Genrikh Neuhaus was the outstanding piano teacher in Soviet Russia. His pupils included Sviatoslav Richter, Emil Gilels, Yakov Zak, Tikhon Khrennikov, Alexei Lubimov, Radu Lupu and… Lidia Fikhtengoltz.

Still going strong. Her last reported concert was in Moscow, two years ago.

Film courtesy of Roman Mints

He could have been music director of the New York Philharmonic, if only Matthew VanBesien had offered him the job after fuelling speculation in the local media.

But Esa-Pekka Salonen, coming up for 60, has now reached ten years as Principal Conductor and Artistic Advisor with the Philharmonia in London and he’s not going anywhere soon. His new deal is ‘a rolling (evergreen) contract’, which usually means that the two parties walk on together, hand in hand into the unseen.

Esa-Pekka Salonen said: This is my tenth season as Principal Conductor and Artistic Advisor of the Philharmonia Orchestra, but it’s also something like the 34th year for me appearing with them as a conductor. In 1983, I took over a programme from Michael Tilson Thomas on short notice. I flew to London from Helsinki stepped onto the podium in front of the Philharmonia and was astonished by the warmth and flexibility I received from the players; I’ll never forget that.

It’s fun to look back, but better to look forward: this is a remarkable orchestra, and I’m honoured and excited to be part of it as we push into the 21st century together.

It has been announced in Munich that the 2017 International Ernst von Siemens Music Prize will go to the French pianist Pierre-Laurent Aimard ‘for a lifetime devoted to the service of music’.

Previous winners include Pierre Boulez, Olivier Messiaen, György Kurtàg and György Ligeti.

The prize will be awarded on 2 June 2017 at the Prinzregententheater.

We are thrilled to learn that former TSO resident conductor Victor Feldbrill, 92, has been named curator and conductor of next season’s all-Canadian program titled With Glowing Hearts.

It includes works by Archer, Beckwith, Champagne, Freedman, Somers and Weinzweig. Feldbrill will shares the podium with RBC resident conductor Earl Lee.

More here.

In a word, nothing.

Matthew VanBesien sent them a very long letter (published below) which gives no clue as to his reason for going on a job hunt. He leaves the orchestra after just five years and on the threshold of a painful transition.

Matthew VanBesien got a new job. The NY Phil is left floundering.

Letter to staff:

January 24, 2017

Please forgive the impersonal nature of this communication, but for those whom I’ve not had a chance to address this morning, it is timely I write to let you know today that I am announcing my resignation as President of the New York Philharmonic, effective May 1.  I am also announcing that in early July 2017, I will become the 7th President of the University Musical Society, or UMS, at the University of Michigan in Ann Arbor. 

I have made this difficult decision both professionally and personally, for it is no easy thing to leave a great institution like the New York Philharmonic and such great colleagues.  I am, however, excited to lead UMS in its next chapter, and proud to be succeeding a great colleague and friend in Ken Fischer (UMS’ President for the past 30 years).

As a bit of background, I began to know UMS and the University of Michigan back in 2011, when I attended a Chief Executives Program session at the Ross School of Business.  Following some Philharmonic tour performances at UMS in 2013, Ken Fischer and I began to discuss creating a multi-year partnership between our two organizations, formally launched in October 2015 with a truly amazing residency project.  The relationship between UMS, the University of Michigan has flourished, and I’m proud that the next New York Philharmonic residency there will take place in November 2017.

I’ve often introduced myself at public events here by saying that I have the great privilege to be the President of the New York Philharmonic.  I’ve meant it sincerely and profoundly.  These past five years at the Philharmonic, following leadership posts in Melbourne and Houston, and preceded by my years as a professional horn player at the Louisiana Philharmonic, have been an extraordinary opportunity and life enriching experience.  It has been both thrilling and humbling to play a role in the Philharmonic’s legacy, and I am eternally grateful to all of you – our Musicians, my colleagues on the Staff, our Board, International Advisory Board, the newly-formed President’s Council, and our wonderful Volunteers.

