…so I think it might be a good time to BLOG a little bit.

Since I’ve been in LA and SF, I’ve taken it a lot of music … The Album Leaf, Devendra Banhart, Gilberto Gil, Stevie Wonder, and Matmos. The best concert was … wait for it … STEVIE WONDER. I was in the presence of a real living music god. I haven’t felt that way since I was around Ella Fitzgerald back in the day or Rostropovich - you get the idea. Please don’t miss seeing him live if you get the chance. He sounds perfect, his band and orchestra is hella tight (the string players DANCE for a good part of the show), and he somehow manages to play three hours of happy songs without being tedious. That is not easy. In fact I don’t know of any other living musician who has explored so many iterations of joy and happiness with such success. The other concerts were great too but … STEVIE … wow, how fortunate I was to have seen that.

I was in KW last week doing some VISIONARY PLANNING for the orchestra, and one thing we discussed is how to be innovative, I mean really innovative. One thing that always comes up is programming. Heck there was even a BIG ARTICLE about this in the New York Times recently. I, for one, didn’t find any of the programs mentioned particularly innovative, but I did find most of them good, artistic, musical experiences. I’m looking for more. It’s not the food that’s bad, it’s the the room, the vibe, the tired, non-inclusive, ritualistic, society-oriented presentation of music that the orchestra biz hangs on to for no good reason and which does them no service. Now there are some hardcore chowhounds like me who will go eat great food in an unappealing setting, ’cause the food’s just so damn good. But if I were a chef (and I am, d’orchestre), I would want my meals served in an attractive, modern place with good lighting and a hot wait-staff. The atmosphere of an orchestral concert is generally similar to the kind of stuffy restaurants Monty Python used to make fun of (with “waffer-thin” mints). I know some of the halls are old, but the vibe could still be spiced up quite a bit. With programming, I think there’s nothing new under the sun. It just has to be good.

I just got back from Chautauqua which is a strikingly unusual place. It’s a retro-utopia for intellectual white people. These folks (and there are thousands of them in this gated community) will go to a foreign policy lecture in the morning, then go water skiing, then see the symphony, opera, or ballet at night. This happens every day. It’s full of Victorian houses shoved really close together which goes against my personal idea of a summer retreat (which is to be in the woods far away from most people). All this being said, it’s an inspiring thing to see so many people willing to give up their personal space to spend the summer with ART and IDEAS … at the same time. I’ve never seen anything like it.

While there I had a long chat with a conductor friend who has a different take on music and programming than I do. He’s fiercely committed to a few pieces he really believes in — at the expense of many others. He was very proud of how small his repertoire was. I was kind of put off by that (Symphonies of Wind Instruments is BAD? Copland only wrote one good piece?), but I also admired how much he loved works he loved. I like lots of music, but sometimes feel I’m being stretched thin as a result of my broad tastes. I guess we all commit sins as artists, either by liking too little music (like him), or too much (like me).

Damn — I’m still stuck at O’Hare, even after all this blogging.

one of my biggest musical influences, reflects on Die Soldaten in NYC and 20th Century Art Music in General.

“This is elitism of a different sort. If one can’t be fêted by the handful of patrons at the Met, then one can be just as elite by cultivating an audience equally rarified in the completely opposite direction. Extreme ugliness and unpleasantness becomes the mirror image of extreme luxury and beauty.”

…

“As classical music followed this bizarre, perverted road for some half of the 20th century, the audiences left in droves. I hope the composers were pleased, because it seems they got what they wanted in that respect. Their compositional ideas live, and even thrive in movies; but as a form of music and music-theater, they simply died — rumbling and roaring all the way.”

In many ways I agree with David B. — but I still love a lot of the music, after I learn it. But what about the audience?

I grew up when this kind of music was already in decline, so I wasn’t indoctrinated into it as so many music students were. I still can’t figure out why it happened — why did the fringe become the center? Why is the emotional expression of this music so primitive, when it’s “processes” are trying to be so complex (which they really aren’t, compared to, say, Bach or Bartok)?

Back to normal again after the Sgt. Pepper show.  It was fun (see above)!  Here is a short list of things about this concert that I wish happened in classical music more often.

1. Everyone knew every note of the music we were playing 

2. I got to wear a rockin’ outfit (I’m the guy on top with the vest)

3. I got to sing backup

We’re working on Sgt. Pepper’s again at the Hollywood Bowl with Cheap Trick and Co. The band sounds amazing, and Robin Zander again blows me a away with his vocal power and ability. The entire band is so focused and tight, but the atmosphere is relaxed and fun. That’s the way to rehearse. I spent a lot of time working with the musicians on background vocals this time, trying to get the voicings right and the kind of light, blended and punchy sound that the Beatles had. It’s amazing how well the musicans play by ear, nailing every harmony perfectly off the top of their heads — it’s something I wish I could do better. I guess I process music through the page first, but it seems much more primal to process music without the eyes, using only the ears.

