2002年7月24日(水) 7:00pm サントリー
バーンスタイン キャンディード、序曲
野平一郎 エレクトリック・ギターと管弦楽のための協奏曲「炎の弦」 (世界初演)
エレクトリック・ギター、スティーヴ・ヴァイ
ヴァイオリン、松野弘明
ヴィオラ、川本嘉子
Int
ストラヴィンスキー 春の祭典
佐渡裕 指揮 東京都交響楽団
(詳細別途)
●
●
●
●
<img src="data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAsAAAAImCAIAAADSUKsnAAAgAElEQVR4nOxd6bmzKhCmLgqiHqqhGYrx/GCbFdBjjFHm4d7vJCLDLDAvAxqzLVq0aNGiRYsW7STz7Q4sWrRo0aJFi36PFoBYtGjRokWLFu2mBSAWLVq0aNGiRbtpAYhFixYtWrRo0W76KoCI3hoXyJfBubAFZ4wx1gdvjUF1onc+5v/XW3z5EL2n7Z1KwfEOa73atuitWHvRokWLfpVijONKBygEp8yvi+5K3wYQ1hNfDM457733cQveB+8DDtoJIqBQDZoJjjWoUIIoiMauG5xSS+6VSSgopj9ne7Zo0aJFtyVx3Vevub3TXJ3fgzPW++kZfNEd6DCAwAF4l9FLaMVkfdyit8Zaa72vGQjvcVKBh+rWnHOtU9XDW3oiV6W+H7yPW/Q+jIB19FZzcBFA+JBbj96HLXgfQ1jwetGiRb9MWhp2SxNsXTGhsACnYXpLbS1658OH0huLPkIZQIgxvbsi/weA6FJwzpfOWB+8dyViCzkDY1xIDpg3PpLz8i0PLGS+ngdCCvHOjjY/cnWSNlF6tW0xdd1XAOFWFmLRokU/TjBWkPksuPQNmhRdSFeUyQ/WdcNF3KKbUclAqHHwY1SPKwCfKb7pXNq92OrafSsYFq31o/c+4YXorfPpyxB8aREF7RL5gzMuiPL2JAa7F2gjQ+5VaBmIhRsWLVr0FMJrTbxWY1sbZc6NMUjJ340GnnUA4tdI2cLobXPJN+xFjjUKw3Ccl+olvlsfvA8lpaCGag4GWtel8xHwoMTc8QS69RFcZaLCmgbSA8l8LFq0aNFPEogMONebdy+m7txqwCg5i/T3Wmj9HMkAAppVJGHLY4/xcUCGECK4FHFdCN5775x3riz8NQABmvVhw9/2AUQ6c+Fs3/XzyQwMUVzJ1nUyEN77ELyPW3Au7MZkixYtWnQrgpGBHURrk+gwgKQ8MJoT1zNrv0gIQMQQCixsIFNM9dN4qpPkE8EZUzYcasLBkVOIwZFbTwcQGTMHn3IEuseD9Ao7C6TnRfIzJL5sCi54vWjRol+mGvbxYbPgTDr8Tk+bqVnXuo/crq8ExC8SBBDgCG3bU5CBAnuSQT5S0EvbZ5BKn4zUH6/sHFeknZzYwmi7EC3ETwR5DiCUXhUsFHzmNdP6okWLFt2VgnehLL3qfJYXR/yZfFRro1dciMGB9V/n2Y5F9yW8haGbvE+Hsk/R27xbQa+U5IP0uihxsyBXE14jpQAIMYFirS4FBSlt407uVWaWznbaOtIWhFi0aNHvU16Atc1o6aU+2yaejpMmwoUffpPoGYjhURiJju5egbOIjbtEo9MG/C766MUmbGGgpzv4lonc5ektDJ6bWANk0aJFTyC+1IQAQn3pw7Ypb+Nb+OFHiR+iVN+2qNJh44vvdaJ4YOKByRhJYw0MALeujxQVuEMj/OkAwpXnUOtfixYtWvTrlHIIKLmAZ1plSlUeelsHzH+WhKcwdiYhjibm07ldS3/rgmxcgLxA9xBl9NZYl/fUQEYE4uLorXG++erHMxALQCxatOhpJK4x1RfslVcMq+u0dcL8h0l8jLObgcI16SbEFNX3RQX6AV5lGQj1XVflZU0xvXsKPlGB3Zo8PjoNIETW7QiR1qsFIBYtWvQoktPGyhmI+ho99Yw6ef5z0Y/Rf35M6+hLFtl