The Philadelphia Orchestra announced today it has scheduled a special, non-subscription concert devoted entirely to the music of Elliott Carter. The concert will take place Tuesday afternoon, Nov. 5, the first anniversary of Mr. Carter's death. The program is not final, but advance word is that it will include A Symphony of Three Orchestras, which the orchestra last performed in 1984, and the Flute Concerto, with principal flutist Jeffrey Khaner as soloist.
"We are very excited the board has approved this project," Yannick Nézet-Séguin, the orchestra's music director, said in a press release. "This will be a unique tribute to one of America's great creative minds. Philadelphia has been a mecca for new music since the days of Maestro Stokowski, and it has always taken Mr. Carter to its heart.
"We are expecting a sell-out crowd, and we are confident at least half a dozen people will stay for the whole thing."
Showing posts with label Yannick Nézet-Séguin. Show all posts
Showing posts with label Yannick Nézet-Séguin. Show all posts
Monday, April 1, 2013
Tuesday, October 9, 2012
And I had to speak French
Last Thursday, Oct. 4, I interviewed both Yannick Nézet-Séguin, the incoming music director of the Philadelphia Orchestra, and soprano superstar Renée Fleming for a preview of the season opener coming up next week. You can read all about it here. I will add only that both Yannick and Fleming were relaxed and chatty, which went a long way toward making me feel the same way.
At the end of my 25 minutes or so with Yannick, I told him I could not let the opportunity pass without making a request. He chuckled and told me to go ahead. I told him my favorite composer is Charles Ives — “Oh!” I heard him say — and the one symphony by Ives the Philadelphia Orchestra has never played is the Fourth. (It has played the first three, plus the two orchestral sets and the Holidays, but never the Fourth. It also has never played the Robert Browning Overture, but one step at time.)
He seemed surprised by the fact, and he said he would take the suggestion seriously. He has already met with management to discuss major works that do not yet belong to the orchestra’s repertoire, he said, and the Ives should be added to the list. So who knows? Maybe in another couple of years. I told him that if he does schedule the piece, I would attend every performance, which also seemed to amuse him.
In my first attempt to phone Yannick — at home in Montreal — I got the wrong number. A woman answered, and since Fleming, whom I spoke to earlier, had screened my call (someone named Paul answered), I assumed the maestro was doing the same thing. The woman sounded elderly, and for a second I thought maybe it was his mom.
I asked to speak with him, and she said, “Comment?”
So, reaching back to my high school French, I said something like, “Je voudrais parler avec Monsieur Nézet-Séguin.” She mumbled something I didn’t understand, and the line went dead.
At the end of my 25 minutes or so with Yannick, I told him I could not let the opportunity pass without making a request. He chuckled and told me to go ahead. I told him my favorite composer is Charles Ives — “Oh!” I heard him say — and the one symphony by Ives the Philadelphia Orchestra has never played is the Fourth. (It has played the first three, plus the two orchestral sets and the Holidays, but never the Fourth. It also has never played the Robert Browning Overture, but one step at time.)
He seemed surprised by the fact, and he said he would take the suggestion seriously. He has already met with management to discuss major works that do not yet belong to the orchestra’s repertoire, he said, and the Ives should be added to the list. So who knows? Maybe in another couple of years. I told him that if he does schedule the piece, I would attend every performance, which also seemed to amuse him.
In my first attempt to phone Yannick — at home in Montreal — I got the wrong number. A woman answered, and since Fleming, whom I spoke to earlier, had screened my call (someone named Paul answered), I assumed the maestro was doing the same thing. The woman sounded elderly, and for a second I thought maybe it was his mom.
I asked to speak with him, and she said, “Comment?”
So, reaching back to my high school French, I said something like, “Je voudrais parler avec Monsieur Nézet-Séguin.” She mumbled something I didn’t understand, and the line went dead.
Saturday, June 19, 2010
I keep missing birthdays
Thursday, June 17, was the birthday - 128th, I believe - of Igor Stravinsky, another of my favorites. Unfortunately, I have not had time to listen to any of his music, though WPRB Princeton, my classical station of choice, played his second suite for small orchestra that morning, which is what reminded me. Over the next couple of years, we'll celebrate the centenaries of the three big ballets, so there will be plenty of time for listening.
The Philadelphia Orchestra, my hometown band, announced this week it has selected Yannick Nézet-Séguin as its new music director. This makes only eight, I believe,in the past 110 years. But the tenures are getting shorter. The days are gone when a Stowkowski would stay for twenty years or an Ormandy for forty. Jet aircraft simply make it too easy to fly off to other gigs, and anyway, who really wants to live in Philadelphia if he doesn't have to? I suppose this kid will be a bright young presence, but don't expect him to stick around very long. He doesn't even start full-time until 2012.
Gone, too, are the days when the orchestra was a source of civic pride supported by private fortunes. Industry in this city has declined, educated listeners have fled to the suburbs, and subscribers are dying off. The orchestra's very days may be numbered.
In any event, I must confess I'm one of those indifferent listeners who have given up their subscriptions. Some have stopped coming because they say there's too much modern music. I stopped because there's too little. After 40 years of waiting for them to toss me a bone and program some Ives or Elliott Carter, I have gone elsewhere for my fixes.
In fairness, I should say that Ingo Metzmacher conducted the orchestra in a terrific performance of Ives' Second Orchestral Set a few years ago, before Verizon Hall opened. I mentioned to him then that the Philadelphians have never pplayed Ives' Fourth Symphony, and he could be the first to conduct it here. Nothing has come of the suggestion.
The Philadelphia Orchestra, my hometown band, announced this week it has selected Yannick Nézet-Séguin as its new music director. This makes only eight, I believe,in the past 110 years. But the tenures are getting shorter. The days are gone when a Stowkowski would stay for twenty years or an Ormandy for forty. Jet aircraft simply make it too easy to fly off to other gigs, and anyway, who really wants to live in Philadelphia if he doesn't have to? I suppose this kid will be a bright young presence, but don't expect him to stick around very long. He doesn't even start full-time until 2012.
Gone, too, are the days when the orchestra was a source of civic pride supported by private fortunes. Industry in this city has declined, educated listeners have fled to the suburbs, and subscribers are dying off. The orchestra's very days may be numbered.
In any event, I must confess I'm one of those indifferent listeners who have given up their subscriptions. Some have stopped coming because they say there's too much modern music. I stopped because there's too little. After 40 years of waiting for them to toss me a bone and program some Ives or Elliott Carter, I have gone elsewhere for my fixes.
In fairness, I should say that Ingo Metzmacher conducted the orchestra in a terrific performance of Ives' Second Orchestral Set a few years ago, before Verizon Hall opened. I mentioned to him then that the Philadelphians have never pplayed Ives' Fourth Symphony, and he could be the first to conduct it here. Nothing has come of the suggestion.
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