Speaking of that — I’m finally getting to see Stevie Wonder on July 7! I think he may be the best musician making music right now, period. Check out this report of a recent concert. I’m so there!

I finally got around to updating next year’s schedule on this site. Feel free to check it out if you are interested in such things. It’s the usual assortment of music and projects that are typical for me — meaning they’re all over the map!

Well it’s been a while since I posted. Since we last checked in I finished the season with the KWS, including a wonderful performance of Les nuits d’été with the fabulous Measha Brueggergosman. She has a nice history with the orchestra, having done her first Verdi Requiem and more with the orchestra. She has the bearing of a diva, but the truth is she is a very serious, no-BS musician who likes to work things out. We have plans for future concerts in KW, and they are cool.

After the season, Tom and I spent a week in “cottage country,” Stratford, Niagara Falls, Niagara wine country, and Tornoto. It was nice to hang out in Ontario with out work hanging over my head — it’s a beautiful, fun place to hang. Next summer I have to get more of my Cali friends up here.

Then three days in Cardiff, Wales with the BBC National Orchestra of Wales (BBC NOW) for some radio recordings. Britten Cello Symphony with Danjulo Ishizaka and Hindemith Schwanendreher with Maxim Rysanov. These are two concertos that I’ll probably never get to do live without some serious explaining, but they’re both great works. The Cello Symphony in particular is not easy going for the listener. The music makes me feel trapped and empty. It is full of the intense yearning you find in Peter Grimes, but yearning for what? Britten never exactly answers the questions he poses in his music.

Now I’m back in SF, and I must have serious jet-lag because I heard Mahler’s Adagietto in the men’s locker room of my yuppie gym. This kind of stuff is what drove Daniel Barenboim out of this country. Anyway, I would like to believe that it subtly reminded all of us trying to keep fit, that we’re all gonna die anyway.

When I was in high school, spending hours and hours listening to Beethoven string quartets and Mahler symphonies, I wondered to myself, “how is this music making me feel this way?” When I arrived at Harvard and started taking Music 51, this question began to be answered, thanks to John Stewart.

John Stewart is a composer and an educator, protégé of Harvard professor Luise Vosgerchian, who in turn was a student of Nadia Boulanger. John carried on the Boulanger tradition teaching harmony with only one “texbook” — the Bach Chorales. He knew every chorale inside-out, and taught us harmony from the ground up, using Bach for every example. What was extraordinary about John was that he taught us the why of harmony, not just the what. Every example was demonstrated with wonder at Bach’s achievement, and an emotional reaction to Bach’s every harmonic move. I like to think that I carry these emotional reactions with me when I perform, understanding the music simultaneously with the mind and the heart. If I am successful in this respect at all, it is thanks to John. Every week when I travel to conduct a new concert, I bring my scores, my tails, my batons, and John Stewart.

John is retiring from Harvard, and it’s not entirely clear that this wonderful tradition of music education will continue there. In fact, it’s rare to find this kind of awareness of harmony in many places these days. That’s because it takes great knowledge, effort, devotion and love to teach it. I hope the tradition that John inherited and passed on will continue. I’ll do my best in that respect.

For John’s retirement concert, there was music by Bach, Stravinsky, and John Stewart himself. It was played by his current students, former students from violinist Joseph Lin to jazz great Don Byron. We ended by singing a Bach chorale together.

John’s music held up very well with the two other greats on the program. That bodes well, since John plans to devote a great deal of his time to composing. Though I imagine that if some wise and curious music student came knocking at his door, he might be able to lend a hand. He is a truly great and generous person — so how could he resist?

electric:

acoustic:

I’m saddened that the Columbus Symphony plans to close its doors at the end of this season.  For me, making music with them was one of the highlights of the year.  They are a first rate orchestra, truly engaged with the music.  They stand out from the crowd.  

I hope more support comes forward from the community.  ”Downsizing” the orchestra isn’t a good idea.  Once that decision is made, it’s hard to come back — the orchestra would be a shell of its former self.  I’ve seen it happen.  It’s kind of like tearing a piece out of a painting, or cutting the nose off a statue and saying, “well, at least we still have a statue.” 

Columbus certainly knows how to support certain things — its support for Ohio State football is mind-numbing.  I hope they will find it in their hearts to support this wonderful institution and its musicians and staff.  Truly beautiful things are growing more and more rare in contemporary culture, they need to be loved and cared for.

Some readers have let me know that if you google me, you’ll find out about Viagra, anti-depressants, and even a little good ol’ fashioned porn. We’re working on this — and no, it’s not some hot new marketing strategy to attract newbies to classical music. Though if I see a big jump, I shall notify the League of American Orchestras immediately.