The composer George Crumb, 90 last week, is mourning his daughter, the Broadway performer Ann Crumb, who died last night at home after a battle with ovarian cancer.
Ann appeared in the original 1987 cast of Les Misérables and was nominated for a Tony Award in 1993 as Anna Karenina.
Alondra de la Parra fell sick in Brisbane an hour before concert time.
It so happened that local-born Dane Lam, a protégé of Kurt Masur’s, was in town. He writes:
Tonight was an extraordinary night: I jumped in at an hour’s notice for @qsorchestra Maestro series concert. I thought I was attending as an audience member when the phone call came!! It was an honour to look around at so many familiar faces of an orchestra I grew up watching: teachers, friends, colleagues, classmates. It was a pleasure to make music with you all. Also thought of dear Maestro Masur as we played a beautiful Pastorale. Bravissimi!
Wishing @alondradlp all the best wishes for a speedy recovery. Hope you’re feeling better soon.
The viola player Kyoungmin Park has been granted permanency in the Berlin Philharmonic Orchestra 21 months after she started playing. The usual trial period is two years.
Ms Park is the first Korean to be admitted to the elite ensemble.
The Lebrecht Album of the Week is an unexpected compilation of cello concertos by Jewish composers:
Jewish composers write violin concertos first, piano second. All other instruments are also-rans.
Credit, then to Raphael Wallfisch for dusting off cello concertos by three Jews…
And here.
More, please? Well, there’s Ligeti, Weinberg, Goldschmidt, Morton Feldman…
Simon Stone’s new Munich production of Erich Wolfgang Korngold’s Die tote Stadt features Jonas Kaufmann as Paul, a decadent role he has never sung before. Marlis Petersen and Andrzej Filończyk make up the star billing. Music Director Kirill Petrenko conducts.
Very hot ticket.
Madeleine Careau, director-general of the Montreal Symphony Orchestra, has responded swiftly to disobliging remarks made by the pianist and conductor Andras Schiff, who declared ‘a major incident’ with its musicians. She has written to the newspaper Le Devoir (English translation follows):
La direction de l’Orchestre symphonique de Montréal (OSM) se dissocie totalement des propos erronés du pianiste et chef d’orchestre Andras Schiff, tels que rapportés dans Le Devoir d’aujourd’hui et se voit dans l’obligation de rectifier les faits afin de rétablir la vérité.
La direction reconnaît qu’un malaise profond s’est installé entre les musiciens et le chef invité lors des répétitions qui ont précédé les concerts que ce dernier devait diriger les 23 et 24 octobre derniers. C’est pourquoi nous sommes rapidement intervenus et avons pris les mesures qui s’imposaient pour calmer le jeu et pour nous assurer que le public ait droit à des concerts dignes du professionnalisme et de l’excellence qui ont toujours caractérisé l’OSM.
M. Schiff a accepté la solution proposée par l’Orchestre, soit de ne diriger que la première portion du concert. Cette solution était le résultat d’un commun accord entre lui, son agent, la direction de l’OSM, ainsi que le comité des musiciens. Il est pour le moins étonnant que, dans l’article du Devoir, il donne désormais l’impression qu’il en a été une victime.
Pour l’OSM, le malaise initial découle en grande partie de l’attitude inutilement abrasive de M. Schiff, qui a tenu des propos désobligeants et irrespectueux envers une partie des musiciens, ce qui a nui à l’émergence d’une atmosphère de collaboration et de respect. Depuis sa création il y a 85 ans, l’OSM a accueilli un grand nombre de chefs invités qui reconnaissent la qualité de ses musiciens et ont réussi à tirer le meilleur de leurs capacités pour faire ressortir l’essence profonde et toute l’émotion des œuvres interprétées.
Les musiciens de l’OSM sont toujours prêts à travailler avec ardeur et détermination pour répondre aux demandes les plus exigeantes des chefs d’orchestre qui les dirigent. Mais les insultes et autres formes d’incivilités ne sont pas les meilleurs moyens pour amener un groupe de musiciens à s’amender, à évoluer et à se dépasser.
Cette méthode n’est plus adaptée à la réalité d’aujourd’hui et n’est pas compatible avec les valeurs de respect, de dépassement de soi, de recherche d’excellence et de collaboration qui constituent le fondement des activités de l’Orchestre. Nous privilégions le leadership mobilisateur faisant travailler les gens ensemble vers un but commun à celui qui divise les troupes par l’intimidation et l’imposition de diktats péremptoires.
