Yannick lures back lost principal

The Israeli-born principal trombonist Nitzan Haroz, who quit Philadelphia for Los Angeles two years back during a period of financial turbulence at the orchestra, has been lured back by music director Yannick Nézet-Séguin.

Press release below.

 

Nitzan

 

 

The Philadelphia Orchestra announces the appointment of Nitzan Haroz as principal trombone, effective immediately. Haroz returns to The Philadelphia Orchestra, where he was principal trombone from 1995 to 2012, after serving for two years in the same position with the Los Angeles Philharmonic.

Nitzan Haroz is the first principal musician appointed under the tenure of Music Director Yannick Nézet-Séguin, who said, “It is a wonderful moment to welcome Nitzan Haroz back to The Philadelphia Orchestra. We already made great music together during my time as music director designate, and I look forward to the return of his outstanding artistry to enrich our unique Philadelphia sound.”

“I’m very happy to return to Philadelphia, my family, and my colleagues of The Philadelphia Orchestra,” said Haroz. “I look forward to rejoining this rich musical community and to making music once again with these fantastic musicians.”

 

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  • Los Angeles really lost out big time with Mr. Haroz (they’ve had wretched luck with first trombonists since Ralph Sauer retired). Congratulations to the Philadelphia Orchestra on getting him back.

    I did have to chuckle at the mention of the “unique Philadelphia sound” — which hasn’t existed since Ormandy stepped down in 1980 and Muti quickly got rid of it. Still a great orchestra, of course. And no disrespect to Mr. Nézet-Séguin. But he isn’t Stokowski, and the Philadelphia will never have that unique, velvety string sound ever again.

    • Thanks God!

      The only unique thing we listen to on 40 up to 70’s records are the uniqueness of everything. From Monteverdi and Bach to Stravinsky and Shostakovich the sound is always the same in all section, but not just at the strings and their velvety.

  • So good to see our local band here in Los Angeles continues to be a tool which principal players of other U.S. orchestras can use to renegotiate their salaries with their preferred ensembles (cf. Mathieu Dufour.)

    • Financial matters were not relevant in causing Mathieu’s departure from LA and, if anything, they were even less important for Nitzan in reaching his decision to return to the East Coast. Besides, none of us knows who their “preferred ensembles” are. People have personal lives, you know, and there are many non-musical considerations in choosing where one wants to live.

  • During an interview, I remember when Mr. Dufour was waking out the door and made quite a faux pas by crapping all over the Los Angeles Philharmonic, saying how they lacked the “tradition” (and perhaps, the dedication) of an orchestra like Chicago. L.A. musicians were not amused. Whether one agrees with the sentiment or not, it’s a prejudice that has kept Los Angeles from being considered one of the best bands in the country by a lot of people — musicians included — despite Gramaphone magazine’s 2008 orchestra rankings and average salaries. The perception that Los Angeles serves as a “training wheels” orchestra from young conductors — Mehta, Salonen, Dudamel — and not a destination spot, doesn’t exactly help either.

    In the case of Haroz, I understand from other musicians in town that his wife wanted to be back east in Philadelphia and didn’t like L.A., so that might have played into it. But it’s a huge loss for the Phil.

  • The “Philadelphia Sound” of Stokowski and Ormandy is not just a matter of string tone. It is also a matter of lush winds and golden brass. If the orchestra was a little more involved in what instruments the musicians play, it might help. It doesn’t matter how well you play if you play on the wrong kind of instrument. There have also been several hires that were not based on musical talent alone. I believe the sound could return with a conductor with sensitive-enough ears, and some new instruments for some of the principals. And some new principal players. Why is Jose Serebrier never conducting, when he was Stokowski’s assistant? Ears have to be trained to hear the right way, to be truly color sensitive, to know how to develop the tone. Without it, it will only happen by accident. I agree that Muti destroyed the tone. Sawallisch brought it back partway. Ecchenbach did nothing. What does Yannick know?

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