Philadelphia Memories

The Philadelphia Orchestra came to Kansas City this week. The concert was Wednesday night at Helzberg Hall and they were here as part of the Harriman Jewell Series. The Philadelphia Orchestra has been around a long time....since 1900 in fact...and has long been one of the "Big 5" (Chicago, Cleveland, Boston, New York, and Philadelphia) American Orchestras. They are known for their lush strings...a trademark defined by the likes of Leopold Stokowski and Eugene Ormandy, two of the most iconic conductors of all time.
Yannick Nezet-Seguin is their current conductor, a position he has held since 2012. He is signed through the 2025-26 season. I will come back to him in a moment.But first, I want to go back to May 19, 1981. That's when I saw the Philadelphia Orchestra the first time. Eugene Ormandy was still the conductor then, and he brought the Philadelphia Orchestra to Omaha, Nebraska for a performance at the Orpheum Theater. My Dad made sure we had tickets for this concert...I went with him and my mom. I wish I could find the program. I know it's in a box somewhere, but I do remember that they played Prokofiev's Symphony no. 1, the "Classical Symphony." To this day, it remains one of my most special concert memories. The "sound" was unbelievable...lush, rich...decadent. Every attack was precise. Every phrase was developed with care and intent. The dynamic range was almost limitless. We floated out of the Orpheum when it was over. My dad, who had already seen all of the Big 5, said it was one of the greatest concerts he had seen, and that says a lot.
Little did I know that just over a year later...June 17, 1982, I would see Maestro Ormandy conduct the Philadelphia Orchestra again, this time at the Mann Music Center in Philadelphia. The program for that performance was:
Prelude to Die Meistersinger - Wagner
Romeo and Juliet Overture - Tchaikovsky
Hungarian Fantasia for Piano and Orchestra - Liszt
Concerto in the Hungarian Style - Liszt/Tchaikovsky
Polonaise from Eugene Onegin - Tchaikovsky
Les Preludes - Liszt
Even outdoors, the sound was exceptional and the performance was once again stellar.
So yes, I have great memories and high expectations for this fine orchestra and I was curious how it would sound 36 years later.
A lot has changed of course since then. I don't know if any of the musicians in the orchestra today were part of the ensemble back when Ormandy conducted. From the look of it, very few if any were. The current ensemble appears very youthful, and much more diverse. Back in the day, it was almost all men. And I don't recall seeing any people of color then either. That's just the way it was. But not anymore. The youth and diversity of the musicians in the orchestra today is very inspiring. The technical prowess of the musicians today is also top notch. It was certainly evident Wednesday night. Every attack, every phrase, every entrance and all of the notes were rock solid.
The sound? Was it still the famous "Philadelphia" sound? I'd say so. Playing in our Helzberg Hall didn't hurt either! The strings were lush..sure...but I was equally impressed with the other sections too, and I thought it was a very well balanced sound. The strings did not steal the show, which, even as a violinist, I'd have to say is a good thing. Maestro Yannick has figured out that to win in the big leagues, one needs a good balance of offense and defense.
My friend Patrick Neas, whom I consider a music expert, is also a great writer for KC Arts Beat. Patrick wrote a great review of the performance, as well as a great article leading up to the concert for the Kansas City Star, and he interviewed David Kim, the orchestra's concertmaster. Kim told a story about asking Yo-Yo Ma if he believes the Philadelphia Orchestra still has that trademark sound. If anyone is qualified to answer that question, it would certainly be Mr. Ma. And he did confirm it is true...the famous sound is still alive and well.
As I have stated, I don't consider myself a critic and I that's not a role I want play. I do enjoy sharing my thoughts and reflections of a performance, but please take them as such...just thoughts and perceptions. I am not a music scholar. I just love music.
