The violinist continues our discussion on gadgets in the concert hall.

 

Allow me to thank three people who brought this important matter to discussion: my colleague violinist Yevgeny Chepovetsky, wonderful pianist Christian Zacharias and Mr. Norman Lebrecht whose brainchild, Slipped Disc, has become the ‘meeting place’ for the classical music community.

The subject I am about to tackle deserves much attention, but I will try to be short. As an optimist and as one who believes that for every problem there is a solution, I had recently performed a daring experiment, playing a recital in the fully packed, newly refurbished concert hall of the Israel Philharmonic in Tel Aviv. Doesn’t sound too adventurous, does it? Except that for two hours, my pianist and I shared our music with an audience of over 2000 people who sat in the darkness. (There were only twelve small electronic candle lights, a tiny spotlight for my pianist to read music, and the emergency lights we were obliged to keep.) Yes, my decision was to go to the absolute extreme — to free music of any distractions — so She, carried by the magnificent acoustics of the Philharmonic hall to the very last rows of the balcony, could penetrate and reflect the hearts and minds of my audience through their enhanced auditory senses. That was the concept of this experiment — to keep music pure, undiluted by the visuals, and make Her the sole focus for the listeners.

The repertoire choice was quite unusual, as well. In the first half of the programme, I performed the Second Partita by Bach for Violin Solo, followed by the famous Franck Sonata. After a short intermission, we repeated exactly the same programme. [A brief explanation as to why I had chosen the Franck sonata: When famous Belgian violinist Eugene Isaye (to whom Franck dedicated this sonata) premiered this piece, the electricity went out during the first movement. Isaye and his pianist decided to carry on with the performance, playing by heart in total darkness. “Magic…” “Hypnotic…” — critics and listeners described the performance. I think there’s a good reason why some artists, including Svyatoslav Richter, preferred to play concerts with very little or no lights at all.]

Back to my own experiment– after approximately 15 minutes of “adaptation” – the noise of coughing, sneezing, and moving in their seats — the “dust settled,” and people became absorbed in the music. There was nothing to distract them from the main reason why they were there that evening. Interesting observation: The audience’s level of concentration was higher during the second half of the programme. Why? Perhaps the material now seemed more familiar. More engaging.

For me personally, it was the greatest experience of my life! Judging from the recording that was made from the concert, there appears to be two different artists playing before and after the intermission. I can tell you with confidence that ‘an artist’ playing Bach’s Partita and Franck’s Sonata during that particular second part of the recital is The Artist I have always strived to be. Never before had I felt that level of concentration. As though taken to a different world, where infinity was compressed into a single moment of beauty, I became a listener – like everyone else in the concert hall – rather than a performer. My only worry was: “What if I am the only one here who is having an awesome experience? What if my audience feels nothing other than confusion about being in a dark concert hall?”

Afterwards, the audience members’ responses relieved me of my worry. They were diverse. Some told me that the atmosphere of the concert was electrifying; others found the experience soothing and meditative. There were a few listeners who admitted that during the recital their minds were wandering through ups and downs, making them uncomfortable, even desperate, exposing deep-seated feelings of remorse that resulted in tears. But the majority saw the concert as “a therapeutical, hypnotic experience” that allowed them to get in touch with their souls.” They thanked me and asked me to repeat the same “concert in the dark” again. That was the ultimate goal of my experiment — to show that the concert should not be about artists, not even about Music! Music is a conduit that channels and reflects the human range of emotions, tuning, balancing, and healing our souls.

 

Over the last century, the scientists have conducted numerous researches into ‘music therapy,’ trying to determine how music can influence our physical and mental being. Unfortunately, none of them have been conclusive and consistent, and just a few have been implemented. After staging my own experiment, I can state with assurance that the appropriate selection of music played at the right venue with the fitting atmosphere, can create an enormous impact on the listeners.

That is why we should advocate and promote the awareness of the importance of Music, whether it is classical, ethnic, or popular Music. For as long as Music carries a pure message and charges its audience with positive energy, we musicians will fulfill the purpose of concertgoers and may foresee the revival of the recording industry. Otherwise, we will soon become homeless musicians — “beggars” who are trying to sell something we believe in, while losing our believers.

