The shirtless organist is playing Russia.

His tour image has been suitably toned down.

But the performance will be no less flamboyant.

The Japanese conductor, 82, has been advised by his doctors not to undertake performances after long journeys.

Ozawa, who has survived cancer of the oesophagus, has cancelled the Berlin Philharmonic in January.

From the Lebrecht Album of the Week:

You’d never know that Hitler and Stalin were banging at the door. A bagpipe wail in the fifth Divertimento weirdly anticipates Peter Maxwell Davies’s Orkney Wedding. Actually, Max would have loved this….

Uncover the composer here.

And here.

And here.

Shortly before his opening concert on Friday, Brown University told Brandon Keith Brown, music director of its orchestra, that he was ‘relieved of his duties’.

Apparently, students complained that he was too harsh in rehearsals.

Brandon Keith Brown came to attention as the audience favourite in the Solti conducting competition in 2012.

He has been unavailable for comment. Report here.

From our diarist Anthea Kreston:

This week, social media exploded with #MeToo. After the allegations and subsequent (finally, we all said) taking down of the powerful film producer Harvey Weinstein, women began to speak out. Millions put their stories on Facebook – and frankly, it would floor me if any woman, anywhere, would have managed to remain unscathed by sexual harassment/assault – I just can’t imagine it would be possible. It is such a regular part of my life, that the petty and daily occurrences normally don’t even faze me – they are expected.

I don’t need to go into details here – I am sure everyone’s stories are similar – but in a nutshell, my first experience was on a sleep-away trip in middle school. For some reason my best friend was not on the trip, and so I was alone most of the time. A group of three boys had (on retrospect) clearly chosen me for an experiment. They would corner me whenever they could, working up their courage and escalating their attacks, until I finally took a deep breath and told my teacher. Luckily she put an end to it before it got too out of hand, but suffice it to say those memories are sharp and clear.

From that moment on, the endless list of public transportation incidents, teachers hands lingering and moving south, the invitations to hotel rooms, overly-insistent boyfriends, being followed to my apartment at night, one stalking episode, a couple of more lavicious hands-on situations.

So, we avoid, we endure, we run, we slap, we kick, and we teach our daughters from a very early age to say “no” loudly, practice screaming it, talk regularly about what people can and cannot do to us, who to talk to, what to say. We warn our female students about the perils of private lessons with men. The power plays, the unequal standing which can easily go sour.

But – today I would like to include something from the other side. A voice of a man, Kenji Bunch, a friend, composer, father of two, and I couldn’t imagine it being said better. Here is Kenji (with his permission):

 

“You, too?

Well, as someone who loudly professes commitment to social justice here (on Facebook), you have my support and I have your back.

And as a man who has been complicit in helping to perpetuate our culture’s cruel dynamic of misogyny, you have my profound apologies.

Yeah, you read that right, I said it.

It’s interesting how many men here are quick to condemn the Harvey Weinsteins of the world. It’s low-hanging fruit to scold the unknown throngs of “other” men who must behave this way. That’s the convenience of social media outrage, like bemoaning a fart in the elevator, it deflects any implication of one’s self. It’s a little less comfortable to look honestly in the mirror and ask some tough questions.

I was raised at the nexus of two worlds which are arguably even creepier than Hollywood – classical music and academia. The infamous Access Hollywood clip was painful for many women to hear, and I won’t begin to compare my experience to theirs. But it was harder for me to hear for a different reason. I didn’t identify with the victims or with the aggressor, but I did, unfortunately, identify with Billy Bush, the sniveling, spineless enabler who giggled along with that horrid man as he spewed filth from his mouth.

At earlier points in my life, I have been that guy. I’ve done that – with older, revered teachers, with powerful impresarios, with successful musicians, presenters, conductors, professors, colleagues, older relatives, etc. Intoxicated with the perceived promise of acceptance into some fabled society of powerful brethren, I’ve laughed along, enabled, possibly even encouraged that behavior, never once challenging their words or the ugliness behind them, or examining my own tolerance of it. I was able to do this free of any consequence other than the accumulative weight of my own conscious.

And, like many self-centered men who coast along unchallenged, it took me the personal experience of looking at the trust, love, and vulnerability in my own daughter’s eyes to truly open mine to how profoundly unfair and unnecessary all of it is, and how I need to actively work to stop perpetuating this dynamic.