My tenure here has also been made more special through my close work with Oscar Schafer, Chairman, Peter May, Vice-Chair, and Gary Parr and Paul Guenther as dedicated and always helpful Chairman Emeriti.  Working with Alan Gilbert has been a terrific and rewarding experience, not only because of the great projects and programming we’ve all helped present, but also because I knew Alan from the very beginning of my management career in Houston, and I could not have asked for a better colleague and partner here.  And while not yet our Music Director until 2018, the opportunity to help select and appoint Jaap van Zweden will always count as one of the best experiences of which I’ve been part – I know Jaap will do extraordinary things here and I’ve let him know I will always be at the ready to help him in any way I can.  

One of the most difficult but exciting aspects of my decision is beginning a new career chapter after 25 years working with professional orchestras.  With all the challenges we face, I still believe that performing great music for audiences seeking a shared and transformative experience, is now more important than ever.  I have no intention of withdrawing from the important dialogues taking place within our art form, and hope to use my new role and platform to further explore how we will engage audiences and our communities in even greater measure.

Working with all of you and being your colleague has been extremely rewarding and gratifying for me, and the support and encouragement you’ve provided along the way has helped make me a better leader.  I have many things I am determined to accomplish with you before I depart later this spring, and will look forward to the next several months of working together.

My best wishes and thanks for your support.

Matthew

Matthew VanBesien
President
New York Philharmonic

At $5 a month, it appears to have been unviable.

Here’s the closure statement:

We regret to inform you that ClassicsOnline will go offline from 31 January, as our technology partner will cease operating the platform used for ClassicsOnline. Since customer support will be terminated, your subscription will cease on 31 January and the site will be closed down until further notice.

We have been notified of the death of Fred Lindeman, one of the Netherlands’ most influential instrument makers. He was 84.

The son of Jan W. Lindeman (1890-1971)an Amsterdam violin maker and restorer, he joined the firm in 1952 and worked there until his retirement ten years ago.

Lindsey Stirling, America’s top-selling violinist, has announced the death from cancer of her father, Stephen J. Stirling, a Christian educator.

Lindsey tweeted: My dad passed away early this morning. There is nothing to say that could express my gratitude for this amazing, selfless man.

The death has been announced of Jean Karakos, founder of BYG records, a distinctive French jazz label.

Frank Zappa and Eric Clapton were among his artists, alongside the celebrated Arts Ensemble of Chicago.

Anna Kasatkina, head of PR at the Mariinsky Theatre in St Petersburg and personal press secretary to Valery Gergiev, has been appointed director of the Primorsky Opera, the Mariinsky’s Pacific offshoot at Vladivostok.

Anna has made it clear that all creative decisions will remain in Gergiev’s hands.

press release:

The London Festival of Baroque Music announced today that Lindsay Kemp will be stepping down from his position as Artistic Director at the end of the 2017 Festival, in May. Festival Manager Lucy Bending has announced that she will depart at the same time.

Both have been in post for a decade. No reason given.

The easy-listening station marks its 25th anniversary this year.

It is seeking composers under 25 to write music that will not frighten the horses.

Apply here.

Press release:

Classic FM has teamed up with the Royal Philharmonic Society to commission six brand new pieces of classical music written by composers who are no older than the station itself.

The Classic FM 25th Birthday Commissions, in association with the Royal Philharmonic Society (RPS), launches today, as part of a year-long celebration for the UK’s number one classical music station. Alongside twelve months of special programmes, live concerts and events, Classic FM has joined forces with the RPS, one of the most important commissioners of composers since Beethoven, to look to the future and champion Britain’s outstanding young musical talent.

Young composers from all corners of the UK who were born on or after Classic FM’s first broadcast on 7th September 1992 are welcome to apply. When the station launched, its central mission was to make classical music relevant to everyone, and this mission remains at the core of Classic FM today. Entrants will therefore need to demonstrate an ability to write accessible classical music, for varying sizes of ensemble.