Then there are our concerns about the YouTube’s music video clutter, Facebook glasses’ augmented reality, the brain chips turning us into potential super humans, and the terrible habit of multitasking during concerts. These worries become irrelevant for the reasons I will detail below.

I feel there is a need to distinguish between a classical music concert, a crossover show, and a recital that is aimed at nurturing peoples’ souls. Unfortunately, today everything seems to be mixed together. Let’s take YouTube, for example. Music, without being classified, can be found through the search system. In fact, we can find just about anything, under the condition, of course, that we know what we are looking for. The future of music lies in the hands of the younger generations that know how to search the Internet, but often know little about what they are trying to find. As a result, the abundance of the information at their fingertips often becomes misleading. A young person, seeking to hear and to learn about a Beethoven Symphony, for instance, ends up watching the footage that had received the highest number of clicks. Yes, that’s the indication of the quality today — the number of views and tweets, and interminable forums that give equal space to anyone who wishes to express his or her opinion — often, anonymously. Do not get me wrong, open discussions are vital, but they must be open. We should know the identities, as well as the levels of expertise, of those whose musical judgments serve as guidance for the young and inexperienced music lovers.

There is another problem. Almost all music on the Internet has been uploaded in a compressed file format, turning great performances into good ones. Why shouldn’t YouTube have created a special niche for classical musicians so they could upload their recordings in top sound quality rather than in compressed versions and classify them similar to the way music stores had done it in the past? Then the audience could differentiate between a great sound quality product (which costs, by the way, a few hundred thousand dollars to produce in a professional recording studio) and a good one (accessible easily and free of charge on the Internet).

Again, the Internet is a terrific tool to work with, but it can also be aggressive in dominating our lives, feeding our weaknesses, promoting the values that are vastly different from our own.

The choice is ours. But we should never underestimate the importance of a high-end quality studio recording. This is the most ideal sound presentation that a musician can deliver — technically and emotionally, while maintaining the aura of a live performance. This level of sound recording can rarely be achieved during a concert (we all know that the audience is never silent). Yes, there are technologies that can erase any noise, but along with muting the noise we also “wash away” some of the precious overtones that the recorded music allows us to hear up close. A studio recording preserves a more detailed, more intense performance, as the microphones are less forgiving than a human ear.

I was ten years old when I did my first studio recording with the Russian Melodia label. And since then, I use a recording studio in order to push myself to the absolute limits and get the best musical result. Through that experience, when I come on stage, I try to bring the same level of perfection and musical density during a live performance.

I must admit that listening to a studio recording is more challenging than watching a concert. The audial experience requires a higher level of concentration and patience that the visual. But we must learn to listen to music with our ears and not with our eyes.

I remember listening (with my eyes closed) to some of my early video recordings and not being very pleased with them. Then I watched (and listened to) the same videos, and, surprisingly, felt more forgiving. There is only one conclusion here. The next time we go to a concert hall to hear music, we should simply close our eyes to enhance the auditory experience. After all, that’s what music is about, isn’t it? As Dmitri Shostakovich said: “There is music that deserves undivided attention.”

Yes, I think if people go to a concert they should benefit from it with maximum effect. For example, we wouldn’t be multitasking while receiving a massage, would we? Probably not. Instead, we would try to relax and enjoy the experience, concentrating on our body and mind. Why not to do the same during those two precious hours of a classical music concert? To withdraw from our daily routine and worries, to reflect on our inner being, to connect with the forces of the universe that make us human.

As we all know, anything in life can take us a step forward while threatening to destroy us. But, as Nietzsche said, “What doesn’t kill you makes you stronger.”

The media, the Internet, the latest gadgets… Will these modern vehicles of the technological evolution destroy us while taking us to the next level of civilization?

As I declared in the beginning, I am an optimist. And I am a huge believer in Music’s untapped potential. She will forever provide us with that sacred place where we can be in harmony with ourselves and with the universe. All we need to do is allow Music into our hearts. And She will reward us generously.

Yours Maxim Vengerov

 

We hear that the Greek virtuoso Leonidas Kavakos has withdrawn from a Berlin concert due to ‘a very close family bereavement’. He is replaced at the DSO on Sunday by Christian Tetzlaff.

We send Leonidas our condolences.