Toxic masculinity isn’t toxic in the way an uncontained nuclear meltdown instantly poisons its environment. It’s toxic in the insidious, circuitous way second-hand smoke seeps into a child’s lungs twenty feet away from the source. It’s sneaky and hard to pin down – which is why we overreact when a sweaty lothario like Weinstein gets caught. Remember how giddy we all were in condemning butter speciality Paula Dean when she was caught using the “N” word? It was like “Yay! We caught the racist! Now we can all breath a little easier.” Such outrage temporarily lets the rest of us off the hook since we can so clearly distinguish ourselves from the offending party.

But Weinstein didn’t harass the millions of #Me Too’s- somebody had to help him, and for every one of him, there are scores of other men like me who let it happen because we lacked the self confidence to stand up to it.

Maybe if we all really took to heart what we’re hearing now and relate it to how we, personally can help change this shameful cultural norm, we’ll make this right. Maybe it’s time to man up. For real.”

Thanks, Kenji. It’s about friggin’ time.

 

Lynne Powell, principal flute of the New Mexico Symphony Orchestra for 17 years, died last week at the family home in Santa Rosa during the devastating fires.

Report and video here.

 

Readers have been asking about the lack of activity on Slipped Disc for the past five days.

I have been in Shanghai while the Communist Party conference was on and access to western social media was more than usually resricted.

Despite these restraints it was warming to meet – at my lectures, book signings and media appearances – a substantial number of Shanghai folk who turn to Slipped Disc as their information source on classical music and related arts forms. Our readership is growing healthily in China. More on this subject at some other time.

photo (c) Yimei Wang, Shanghai

Michael Haas has written a fascinating paper on the Kulturbund, the cultural organisation that arose in Hitler’s Germany when Jews were banned from general musical activity.

Some of the recordings here are sensational.

Read and listen here.

Victoria Yellop was given a suspended sentence in July after a judge was persuaded that she had been bullied by a violent boyfriend into burgling a house she was looking after.

Yesterday, she was given another suspended sentence in Kent for causing serious injuries to a motorcyclist while driving under the influence of drugs. She said she had not used cocaine since the accident.

Court report here.

The St Louis Symphony Orchestra is in a good place.

For the fiscal year ended August 31, 2017, the SLSO reported its first operating surplus of the 21st century. On an operating budget of $30.3 million, there was a surplus of $18,000.

The endowment reached $214 million.

There’s a new five-year contract with the musicians.

Stéphane Denève will succeed David Robertson, who retires after 13 years as music director.

And everything’s coming up roses.

Press release below.

St. Louis, October 16, 2017 – Today, at its Annual Meeting, the St. Louis Symphony Orchestra celebrated the significant artistic achievements and community impact of its 2016/2017 season. The 137th season, which closed on August 31, 2017 with an operating surplus, was marked by inspired performances and growing audiences and partnerships. The operating surplus was a first for the organization this century, after balancing its budget on a cash basis in 2016.

Norman Eaker was elected Chair of the SLSO Board of Trustees. Eaker, a former Edward Jones Executive, succeeds Barry Beracha, whose distinguished tenure was marked by notable institutional and artistic successes including the appointment of President and CEO Marie-Hélène Bernard and of Stéphane Denève as the orchestra’s next Music Director.

Barry Beracha, outgoing Chair of the St. Louis Symphony Orchestra Board of Trustees, said: “The St. Louis Symphony Orchestra is more than just a group of musicians. At all levels of the organization, we are truly committed to enriching people’s lives though the power of music. Serving this national treasure has been a great honor and privilege. As we reflect on all that has been achieved over the four years I served as Chairman and as we celebrateDavid Robertson’s extraordinary tenure this year, I am eager to watch the SLSO build on its legacy.”

Marie-Hélène Bernard, St. Louis Symphony Orchestra President & CEO, said: “I am excited to take this opportunity to reflect on the artistic highlights and institutional milestones of the past year. I want to thank Barry Beracha for his tireless and devoted leadership. I also want to welcome Norm Eaker to his new role as Board Chair. Given the SLSO’s current momentum on all fronts as we celebrate David Robertson’s tenure and the orchestra’s 50 years at Powell Hall, the SLSO is well positioned to build on a legacy of artistic excellence and institutional stability.”

Key Institutional & Artistic Highlights:

 

  • New Five-Year Contract with the American Federation of Musicians

In January 2017, the SLSO and the American Federation of Musicians, Local 2-197, settled on a new five-year labor contract. The agreement was reached seven months early, providing over five years of labor stability for the SLSO. The new contract runs through August 28, 2022. Additionally, the SLSO settled a new five-year agreement with its stagehands through IATSE.