9LOZ3tjAQxfSeqXLzzhh9ZAuDNyL2yvcOcyxatGjRL5IGH/RDlN13DOrNLfoN+uqvccqkbWHM3LkPQEwnWhYtWrRo0aJFiMR18qJFixYtWrRokUoZQHwbxPwGvVNR75T6Sloa7tBSzk3oMkM8zOIP1ttuAPEw0+6ld4r/TqmvpKXhDn1XOcs0lZ4XCK9h9DBxOMcFIGbpneK/U+oraWm4QwtA3ISeFwgXgDiF4wIQs/RO8d8p9ZW0NNyhBSBuQs8LhAtAnMLxGIBIz0bgn6qAV3q067mKG5GgKPUFav0flgvBnfTi1vTE6yf1iaRej618gLBfaaMjBPVH6dQrD6A90+L5v+a4AESl5wXCBSBO4XgQQOTXL2YAAQJLcPkHVgDhKbFU/rUXKxXxAWxSH32WwkB94Xdwxnp/ymwXQ4ifjSBI6uBHL5VbtJsIgJAxWvG0+uoS5U1p9CZ1FP4ISag9BEHc4IzzwoLm/9z1nwfOfPWp7kH0vEC4AMQpHP8HIOoE1X5GxblQ3+js0pxXfloTTmfWWmt/CkEU8YMzxjpHXhSFXqoJCbwfHrxr0/lA3iN/+DVW/qNpgQYgfNgygPgps92e6rAKzoUteB/4sIreOpS1qjhj8FP2E9/fOu4Js1N9dT4Sw3rvnJewhfSq2El5Cffq/uDVSAjwPXhoUFW4T/kNYEQixifSS70Z+zwuxAnbEvtEVmAaqU2zlzyfSuYggCi6sD4IYW8yA3H09zu/SE1RMYSApwoycygJCOhBsQKu9A7uOQDB/f3TKMwsAPFhaiPf+7gF72PJcdXkQhot0dsGXPlPzMrvaZX/pq93v+1Y5LNT6zwBEFFOTcg/8DsnsGlrBhe2Yhs04l4KIHqJrxMZZbD4kZ/qzIySIFmc8xm1+dMm4NAG7rmsMPASfoz6dDoKILaNbWGUP/ELz5XhFLyP529Xfp6QoqL3riEC+CteykyF10FgKflfAPFhPS4A8WniAKIA0DJK6kLC15VvjltwQnoJgJifeNOcxNx1x8xtjJF/60Yb1/dV5H9pAYh/cSmjrDI4XX9Qb02MTwbaMwCEZUMnzX1wWHV+c+qnfhuiORzcAhX2D1INnIWAP1mKjLoPQFD6PBCDAyBHsWr1HzLejWkIIKK3LhBHSx/hfCcCCHUL4wcBRBJ2fuIlvxKcxdw1ccO5Ufkh6pWB+CSjxwGIqrbTORFfhanLD9H/AYREBUDUn5+kVT+ZVPkoNYfTfuBLBkkUHxAE8h8AccFGkIEZiPKXc3un4kUqCQCirJ2zdWOMDTEAx7LWsP1C9ht1TwEQMTiwbzzcmGDeGb1N4HeHrIC7t8ZaZ+1bUfMCEP/iUkdZ4XD60o/q7TNcOMfDACIoGxR9AHHr2apPYDaJdC4XZ+e2Pe3wpoXFoEMAEPL8yDKkF+wEiQDCe9d26hf9j0QAkXJYwH8gOhBXvfu2MPp+dR/Cs1P74d0BgBCmmXzHLknh7G99LAdcqVkIPRJiLADxLy7VI/Oq4PylH9JbFuezC8x/AIg0dFwAQ6g+oWiMMc6xLYxtY6P+xwYaUVReEua9nDo7o80bm5wlOIC1iI/WxCzatZoDEFecRIUDIHWgAIhffZ/H3chwALEFZ32Q9srKkxoRbKYeARC/l4HYtk08/C9EMvE3oo+IaepjnGk9B7JA8DHa22rvRFoA4l9cmvulZcGn31mSBPnsAvMggIB7gTWGpOmpvdaIZyDysAMnmH/trURmnIEIrmqmSk1MSFy0QUX4kog5vXxkWFEyMANRzRrc+Q/dv5UQgKhPQNuMPrctnQb03gfvnHc24/Z2sQMgHrSFsYGT7N29ivyYNc2PHol4xhgxzQBsc0UW8A60AMS/uLRRFr114QOo09BcHV2CnE4HAQTYkd1YBkI9RJktQ5+8+ohgHyIDEjA2v1QJZSDgzAaf