Remember when I wrote that Vienna Phil had actually appointed a female concertmaster? Tim Smith now reports that what we thought ain’t necessarily so:
My diligent colleague Susan Elliott of MusicalAmerica.comreported Wednesday that the story is not quite what it seems, that Albena Danailova was actually named a permanent concertmaster of Vienna Opera Orchestra –not entirely the same thing as the Vienna Philharmonic.
As Susan points out, while Philharmonic members play in the opera ensemble, it doesn’t mean that everyone in the opera plays in the Philharmonic. So it appears that Danailova has not landed the concertmaster post at the august Philharmonic after all. Bummer.
Yep. Definitely a “bummer”. (And I thought I was the only one who used that word still!)
The renowned American baritone and Manhattan School of Music Distinguished Visiting Artist coaches select small ensembles comprised of students in the Orchestral Performance Program. The groups will study, transcribe, and perform pieces from some of Gustav Mahler’s most famous song cycles, including “Kindertotenlieder”. Presented in collaboration by the Distance Learning and Orchestral Performance Programs, the coaching will be open to the public on a first-come, first-serve basis, with no tickets required; additionally, the event will stream live at dl.msmnyc.edu/live.
William R. and Irene D. Miller Recital Hall
Tuesday, March 30, 2010 at 2 PM
Hmm. I’ll have to see if I can watch some of this. Could be interesting, yes?
There are two ideas about classical music that I hate, loathe and abominate: that this music is somehow “civilized” and that it’s somehow “relaxing.”
Somehow, classical music is what kids are supposed to listen to – if we want them to be responsible, sober and hardworking. Somehow, classical music is supposed to be the ultimate tranquilizer for the addled and the sleepless.
We also had those who had little concept of audience behavior by clapping between movements, and even clapping while a movement was in progress. Concerts (and concertos) require careful teamwork and skill, but it ain’t a football game. Wait until after the (concerted) touchdown to applaud, please.
So, once again, someone is reprimanding the audience for applauding at the inappropriate times. I guess this practice that some stick to and some want to dismiss will always cause problems, yes? (Read my earlier post here.)
Here’s the section that reviews the oboist:
Melanie Pozdol elected to perform Eugene Goossens’ Concerto, op. 45. Goossens, an English composer of the 20th century. Collaborating with her was conductor Ya-Hui Cheng. This concerto is in one movement with some intensely interesting writing and brilliant orchestration. Soloist, orchestra and conductor all excelled with the preparation and interpretation of this work. For the oboist, the work is indeed formidable in the amount of control and virtuosity it demands. Melanie matched the requirements and turned in a rewarding performance. Again, she has the ear, the musicianship and the stamina to be a fine member of the rare world of double reeds.
A friend and I were talking about what we do. We aren’t saving the world. We aren’t feeding the hungry. We aren’t helping the poor. The poor, in fact, can’t afford tickets to come hear what we do. I suggested that while we could quit out of guilt, or go play at a soup kitchen, the more well off deserve to be blessed as well (and I do hope that our music blesses them in some way).
But now I read this:
The homeless who line up for meals from the Our Daily Bread service center in the shadow of the Jones Falls Expressway might receive something in addition to the physical nourishment one Sunday in May. If current plans pan out, they’ll hear classical music performed live underneath the overpass by the Be Orchestra, a volunteer group of Peabody Conservatory students.
This new ensemble – the title comes from its declared mission to “be involved, be a part” – is the latest manifestation of an activist spirit that seems to have taken deep hold at the school during the past six years or so. Among recent student-initiated projects launched are Creative Access Music Outreach, which takes volunteer musicians into the community; and Junior Bach, with Peabody composition majors helping middle-school boys write music.
“A lot of this activity is coming up from the grass roots,” says Peabody director Jeffrey Sharkey. “It’s not necessarily being imposed on students. And I think it is a big trend, globally. More musicians than ever before are realizing that it’s not just about who can get into an orchestra. It’s about doing more than just playing an instrument.”
I did puzzle over the quote “It’s not necessarily being imposed on students.” … um … that necessarily makes it seem as if it sometimes IS imposed on them, you know? But anyway, I like the article, and I commend these students.
Why do you want to hear Duncan Sheik perform with the San Francisco Symphony?
Come up with the most compelling, interesting, entertaining answer – in writing, music, video, or any other way you want to tell us your story – and you and a guest could be the lucky winners to see Duncan Sheik live with the San Francisco Symphony Saturday, April 10! Plus, you’ll get an autographed Whisper House CD and you and a guest will get to meet Duncan Sheik after the show!
If you’re a member of San Francisco Symphony’s community you can enter.
I’m not going to enter. But I know what I would have written if I had decided to enter (and I know it wouldn’t get me a win, but still….)
So, wanna see what I would have written? Here goes:
Who?!
That’s right. I’ve never heard of the guy. Seems like that should be a good reason to get me in the house, you know?
But like I said, I’m not going to enter. I’m not usually one for contests. Which probably explains why I never win ‘em. :-)
Eric Whitacre is one of the names that I started to hear when Kelsey, our daughter, was in high school. She was singing in the choir, and if I’m remembering correctly they did something of his … maybe he was even there at some point? (Kelsey, what IS the story?) I think they were doing some of his music from Paradise Lost and I seem to recall it may have involved an expensive trip somewhere. Then again, I could have dreamed that up. Yes, I really do that!
But Eric Whitacre put together a virtual choir, having singers send in their video and then piecing it all together. He even awarded some of them their own solos. I find it very clever.
Lux Aurumque:
Maybe he’ll write something for a double reed choir and reeders here can “meet” on YouTube.
The Vienna Philharmonic, one of the oldest and most venerated orchestras in the world, has permanently appointed its first woman concertmaster.
Albena Danailova has been acting concertmaster since September 2008, making her the first woman ever in that position with the orchestra. The Bulgarian-born musician had been promoted from first violin — she was also the first woman ever to hold that job.
The world famous ensemble announced Saturday that she now has the concertmaster position after passing probation.
Established in 1842, the Vienna Philharmonic Orchestra was an all-male ensemble until the 1980s when women started joining its ranks.
A particularly delightful aspect of this evening was the apparent comeback of what was once utterly taboo in the classical music world: Clapping between movements.
Ten years ago clapping between movements would get you glared out of the building. But more and more audiences — either through enlightenment or simply not knowing any better — have brought back this original, historically correct way to show appreciation (classical musicians love it).
I read it here. As far as the “classical musicians love it” … well … it depends. Some do. Some don’t. I’ve found that the younger ones actually are more annoyed by the applause than some of us older folk. I enjoy it when it’s that spontaneous, just can’t help ourselves sort of applause. I don’t like it when it disrupts the mood.
Other people have jumped into this a bit. Some like it. Some don’t. Some don’t say.
I’m fine with applause after an exciting movement that simply calls for it. It really is spontaneous sometimes, and that sort of thing shouldn’t be denied (in my little opinion). At the same time, there are movements that call for a response of absolutely awe and silence. I think most audience members would sense that, although not all.
Currently the hushing and horrified looks that come when some poor unknowing (or knowing) soul applauds is as bothersome as applause at the wrong time … or maybe even more bothersome.
