges with me. Of course I couldn’t deal with it until I got home, and for some reason the card is in my name (I don’t know how that happened!) so I had to be the one to call. Sure enough, there’s a charge that isn’t ours. This is the second time I’ve had this happen in my lifetime. I hope it’s the last. I recently charged something online from a company I hadn’t used before … I’m wondering if they are the ones who used my card. (I don’t want to name the company here, in case I’m guessing wrong.)

So now we have a canceled card. I’m not comfortable about my playing. And I think I need an attitude adjustment too.

But Top Chef is on. I’ll just watch food for a while. Maybe that’ll help. Even though there’s no chocolate in the house.

BQOD

14. January 2009 · Comments Off · Categories: BQOD, Ramble

Now comes the really difficult question: Are we instrumental musicians really creative artists? Painful to contemplate! Is the music we play in our various gigs true art, are we instrumentalists worthy to compare ourselves in any way with the likes of Shakespeare, Mahler, Hemingway, Mozart or even John Williams? Is playing a single line instrument in a symphony orchestra, a single sonic fiber, perhaps of great beauty, but only one colorful thread in a rich tapestry of sound, where real individualism and creativity is frequently discouraged, an art form? Or are we really just a kind of sonic soldier repeating our sonic tasks. And again I find myself forming uncomfortable questions that I avoid or am unable to answer.

I remember occasionally hearing great moments of magic from certain symphony musicians but it seems to me that today, that little bit of individualism, where we occasionally get to shine, has become a non personal non spontaneous approach to music making, i.e. the Sonic Soldier Syndrome.

I read it here — a new blog to me.

Thoughts?

Maybe because I play a solo instrument (English horn) much of the time, which has solos nearly any time it’s included in a work, I don’t feel quite “sonic soldier”ish. I dunno. But I do feel as if I get to be expressive and add my take on what I do. At the same time, of course, I do have to follow the written part. I don’t get to be a creator, for the most part, but I do feel as if I get to be creative. There’s a difference, but I’m happy to be doing what I do.

I wouldn’t ever compare myself to a composer, though. Or Shakespeare. Truth be told, I don’t usually compare myself to anyone else. I compare what I’m doing to what I’ve done in the past. Am I better? I’m I playing something worse? Have I added something new to what I am doing? Have I taken away something unnecessary? I think those questions can keep my fairly busy.

Well, that and whining about reeds.

(So stop practicing the oboe.)

14. January 2009 · 2 comments · Categories: Links

Current admissions officer, Ivy League university:

“Any admissions director who uses the line about needing an oboe player is lying. There’s no admissions person in the country with a clue what the student orchestra needs. More likely, Mommy and Daddy gave a $1 million donation. That oboe thing is just a PR ploy.”

Interesting … and of course the word “oboe” appeared four times in the article. Typical.

I happen to know that sometimes an oboist is admitted purely because he or she plays oboe. But only rarely. I can tell you I will no longer go to bat for an oboist who isn’t accepted in the school; if a student isn’t accepted academically, the student probably belongs elsewhere.

Oh. And the subject of this blog entry? Please don’t heed it. It’s just in the article, and I stole it from them. Because I could.

Now go practice your oboe.

Oh Cut It Out

14. January 2009 · Comments Off · Categories: Links, Opera

A cosmetic surgery opera? Yep. It’s happening. You can see pictures and here some of the music here.

I dunno. The subject matter doesn’t really interest me. The music didn’t exactly grab me either, but of course I didn’t hear much in that under 3 minute slide show.

But heck, I’d play it … let’s hope they didn’t cut out the oboe section. ;-)

Kind Words

13. January 2009 · 2 comments · Categories: Ramble

I have been going through (yet another) season of doubt. I tend to either be full of self-doubt or self-loathing.

Yeah, it’s all about me. All the time.

Anyway, I was feeling rather poorly about what I was doing on EH last night and worried about it today. During the break at rehearsal tonight our conductor for this set, Paul Polivnick, and a fellow musician who was out in the hall for the Amram (which he doesn’t play), both complimented me on my playing.

I have to admit that insecure little old me really needed that. It’s so helpful to get feedback. And of course kind and positive words are so encouraging.

Some conductors don’t realize we need to know if they are happy with us. They seem ready to let us know if they are unhappy, and I’m well aware that that correction is a part of their job. I’m okay with correction. But silence … well … it isn’t golden sometimes. If I’m doing something correctly, I’m extremely grateful to hear about it. Maybe it’s just me being self-centered, but there you go.

Of course now that I’ve been complimented I’ll worry like crazy that I’ll now disappoint those two people terribly the next time they hear me play, and they’ll puzzle over why they bothered to compliment me.

Yes, it’s true: you really can’t win with me. Go figure.

New New Music and Old New Music

13. January 2009 · 4 comments · Categories: Concert Announcements

Along with a Haydn symphony that doesn’t involve me (I’m on English horn this week), Symphony Silicon Valley is performing Respighi’s Feste romane and David Amram’s brand spankin’ new Piano Concerto No.1, with Jon Nakamatsu. Needless to say, I’ve never played the Amram before. But I’ve also never played the Respighi so while it isn’t new to the world, it’s new to me.

You can buy tickets. I won’t be upset if you do. I know you needed to know that.

BQOD

13. January 2009 · 1 comment · Categories: BQOD, Links

I wonder if any hero ever dared to play softly?

I love it! This is from Bass Blog, written by a bass player of a very well known yet unnamed orchestra. (Due to the orchestra saying “You can’t use our name” or some such thing, if I recall correctly. Silly, eh? So I won’t name that windy/second/big shouldered city here.)

Funny

13. January 2009 · Comments Off · Categories: Ramble

“My dear Wayne, what I love about your playing is its human quality. You don’t play like a machine. So mistakes will be made from time to time.” (Dramatic pause.) “Just don’t make that mistake again tonight.” (And he didn’t.)

Those are words of Sir John Barbirolli, according to this blog entry. You gotta laugh. Or something.

Read more. It’s about conductors. You know … those people who wave arms at us and expect us to make music. ;-)

I’m Certain He Meant REEDS

12. January 2009 · Comments Off · Categories: Links, Opera

From Opera Chic:

Abbado, famously an opponent of the current conservative city government of Milan, has just answered that he will come back for free, only if the city government plants 90,000 new trees.

C’mon. You and I both know he meant reeds. And they aren’t supposed to plant them. They are to provide them to oboists of the world. Duh.

BQOD

12. January 2009 · Comments Off · Categories: BQOD

To be in an orchestra, playing to your heart content to please the audience is such noble and happy thing to do…

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