Nezet-Seguin has a ton of energy! He does not use a baton...just his hands, which he uses to great effect shaping, molding, pulling, squeezing, chopping and caressing every note, phrase, and sound from his musicians. On the podium, Nezet-Seguin MOVES...up down, around...he bends, dances, struts and pretty much any other adverb you can think of. He is clearly IN the music and it flows through him. The musicians watched him like a hawk. I could not always see his beat...but they never missed or dropped it. Especially in the Tchaikovsky...he and Ms.Batiashvili seemed to have some sort of mind-meld that kept them in sync..which he was able to relay to the orchestra at the speed of light.
Liar, Suite from Marnie by Muhly kicked things off. I had not heard this piece before and I enjoyed it very much. Some of the words/comments I wrote to express how I felt about it were: brooding, syncopated, rhythmic, pedal-tone oriented, somewhat beautiful but not sweet, angular, phrases are not aligned and very long musical lines. It felt like there were two pieces being played at the same time that were not necessarily lined up together...and that is why it worked so well. The oboe and trombone solos stood out, as did the gong, which was used in a sort of pedal fashion a couple of times, washing under the entire thing.
Lisa Batiashvili played the Tchaikovsky Violin Concerto. Played might not ever be the right word for this concerto. We now recognize this as one of the truly great violin concertos, but it did not start out that way. When it premiered in December 1881, as the program noted, the critic Eduard Hanslick wrote the famous review saying  "Tchaikovsky's Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear." Ouch. Tchaikovsky's brother Modest wrote that "Hanslick's criticism hurt Tchaikovsky's feelings very deeply. To his life's end, he never forgot it, and knew it by heart..." It is a very physical concerto and demands great stamina, huge chops, and courage I might say too. It demands everything a violinist has to pull it off well. The delicate harmonic passages immediately following a four-octave, lightning-fast arpeggio run illustrates the span of control necessary to play this "beast". I say beast affectionately...what was once vulgar and obscene in Tchaikovsky's day is now regarded as beautiful and inspiring. Depending on my mood, I might say this is my favorite violin concerto of all, even over Beethoven's or Mendelssohn's or Brahms'..
D major is great for the violin. It offers the most amazing double-stops for the biggest and brightest sound possible. (Beethoven and Brahms also used D major for their violin concertos.) I thought Batiashvili crushed it...just nailed it. Her technique seemed flawless to me. Her violin came to life and her tone was rich and warm. Nezet-Seguin and the orchestra did the most important thing well....they stayed out of her way. They played SOFTLY when she was playing. They did not overpower her nor get in her way. But when the melody or phrase was handed from the violin to the orchestra, they POUNCED! Pianissimo to Fortissimo instantly. And then back down to Pianissimo for the violin's next entrance.
The clarinet shined. The pizzicato of the strings was a highlight for me. How many times can you say that?!? I loved the doubled flutes in the Finale. It was pretty amazing that after the first movement and cadenza, her violin was still in tune! It is such a "shred" piece...I would expect the strings to surrender at some point. And so the violin and orchestra worked very well together...tempos, entrances, balances....all were excellent. Nezet-Seguin and Batiashvili were in constant communication, literally a foot or two from each other, making eye contact, facial expressions, smiling, and challenging each other to give it all they had.
And then there was a standing ovation when it was over. We were also treated to an encore. Accompanied by Nezet-Seguin on piano, Ms. Batiashvili played "None But the Lonely Heart," also by Tchaikovsky.
Then it was time for wine! Yep, there are several bars in the Hall that serve beer/wine/cocktails. So my mom and I had pre-ordered our wine for the intermission. We enjoyed this and took our traditional "cheers" selfie to share on social media.