Thomas Søndergård is to be music director of the Royal Scottish National Orchestra from September 2018. He succeeds Peter Oundjian.

Søndergård, 48, has been the orchestra’s principal guest since 2011 so they haven’t had to look far.

He is presently principal conductor of the BBC National Orchestra of Wales, which he will leave in 2018.

AskonasHolt have their thumbprints on the contract.

Obligatory quotes (does anyone read them?):

RSNO Music Director Designate Thomas Søndergård: “From the moment I was invited to stand in at the last moment to conduct Shostakovich’s Symphony No 11 nearly seven years ago I felt something important was going to happen. With so little time to prepare I felt we would have a lot of work to do, and yet once we began rehearsing our working relationship clicked in such a way that by the time of the performances, my first in Scotland, I think that together we were able to come close to the heart of this great music. Since then we have grown together, explored a broad range of repertoire, gradually pushing the boundaries of what is possible, and our connection is as strong as ever. It’s wonderful to have reached this point and I look forward to the future musical journeys to come in my tenure as Music Director.

‘I must thank Peter Oundjian for his tireless support and his invaluable contribution. This is an ensemble in great shape with an insatiable appetite for music-making. I’m delighted that Peter has agreed to continue his work with the RSNO after 2017:18. Scotland has a strong musical heritage and I feel privileged to play an increasingly involved role in the future of its national orchestra.’

RSNO Music Director Peter Oundjian: ‘I’ve enjoyed a tremendously fruitful time with the RSNO. The Orchestra’s passion for music-making is a thrill to be a part of. To welcome Thomas as my successor is both heart-warming and comforting, knowing that the musicians I’ve known for the past fifteen years will be in the most capable of hands. It promises to be a tremendously exciting future for Thomas and the RSNO and I wish them every success.’

RSNO Chief Executive Dr Krishna Thiagarajan: ‘In this business it is reasonably normal for the courtship of potential Music Directors to be relatively brief, a handful of dates before the decision is made. In this instance the musicians have had eight years’ experience of working with Thomas Søndergård, five of which as Principal Guest Conductor. That the Orchestra was virtually unanimous in its decision to appoint Thomas to succeed Peter speaks volumes about the strength of the relationship and the mutual respect they share. We hit the ground running with this appointment and over the next few years our supporters will witness their orchestra striving for new heights in performance and recording excellence.

‘I’d like to take this opportunity to thank Peter Oundjian for his outstanding tenure as Music Director, which has brought about a period of extraordinary concerts, tours and recordings. I’m delighted that Peter has agreed to continue his relationship with the RSNO as he is a superb musician who is much loved by musicians and audiences in Scotland and across the globe.”

Cabinet Secretary for Culture, Tourism and External Affairs Fiona Hyslop: ‘Congratulations to Thomas Søndergård for his recent appointment as the RSNO’s Music Director Designate. I am fully confident his extensive experience working with orchestras around the world will hugely benefit Scotland’s classical music-making scene and our communities, and I am personally looking forward to welcoming his first season in post. Thomas continues the outstanding work of his predecessor, Peter Oundjian, whom I commend for his excellent tenure as Music Director, for his successful tours in the USA, Spain and China and for steering the RSNO through its 125th anniversary. I expect the orchestra to continue to thrive and grow under Thomas’ guidance.’

 

 

 

Barrie Kosky at the Komische Oper has issued a statement in support of Kirill Serebrennikov, the Gogol Centre director who was arrested in Moscow this week, supposedly on embezzlement charges:

The statement reads:

We at the Komische Oper Berlin are concerned about the action taken and allegations made against the Moscow Gogol Center and its artistic director, Kirill Serebrennikov. Intendant Barrie Kosky said: “We got to know Kirill Serebrennikov in 2012 and again last year as an inspired, dedicated artist and a sincere person. We have arranged further projects with him. Amid narrowing freedoms for criticism and independent art and culture in Russia today, we hope to have a prompt and fair explanation of the allegations. We hope Kirill will continue his successful work in Moscow and beyond.’