L’Orchestre a d’ailleurs récemment adopté une politique de tolérance zéro quant à ce type de conduite tout à fait dépassée et inacceptable. L’OSM s’attend à ce que tous ses chefs invités s’y conforment sans exception, peu importe leur statut ou leur réputation à l’international.
The management of the Montreal Symphony Orchestra (OSM) completely dissociates itself from the erroneous remarks of the pianist and conductor Andras Schiff, as reported in Le Devoir today and is obliged to rectify the facts to restore the truth.
The management acknowledges that there was deep discomfort between the musicians and the guest conductor during the rehearsals that preceded his concerts on October 23 and 24. That is why we quickly intervened and took the necessary measures to calm things down and ensure that the public receives concerts worthy of the professionalism and excellence that have always characterized the OSM.
Mr. Schiff accepted the solution proposed by the Orchestra to direct only the first part of the concert. This solution was the result of mutual agreement between him, his agent, the OSM management and the committee of musicians. It is surprising, to say the least, that in the article in Le Devoir, he now gives the impression that he was a victim.
For the OSM, the initial uneasiness stems largely from Mr. Schiff’s unnecessarily abrasive attitude, making disparaging and disrespectful remarks to some of the musicians, which hindered the emergence of an atmosphere of collaboration and respect. Since its creation 85 years ago, the OSM has welcomed a large number of guest conductors who recognize the quality of its musicians and have managed to make the most of their abilities to bring out the essence and emotion of interpreted works.
The musicians of the OSM are always ready to work with ardor and determination to meet the most exacting demands of conductors who direct them. But insults and other forms of incivility are not the best ways to get a group of musicians to change, evolve and excel.
This method no longer meets today’s reality and is not compatible with the values of respect, surpassing oneself, the pursuit of excellence and collaboration that form the foundation of the Orchestra’s activities. We think a galvanising leadership that brings people together to work toward a goal is preferable to one that that divides people through intimidation and dictats.
The Orchestra has recently adopted a zero tolerance policy for this type of conduct that is completely outdated and unacceptable. The OSM expects all its guest conductors to comply with it without exception, regardless of their international status or reputation.
Something happened between the pianist and the Montreal Symphony Orchestra that prevented him directing the second half of a concert last week.
The orchestra says he withdrew from the performance ‘by mutual agreement’, Schiff says: ‘It’s a lie, political correctness, a major incident.’
Here’s a report in French.
Review here.
We’re waiting to hear more.
UPDATE:
I was at there. I thought then he was in his own world, and that the concertmaster was in charge. I guess we know why now. (It was also a pretty dull performance from Schiff. His encore piece was Bartok, & enjoyable. The rest: meh.)
— Judith Flanders (@JudithFlanders) November 1, 2019
2nd UPDATE: Orchestra hits back at ‘abrasive’ Schiff.
Andris Nelsons has introduced nine novelties into the Vienna Phil’s annual showpiece, including some by Beethoven (who might not have been thrilled by the format).
Here’s the rundown, released today:
Carl Michael Ziehrer Die Landstreicher
Josef Strauß Liebesgrüße (Walzer)
Josef Strauß Liechtenstein-Marsch
Johann Strauß (Sohn) Blumenfest-Polka
Johann Strauß (Sohn) Wo die Zitronen blüh’n
Eduard Strauß Knall und Fall
Franz von Suppe Leichte Kavallerie (Ouvertüre)
Josef Strauß Cupido
Johann Strauß (Sohn) Seid umschlungen, Millionen!
Eduard Strauß Eisblume (Polka mazur)
Josef Hellmesberger d. Gavotte
Hans Christian Lumbye Postillon Galop P
Ludwig van Beethoven 12 Contretänze
Johann Strauß (Sohn) Freuet euch des Lebens
Johann Strauß (Sohn) Tritsch-Tratsch Polka
Josef Strauß Dynamiden (Walzer).
Police have released this CCTV picture of a man they wish to interview in connection with the disappearance of Stephen Morris’s Tecchier violin.
Stephen left the violin on October 22 on the 22.58 train from London Victoria to Orpington.