After intermission, we were treated to Rachmaninoff's Symphonic Dances, Op. 45. The KC Symphony played this last weekend, so it was still fresh in my head. How cool to learn that Rachmaninoff composed this piece for Eugene Ormandy and the Philadelphia Orchestra and had its premiere in Philadelphia in 1941. This work really allowed Nezet-Seguin and the musicians to shine. Every section has substantial material to dig into.
The best line of the evening came after the Rachmaninoff. After much applause and bowing, Nezet-Seguin came out with a microphone and addressed the audience. I am paraphrasing here but he said something like "I feel like we've given you a pretty substantial meal. But you are used to BBQ...you have a little room left." With this, they treated us to a gorgeous version of Rachmaninoff's Vocalise. Rich? Yep. Lush? Yep. Decadent? Absolutely. I was totally full now...this was a very filling desert.
The Philadelphia Orchestra has not been immune in recent years to labor strife and fiscal uncertainty. It appears to be on solid ground now, and just like the KC Chiefs, the Philadelphia Orchestra has the right quarterback at the helm and will be in good hands for many years to come. Thank you for coming to our city and treating us to such a great performance.

The best season of all...Kansas City Symphony Season!

"There's nothing quite like the happy expectation and excitement of a new season!" - Michael Stern

Saturday night (last night as I write this) was the first concert of the new season of the Kansas City Symphony. Once again, my mom (Judi) and I are season ticket subscribers and we have the same seats at Helzberg Hall (Lower Grand Tier Left Row AAA Seats 515 and 516). I love the side view from these seats. The sound is still excellent, but we get to see the expressions of the conductor more than if we were in the center of the Hall.
Fall is here. My kids have both returned to college....the house is very quiet again. My wife is back to work (she's a 5th grade teacher). Kids everywhere are back to school. Football season is here, and baseball is getting close to postseason play. The weather is still warm, but the days are shorter and the light from the sun is beginning to move farther away from us."But the days grow short when you reach September." - September Song
I was really looking forward to the start of the new symphony season. With all of the changes happening around me, I have been feeling a bit blue lately. These regular doses of live music mean so much to me. The chance to spend time with my family on these occasions is equally special. I usually go with my mom to 3-4 of the concerts, she takes her sister to one, and I take Cheryl to the others. In addition, there are usually 3-4 concerts that are not in our series that I want to see every season, so we pick up tickets at the box office for these additional performances. These outings bring us together and surround us with the great music and people all year long.
Frank Byrne, the Executive Director of the KC Symphony, started things off by welcoming us all back for the new season. This is Mr. Byrne's last season as Executive Director, a position he has held since 2002. He announced his retirement in May and he will be truly missed. Under his leadership, the Kansas City Symphony has established itself as one of the most financially sound and artistically gifted orchestras in the nation. I have always appreciated the sincerity and warmth he brings to his pre-concert announcements, as well as his infectious passion and enthusiasm for the music and the musicians of this orchestra. I think I can speak for everyone in the audience when I say, he makes us feel at home in Helzberg Hall.
Saturday's performance began with a rousing rendition of the Star Spangled Banner. (Neither my mom nor I took a knee...nor did any of the musicians or audience members in case you were wondering.) We all stood proudly.
Maestro Stern then made his entrance and he too took a moment to welcome us back for the new season. He has such a great rapport with the audience and he makes it feel like he truly cares about each one of us. He also has a wonderful sense of humor.
Maestro Stern explained the thoughts behind the programming of this concert. Dancing is the central theme...Rachmaninoff's Symphonic Dances, Aaron Jay Kernis' New Era Dance, and Beethoven's Triple Concerto in C major (the final movement is a polonaise based on a Polish dance.)
I had never heard the New Era Dance, so I was looking forward to it. At only six minute long, it is a furiously paced, almost helter skelter rhythmic extravaganza. Tons of percussion, sirens, whistles and musicians chanting are just a few of the many elements in this piece. This got the concert off to a very fun start.
Next on the program was the Beethoven Triple Concerto. I must confess that I had not heard this piece until the day before when I listened to it for the first time at home. Former concertmaster of the KC Symphony, Noah Geller, was joined by our current Principal cellist, Mark Gibbs, and pianist Sean Chen, as the soloists. As soon as the downbeat was given, they were off and running with unbridled enthusiasm. Geller was dancing as he played, Gibbs, though seated, was swinging and swaying, and Chen was also bopping about on his piano bench. Logistically speaking, this seems like a difficult piece to pull off. When there is only one soloist, balance and coordination between the orchestra and soloist can be very challenging. But with three soloists, it must be three times as hard. Stern had his work cut out for him, especially with his back to the three soloists. Chen also had his back to Gibbs and Geller, and he was frequently stealing glances behind him to make sure they were still there...which they were. Each soloist displayed technical mastery of their respective instrument. Geller and Chen also had outstanding intonation and tone. There is a "pocket" that musicians have to find with respect to tempo when they play together. It is not a rigid metronomic absolute...there is a bit of wiggle room that allows the musicians to gel..they can push the temp together or they can pull it back if they want. So long as they stay together, the music will work. These three guys found the pocket and the orchestra did not get in their way, which is their job.I felt like the tempi in the Beethoven were really a lot of fun.
The orchestra played with light touches...it was not too heavy nor ponderous. And the overall balance was just right.
Following the Beethoven, the three soloists played a very jazzy piece as an encore. I could not hear Sean Chen's announcement of the piece they were playing...so I don't know what it is, but it had a jazzy-ragtime feel to it. Very fun. Very danceable.
Intermission at Helzberg Hall is also a special part of the evening. There are bars all throughout the place stocked with beer, wine, cocktails as well as coffee and cookies. Our usual treat is a cold glass of wine. Cheers.