Wir von der Komischen Oper Berlin sind besorgt über das Vorgehen und die Vorwürfe gegen das Moskauer Gogol Zentrum und seinen künstlerischen Leiter Kirill Serebrennikov. Intendant und Chefregisseur Barrie Kosky: »Wir haben Kirill Serebrennikov während der Zusammenarbeit in Berlin 2012 und im vergangenen Jahr als inspirierte, engagierte und integre Künstler¬persönlichkeit und als aufrichtigen Menschen kennengelernt und haben weitere Projekte mit ihm verabredet. Vor dem Hintergrund der sich verengenden Freiräume für kritische und unabhängige Kunst und Kultur im heutigen Russland hoffen wir auf eine baldige und faire Aufklärung der erhobenen Vorwürfe. Wir wünschen Kirill, dass er seine erfolgreiche Arbeit in Moskau und darüber hinaus ungestört fortsetzen kann.«

 

Paul Daniel has signed on again as music director of the Orchestre National de Bordeaux Aquitaine until July 2021.

Thierry Fischer will stay at the Utah Symphony until 2022. The orchestra has also given tenure to concertmaster Madeline Adkins.

 

 

Gemma New stays at Hamilton, Ontario, until 2021.

UPDATE: Donald Runnicles has renewed as principal guest with the Atlanta Symphony, to 2019.

 

 

It is reported by John von Rhein that the Chicago Symphony Orchestra has refused tenure to Alex Klein, the principal oboe, at the end of his probationary period.

The Brazilian virtuoso held the seat  from 1995 to 2004 when he was forced to retire with focal dystonia, a disability that affected two fingers of his left hand. His return last year was greeted as a personal victory over a debilitating condition, a triumph of the human will. During the season his artistry has been praised several times by Riccardo Muti, the music director.

The CSO’s decision to withhold tenure was communicated to Alex Klein last month. It is now being questioned by some members of the orchestra and by Klein’s attorney, who is demanding that the CSO clarify its reasons.

Neither side will comment until the process is resolved.

The death is reported on May 22 of Barbara Smith Conrad, a Texas mezzo who sang at the Met from 1982 to 1989 and won leading roles with Houston, Pittsburgh, City Opera and the Vienna State Opera. She was 79.

Barbara was in the first group of Afro-American students to be admitted to the University of Texas in 1956. After singing Dido in Purcell’s opera, she was attacked by whites students on her way home. The university then dropped her from the production.

Harry Belafonte stepped in with a pledge to pay her college fees wherever she wanted to study, but Barbara stayed in Texas, determined to defeat prejudice by achieving graduation.

At the end of her singing career, she was appointed professor.

The new security measures imposed at the Royal Opera House in the aftermath of the Manchester Arena atrocity will change the habits of operagoers.

Most people go to the opera straight from work, often carrying a briefcase or laptop. That’s no longer advisable, says the ROH.

So opera lovers will have to adjust their timeworn habits, either returning to the office after the opera to collect their essentials or making other arrangements.

They will, of course, adapt. This is a minor inconvenience in the face of a mortal threat. Londoners have proved themselves time and again to be flexible and cheerful. They have put up with much worse. They will stay calm and do whatever is required to stay safe and sane.

Nonetheless, the restriction on carrying personal belongings into the opera house is a rude intrusion of grim reality at the very moment when one enters a place of art, preparing to suspend disbelief.

 

Filmed in 2011, uploaded tonight.

Such a good sport.

 

The Hamilton Philharmonic Orchestra has extended the contract of music director Gemma New to 2021.

Dear

As you will soon be attending a performance or event at the Royal Opera House we would like to draw your attention to some changes to our security measures in light of the tragic events in Manchester and the raised UK security threat level.

You will notice an increased security presence at the Royal Opera House and we will take time to search all bags on entry. You can help us to make sure that this has as little impact on your visit as possible by doing the following:

Please plan your journey and arrive as early as possible.
Please avoid bringing any bags with you.
If a bag is absolutely necessary, no bag larger than a small handbag please.
If you do have large bags we kindly ask you to make alternative arrangements for their storage.
Please be patient with our staff as they check you into the building.
Your safety is paramount to us and your understanding greatly appreciated as we go through this difficult time.

We look forward to seeing you at the Royal Opera House for what will still be a wonderful experience.

Yours sincerely

Alex Beard CBE

Chief Executive

UPDATE: Editorial: No bags allowed at Covent Garden