Three violinists were awarded tenure in the orchestra this week by the outgoing music director Jaap Van Zweden. They maay well be the flying Dutchman’s most lasting contribution to the Philharmonic.
The new violinists are: Audrey Wright, Alina Kobialka and I-Jung Huang.
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Zweden’s most lasting contribution is to have lured the principal trumpet, Chris Martin, from the Chicago Symphony to New York, to anchor the brass section, and now either Martin or the brass section is mentioned in every review of the New York Times…
Now, whether the review is good or bad is irrelevant, what matters is that the brass section has a now taken on a leading profile in this orchestra.
Surprisingly, as for the CSO’s brass section, Zweden ALSO left a lasting contrution: his principal horn from Dallas became the principal horn at Chicago (until he left), his principal trumpet from Hong Kong became the principal trumpet at Chicago, and Zweden is set to take the CSO to the Mahler festival at the Concertgebouw, so his sound world will be further imprinted on the CSO brass.
Don’t pooh-pooh the “lasting contribution” of conductors, however short their stay or un-official their title. Zweden’s influence on many orchestras across the globe from the US to Asia, including the Orchestre de Paris where he is much engaged, is deeper than one imagines.
Of course. He is often underestimated.
And in NY he hardly got the chance to ‘root’ there, given the covid period and staff changes etc. – and some silly local critics.
Chris Martin was appointed by Zweden’s predecessor, Alan Gilbert.
Bravo to these violinists!
If there had been three men hired, it’d be a different story.
The worst thing to happen to New York since Mayor John Lindsay. His resignation is his most lasting contribution.
Why must the Philharmonic become so extreme in becoming mostly female? I can suppose my consideration of no longer subscribing is of small concern to those responsible for the transformation of the orchestra I have loved dearly for so many many years.
Women are often much better section string players than men. They have all the technique, virtuosity & training of men but they listen & follow & are willing to play together. Obedience, unfortunately, is a key tenet of being a good orch player.
My personal experience is that violin sections, esp. 1st, are often full of egotistical men who aspired to solo careers but never made it. They often don’t want to follow conductors, they often compete to stand out from their section mates & their alpha male qualities can make them very poor ensemble ensemble players. Women don’t do that. They play well as part of an ensemble, they don’t try to compete with each other or the conductor.
If NY Phil is adding more women to their violin section, be glad.
There is plenty of data in the research on competition and collaboration in psychology which supports this last comment that women are good Cooperators!
Of course we are the Best and we always stand out for our willingness to collaborate & being prepared to sacrifice our ego to the group! No stubborn attempts to draw attention to ourselves, no silly remarks uninvited, no protests against real authority! We are the most modest workers everywhere, the pinnacle of humbleness!
Sally
In high school we had three violinists. The first two were female; the third male, a friend. My wife played as well. Women are more in sync with the emotional evocativeness the songs of the violin bring forth. This a strength; a gift and yes, I am a feminist. Nothing against the male usual top three, but music has been a chauvinists’ game for far too long. Go Anne-Sophie!
Sexist rubbish
Did it ever strike you as “extreme” when it was mostly men?
That more than half of humanity always has been male has always truck me as extreme.
Sally
The auditions are always blind now, Mr. Hofmann. But thanks for your assumption that’s its preferential treatment now. Most international symphonies are still male dominated. NY Phil’s shift towards a more balanced ensemble is actually just about women having more of an opportunity to audition and be heard for the brilliant musicians they are. They are not more obedient by any means. They may be gentler and less ego-driven but this orchestra is richer for them, not poorer for them. Let their playing be what convinces you, like it did Jaap. Not their gender. Music enters through the ears, sir. Try to let it.
And you also probably lament the fact that there are so many Asian players in the orchestra now. Ah the good ol days when there were only old Jewish and Italian guys within the ranks…..
All auditions are “blind.” The judges, all members of the violin section, are not given names and do not see those who are auditioning.
Alina Kobialka is the daughter of the distinguished SF violinist & pedagogue Daniel Kobialka, longtime Principal 2nd Violin of the SF Symphony. He was himself the son of 2 highly regarded musicians, so Alina’s musical pedigree is noteworthy. Daniel passed away in 2021, and it’s lovely to see his legacy carried on through his daughter’s NY Phil appointment.
I just returned from a NY Phil Ensemble concert this afternoon at Merkin Hall, near Lincoln Center. Alina Kobialka played 1st Violin beautifully today — Schubert’s Octet in F major with other members of the orchestra. Congratulations to her for this award of tenure.
And her mother, Chun Ming Mo, played in the SFS’s second violins.
I have a edition of new York philharmonic the historic broadcast 1923 to 1987 anyone interested.
Congratulations, ladies, on winning an extraordinary position in a world class orchestra, based on years and years and years of hard work! Your audition was blind, just like many of the typical sniping commentators on this site.
I know Audrey from her time in Boston at NEC and she is not only a phenomenal violinist, but also an amazingly kind and funny person. Congrats!