We talked about the first half of the program and enjoyed people watching while we sipped our wine. The audience at these concerts is very eclectic. One sees people of all ages, styles and backgrounds. I am especially happy to see so many young people coming to these concerts. They are critical for the future support of the performing arts in this, and all communities.
Before the second half started, Maestro Stern once again took the microphone and spent a few moments welcoming the newest members of the orchestra. He made a funny comment about how Noah Geller "used" to be his friend...alluding to Geller's departure to the Seattle Symphony after a long run as our concertmaster. I'm sure it is bittersweet to say good-bye to such a good friend and colleague...and after delivering this funny zinger, he made the comment that once you are in the family, you will always be in the family. This really stuck with me. Over the years, Stern has often referred to the musicians of the KCS in terms of family. It comes across in a very genuine way...and even those of us in the audience have this feeling. Week after week, year after year, we attend these concerts and become familiar with the musicians. We feel like we know them to some degree, and develop a real sense of appreciation and admiration for their art.
Another question I did have...my mom and I both noticed this....Maestro Stern made a funny point of needing his glasses to read the list of new musicians this year. But he does not use glasses to see the tiny print of the score while he conducts. What's up with that?
Rachmaninoff would have been pleased by this performance of his Symphonic Dances. First off, he was a genius to include a saxophone in the orchestration. The smooth, velvety tone of the sax in the opening movement is irresistible. I only wish it was used in more than the first movement!
Each section played great in my opinion. Our trumpet section has a very polished, bright tone. They look so calm back there but when they play, the sound shoots out from the stage like a tonal-laser. The horns are so solid. They are the backbone of any orchestra. Our horn section can do the heavy lifting needed, but they are also capable of great touch and tone. The rest of the brass section and our new tuba player are rock-freaking solid.
Woodwinds? Check. Go down the list and you won't find any weakness. Strings? Lush. They would make Nelson Riddle and Gustav Mahler proud. Percussion? We have that too...covered like a blanket.
I am not an expert, and perhaps there were kinks in this opening performance. Just watching the opening week of college and NFL football, you can see it takes time for teams to get into a rhythm. But I did not detect that in the KCS performance this weekend. Entrances and attacks were sharp. Intonation and tone were excellent. Tempi were solid. It seemed to me like they are already in mid-season form. I can't wait for the next concert.

Rachmaninoff made six concert appearances in Kansas City between 1920 and 1938. I wrote about this a few years ago. In case you have not seen it, here is the link.

http://timhazlett.blogspot.com/2014/11/sergei-rachmaninoff-in-kansas-city-and.html

Haydn completed, Coca-Cola a la Grieg, and a profound Mahler 6 for 9/11.