  • Stéphane Denève named next Music Director of the SLSO

In June, the SLSO announced Stéphane Denève as its 13th Music Director. His initial three-year term as Music Director begins with the 2019/2020 season. He will serve as Music Director Designate during the 2018/2019 season. Denève has been a frequent guest conductor with the orchestra since 2003. He will succeed David Robertson, whose distinguished 13-year tenure as Music Director will be celebrated during the 17/18 season.

  • John Adams at 70
    Acclaimed for recordings and performances of the works of John Adams, the SLSO presented a season-long celebration of his 70th birthday, culminating with a performance by the orchestra and chorus of The Gospel According to the Other Mary at Carnegie Hall. Additionally, the orchestra recorded the Adams Violin Concerto in September of 2016, with Leila Josefowicz and David Robertson, which will be released on Nonesuch Records during the 17/18 season. This will be the SLSO’s fourth recording of the music of John Adams for Nonesuch Records.

On September 30, 2016, Nonesuch released Scheherazade.2, also featuring violinist Leila Josefowicz and the SLSO with David Robertson conducting. Josefowicz received a Grammy nomination for Best Classical Instrumental Solo for Scheherazade.2.

  • Spain Tour 
    Supported by a leadership grant from the Centene Charitable Foundation, Music Director David Robertson and the SLSO traveled to Spain in February for a four-concert, three-city tour in València, Madrid, and Oviedo. While in Madrid, the trombones of the SLSO performed a pop-up concert at the main train station and visited a children’s hospital, bringing the joy and healing power of music to patients and families in the facility’s auditorium and ICU.

FY17 Financial Results & Community Support:

  • For the fiscal year ended August 31, 2017, the SLSO reported its first operating surplus of the century. Total operating revenue was $30.3 million, while operating expenses totaled $30.3 million, generating an operating surplus of $18,000. Earned revenue totaled $9.1 million, including $6.9 million in ticket sales.
  • The SLSO reported strong philanthropic support during the year, receiving $7.9 million from 5,406 donors contributing to its Annual Campaign. 32% of the donors were new to the institution.
  • The endowment reached $214 million. The SLSO also made strong progress in the quiet phase of its Realizing Greatness Campaign with $86.5 million raised to date for its endowment, for strategic initiatives related to Powell Hall, and for artistic, community and education programs.

Overall Reach and Community Impact:

  • More than 250,000 people experienced the SLSO at Powell Hall and across the region. The SLSO presented 219 total concerts, including 88 free events. 32% of the classical concert audiences were new to Powell Hall. There were 23 sold-out concerts, including four classical concerts and 14 Live at Powell Hall events.
  • Total ticket revenue grew 1%, despite two near sell-out concerts being cancelled due to inclement weather. 89,589 classical tickets were sold with 32% of those audiences new to Powell Hall.
  • Live at Powell Hall sales grew by 16% to $2.43 million, the largest since the inception of these popular programs, featuring sold-out programs, including Harry PotterTM and the Sorcerer’s Stone, Nelly, Ben Folds, and Singin’ In the Rain.
  • An estimated 275,000 people listened to the St. Louis Symphony’s Saturday night classical subscription concert broadcasts, either live on St. Louis Public Radio, 90.7 – KWMU or on its live internet stream. An additional 180,000 people tuned in for the SLSO’s Night at the Symphony broadcasts on the Nine Network.
  • More than 23,400 students attended education concerts at Powell Hall.

 

 

The American cellist Alisa Weilerstein, now based in Berlin, gives a typically forthright account of her life and thoughts in the latest episode of Living the Classical Life (first broadcast on Slipped Disc). She is playing Carnegie Hall tonight (Tuesday) and she tells Zsolt Bognar that she remembers every performance.

‘I could talk about each one individually,’ she maintains.

But at a certain point she realised she was getting played out. ‘The 140 concerts I did in one year was way too much. I’m very happy that I did it, and it was an exhilarating experience, but for me, personally, that’s not sustainable.’

Alisa, 35, was wise to cut back before burnout. Many don’t.

Watch.

The death is reported in Moscow of Fedor Glushchenko, an accomplished conductor who worked with many UK and European orchestras and made recordings for Hyperion and Chandos, among other labels.

 

In the 1990s he was head of the Arturo Toscanini orchestra in Italy and the RTVE Symphony in Madrid.

Latterly he was principal guest of the national symphony orchestra of Ukraine.