I finished the Haydn listening challenge this past week...I listened to all 104 of his symphonies in consecutive order. What a journey it was. I liked and respected Haydn to start with, but I came away with a much deeper appreciation for his music and the depth of his creativity. I can see why his later works are played most often...they are his deepest and most mature works, in my opinion. But all throughout his career, there are many great melodies and expressive ideas. I had to put much of my other musical interests on hold to get though this process, so I was a bit relieved that it was over....but not really.

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Once again, the music of Edvard Grieg is being featured in a national advertising campaign. And no surprise, it is "In the Hall of the Mountain King" from his Peer Gynt Suite (1867). Here is the television ad;

And the irony here is that it is possible, however remotely, that Edvard Grieg actually drank a Coke. Coca-Cola was first sold in 1886 in Atlanta. It was first brought to England on August 31, 1900, albeit a very small quantity was available. Grieg made many trips to England between 1862 and 1906. Who's to say that he didn't have a Coke while he was there in 1906?!?

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As we reflect today on 9/11, I am listening to a CD that is quite extraordinary. 

This stunning performance of Gustav Mahler's Sixth Symphony was first recorded on September 12, 2001. I heard this CD for the first time a couple of years ago, and not in September. I have many Mahler 6 recordings, but this is one is special. Not only because of the performance, but also the circumstances surrounding it. As I read the liner notes and I saw the dates it was recorded, I was floored.... How could the musicians and the audience deal with such an emotional piece of music the day after the 9/11 attacks? The Mahler Sixth is known as the "Tragic" Symphony. It was scheduled to be performed and recorded live in Davies Hall in San Francisco from Sept 12-15, 2001. But then the world changed....There were discussions about canceling these performances in light of the tragedy, but it was decided to go forward. When I listened to this recording a second time, knowing these circumstances, it took on an even more emotional dimension. Here is what Michael Tilson Thomas wrote about the Mahler 6:

Mahler Symphony No. 6 in A Minor

"Composers before Mahler had been great and expressive communicators, but no one is less guarded than he in his emotions and in the intensity of what he asks us to experience with him. His Sixth Symphony is a work of enormous exploration, of testing musical limits. Here Mahler has pushed his technical abilities as a composer and his perceptual boundaries as a human being. His first audiences were shocked and frightened by this new kind of soul-baring music. He himself was so unnerved by what he had done in his Sixth that he was in tears at the first rehearsals. The Sixth looks unflinchingly at the obsessive, destructive nature of man, the unremitting capacity of humankind to hurt itself. In its final pages, it regards destiny and realizes there will be no mercy. But there is more than despair in these pages. There is utter honesty, humor, tenderness, and, in the third movement, homage to the power of love. Mahler said that a symphony should mirror life. His entire symphonic output is a testament to that belief, and nowhere did he realize this credo so powerfully as in his Sixth Symphony. In listening to the frenzy and sorrow of this music, it is difficult to grasp how someone experiencing these feelings could write them down. Mahler himself doubted that he could compose this and maintain his sanity. But the Sixth is an extraordinary example of his desire to communicate, his need to tell others that they were not alone in experiencing the existential terror that has so sadly become a part of modern life. The need to communicate was, ultimately, what brought him through the process of composition, and what enabled him to write this Herculean piece. It is his faith and commitment to the comforting and transforming power of music that has inspired us in giving this performance and that we hope will be felt by our listeners."

—Michael Tilson Thomas, from liner notes

A review in Gramophone Magazine said this as well:

"In the shock and confusion on the day after 9/11, once the sound of Mahler's anguish reached out from the stage, there was no one among the musicians or the audience staying outside, looking in. An instant community was born, it coalesced in experiencing the pain and beauty of the Sixth. There were tears, but also a temporary closure, a tentative catharsis."

The power of music to heal, to unite, and to inspire is undeniable. This is a supreme example of that.