0yc7FsimQC9Zb7NauWjelwFE9M6+YuF1AZEcT3vwonlCcM5575P2nfeuDqpumuphAKK9AAK+QgWPqIKt+HHGI7GhcC/TncfLpm3jeym31eQ/aQGIf3FBS8SzXiMoMsoUnHHus9j2KIDYNj6U2ngFo0s4kwy/+tkMREkPSfMGnU+Eg1wBf1G3dNPKctJ/W67jw8QBREYRCz+cREnDxaAQmoNVrnPeOVezWpbP3sJwgpHu57cwlMFBZAk+vQtCenhz/3ipAIIgNQ2LPTgbsQDEv7iAUYazi6czytR2Az5GnwMQdLzBUxC/DyDGTpZcRHjHlgAo0JP+c0OSbMJ+lprUGTvEdIDS/lwG6a6EB2B+jDOfIyrDK0a4J+a998wJ+XBC4ey3D1GKpxq2bVNHIwUQh/DDTAYCM30uql4A4l9c8Cm3T8yd1ECfX2KeAiDYFPT4DAT8SYuaiaBPUJRtHIcnbX4eonwzvQxUHkf/GNVhll4U5ry3+WG4HfmSRR2iAMK5HCyRywRnTMk8pMMSxGEGj0v/dAZC7WLnAnpd5EFX3QkgHpyAmDjNej4jDHQ/cupQOq1+KqMWNWrTnxlwAsL78LA+DCDa/izLQCCgLwKIXz8DUQEr+qEC/LostJ/Rnjpj58Kjv/8PKVapEyayFvwow5NXXNcRBxDtdGo5sl3nnhjrGIsR/ZwKf1yaPP6k5d1vTf3ZSZ8k0dxzLP2woaTjIGFz5CHRn6L5MLEYXc/lSkaE47EMhEYjAPHLNKModLzrEXS9X76Nxho+5FX0pOGvQAZM33U/koF4Mz0vEC4AcQpHlsBZtGjRokWLFi3q0gIQixYtWrRo0aLdtADEokWLFi1atGg3beUMxCrj8k5FvVPqpeFVVoFleenN9Xa9gXYDiJf70DvFf6fUS8M3Kd9VzjLN9ap4GKOHicM4LgCxT1+vK++Uemn4JmUBiJuU5wXCBSDO4LgAxD59va68U+ql4ZuUBSBuUmZUEb0xbnfL6a7gjAvfZ3RKy8/WGxZtAYjpIoof3BGTTJbgTbyl1KssDb9BOcs0u1QhRtDJu5wx4QaMTmn52XrDok0wrmGM14zeGElrW1C+/+VCxHfGeG8S+fgRjt4aS3+b62tSR2+MHQGa0LrqwmfR1WMK9CsIGdFyISDly+MuGBfMFo2Vhl5tWR2zvA9hwuKXKCf65vntrZCf75vBP+dtPXVpZ4xzUk+isWW0ws7zq+nvJk7f0IpxLzPERnqIe+ut3rcABCwU6l3RWMcY4eEA/+4xqjUnGU2KQMzE+wNalvXGFoT14yxTLJGqNzJswcd56aCnadLNAgjvBADhjDFOnYzKG53VvvYibhUmB6LGTnDKC4cTBxCuTC5yXB9KKhUH5h1O188dVeokawhCr5zPJksK8cFYY1ww6fW+H0JXjynQr+pYqwq3HoyINATIx1LSfJTfFc8GS25ZuVeoWTrwXQhoJACRJpZj+di93MmiLTg6yYoAoqIOFwQAAa9u0TjPLimG1ox7mSFID4mHOL1j3JdqMHOuYF/MaMPDAQ2NrgZgzSGjWRGwmYT+BDneaeLAj/NMoUSa3qhE0F7z0ll8lySdmQEQzrThYTCAsF4BEMnvHYMCxvhY4uLOMeBYkK7x+4sAImwmejVAipLSt+oX9ZKvs8dbQYHXCEulZljNWyBaNNaa4CmAyGbanzR7VUEjH6ztksOn0Zv/tiaCaEqSij5BDddq1ku1Ze1eXnMLZfr4ahLC6ABiG61ET+EuAIgyDNMA9zzBEAACcAxA4Kto7sY6p8ZSjHulIVAPsVtu0XhtpJOaG70LzqLicEBDo8OI1BwymheB4zzcHy0QyKMbfpxmiiTS9EaGLRRwnhH0NF26KQCRYsMuAAHHWBYJR77yuzM73Pc+AIIjgM62Apc0TzqxacawFGVqsDJyzjhnrBeUcJnUdP+iYkTgJBVA5G6HooG1izGh4arGutGQFehMDODvzQSX/af+ke71oc0XW8QxprQs3yvVrE19OkjPKEcDEKoU53EXAUT6Jk90EoCo3zhrAgMQ8GrEAALqnBpLM+6FhkA9xG7Zu53XVBL+mzIc0N/9Qmr2Gc2LwEPsXH9kcSZbEAFEf6+EDNtJAQmjOU87CCCENTQMbCkokj0YsnQOCFqS4cfb91HYwrhDBmKMgSYkhf1H8KLmkQBdv5pvRgf6b9srBUTDLQzYVZTyXUXX8LYpAMKagNdJIgiIPufD0nYSDasHAEQpd85AfAVAWFvmaGesCCDwSQWagSDnGIIwtEVDq8a90BCkh/zvfmk1g7oWOhlAzDCaEYGY6RoAIfmGJlHHQGMBMaNJTzsIIFLxVspA4LMYWrqe9tvlBnmATO2nI6CJAmDkR8fBzi1V/HoqtW5/DkAVlrQZlX3jLTik45pmvniMoAKIJg7emcqb9MoWxtTRy3cXeYqpoKEcmDIgNcVBgAfnZhw/u6oACIhQ5ZkxfDmB1AcQ2kbMidwDxsTBGetKgtflk9R8Qic7HeLKoaUhrYnY9EnnHEDIxr3QEBvzivm0KKxZ8XGP0RkAYobRlAjETJcBCOIbukSagaYExIwmPe18AJH2dZwdZSBKgQNJBBB1je5Mex7BRwog5COWZ5cqfgrzde6dyQrQKaN0niZmIEhiByO+EomT1N42F0zie2eMyz30YQGI/2p429iMCXJs7UClCCDK7qZ6xOFoBuK74HVTAAQI6R/nLmQgfNt60ADEBhY/wlMY4Gr9pm4VVZ1zANE/v3KBIWpXq1fMP2kFa3ZSR+cCiBlGux4Wy2a6BkAw3+hIpBlol4CJ0aSnnQAgYII6DWzr0TJ623QAwTc7JHnqGUMXwFG+9AeIxBfk9rP45ZiCq08fDG3DJM2TIE8/4Dgh0OWLD4MzEBUJZacMxhhjnXoGYm1hTGp424S5L40mD7czRBAQ8jiPuGbjcgxA3PUxzss28jQAEVw+AdABEFWB9AwEvooeBcRfClsYonEvNATv9q7+QJCk3XIugJhidECE7wEIrasdA80LWAHEjKf9C0BUfsIDY3MAwoEwI5fQoik5cJDXtexJ348WA55HSMcy6pOKfe6CpJEij7oiudujj3UGz70t3olQbdnUSFkimIFYhygnNZzVyEe+M8G3QCICCPiOhxMBhLfff4LmngAieuNcngQ4gIBJ5oT/YAV+FZoM6vyeAKL2EP7R7w+v2dmSPxdA9BnNi0CVfwmAEC2uScQNNG8jwugqAAECPHEXDiD4SWbxXtpOCaWOpfvq8neAQs4rdS0OkyKR70SA0pEUbWqkAFxOv7dMA37pwldmcwiboDNxAJHfHGVMiA1AfOXJkd8q4hSTx3B5DpAMb/J8hFeO8TcuYHdz8GzF/l3eC5RzNwBRh4OcgQDH3DiA4FfzSJF2u8mJ+i8+F2Nq/hUkSCajL62pPxmxnQsgRozmRYjQTHv6cwqAcBMScQPN24gymvO0/wGIsujkDCiAgHv5Djyd2J0FSJIfAYiCSFLwviw+mXIaQMQ0qgjdF2qRfYGmQLBTcwsAweQV9tUqoKwAQj/+sgrXMN0+qK8QCCXfBp558SAnBDXs0tZeOYVHj0aSe3kBUOPr6YfttgCiaAmepEY6rO+84e+BwFdzU8XcPE8JjQWN+y1DoHkYumWnkJr6kxHbuQBiyGheBGCmXf35D4CgTLsSCQaatxFjNONp/wIQ9GUPoHAAsbfkpwSVRr51Lo8o6opXJN0JQJDTDBxAuAIo88nKeIInvKFoUwzUHjliDA8vk/fjwpSYACCGr7LGJ7GNski4WDnkrawXAwjAuB0GcuVVjOKbKGuHA+k81m22oBNqBtBOwM1+8TFO0sNOFCCFPJbSsaA8HA4BiBlGe0UIO/ujje7JFsij/sOHSrgLTQrIGQ3vMlMAQtTFK8s7xX+n1D+k4XCDPMFtlfPT3G9VLlPFwxg9TBzGcQGIffp6XXmn1EvDNykLQNykPC8QLgBxBscFIPbp63XlnVIvDd+kLABxk/K8QLgAxBkcN7No0aJFixYtWrSLagZiiuZrPpLeKf47pb6SloY79F3lLNNUukwVD2P0MHE4xwUgZumd4r9T6itpabhDC0DchJ4XCBeAOIXjAhCz9E7x3yn1lbQ03KEFIG5CzwuEC0CcwnEBiFl6p/jvlPpKWhru0AIQN6HnBcIFIE7huADELF0hfnDG+vhxNjtIlvp+/fxd0jTsgvTty9R+OwDxVrs8LxAuAHEKx38BiOitMfKAkr//ZfqchaK31sekNXMzxYlzqNnXz+it0QFH/+p8nV+lrGHw5vP0UVDv8+MUpe8DiGWXbdueGAgXgDiF4whAgLUmqBmcMcYFDUCkQScHmOhtPxTE+rvWddxmdhKb66LthIWCq2GOSJH6L8ueqzqHpyqVg3gZsO7c268hNV6l5j8vbr3PTBX7wHb1y4Obp+v8KhUNR+/DFrz3SNFZaKb9qozgm02jt0hL1eLVG4kDgHAI2+ldujb59H0AcdQuD6PnBcIFIE7h2AcQaLFJAIT1UQYQabbK8RJHnFij5a5xxqNjcDniXg8gAptIyCzSvsJgwnlV9gbI9MlZFFlgzdqlJphuHEqt3lUARL/j+gTbvzpf52fJEACR1EhWusH7mGq0/+W7XFV8VhOFsC6gWrRV3o5+CbZ5CV0/LTLux+zyNHpeIFwA4hSOXQARXI6G1sdpABEcDlQ0uhyAELcDELkzWT+FlEQ7yMcIstNVo0pdkSdy/MQu+OOJACIppS1Ua9fEvJRyFTXSb+HX6R8Agtowb4SVZHv+aH2UAQRgRrGlcgm2eaIKdFoA4ib0vEC4AMQpHAcAwvq4bdFbF8oNPJXN4xKajMTo3yIwz6rytnkG+44AQgjiPHXMZMcHHwok42mOrsgzZwSQEmuWCFzsAAjJ6LmXEEAElzdiXKiBp3aNssQdb1dZI871Wvh5agDCGugR1W/4bhi6VsyeR2lNGORQF71TAASMdiT3pV2CbX5AFZxuASAO2OVxdJkhHsboYeJwjmaCMc9A5M18moHA8VKIOiJYcEFLS5SIQQ4yFf7+VgBCCuJFId1zIgBz1cmKcuqLTFiLykR16JJTb5y4B0Z8LAMRXNqoSW1VJNTcgexiCVdZI8ShHjc9G5qBCN4H77xP//SlFQGEzYCzZQukc69otYwBhHrp1RmIPXZ5HD0vEC4AcQrHCQBRwuQIQJD1IrhdmfVBQJABRABRyFrbQgkKeBedsBsACPERCvUxFTkYkhS9DiCwyJS1pEy4eudZIr3xfQAiBZvorbWW5I5aB1r3pKu0kSbaMxMQswAiLf7LhleMFTXw6N70WOyc8l4IJeBs+/wlS33no2RaDoCsIS7kfsAuj6PnBcIFIE7hOAQQbf7gAAKGkxKVAl2IawCChzGBdQtQZcHa0vkhuHoy8YJppQsg2hyHt5L3yI7TD/RuVWSFNSYWvrmNZH1i91AAkXxGhZ8PUc0kX8WNPBQ/jLcwtqxg5501xoUYYwCPVyCIWTZ/yk3YziU5sVGQQNpRLwltfpZukYE4YJfH0fMC4QIQp3AcAYggPsaZSAwnLJMvB1FxwS5UqblrGo3QiL4irEAAQRZEJbZRCNCJt6zTQtoAak4TWWO9yW0LyK/T+EaNLid7uJgsv9I//ihf5cc8n4gftEOUHgPJYuH8B3ALjDitDwkl0B2NDf8dAvW+pmn1ktTmZ+kWAOKAXR5HzwuEC0CcwrEPINAjArSmvCUtAgj50cPuaIMRkQAIetLwmsnMaBkI2tPaIUFBiux0YUePj6SNIS6yyhqQdA4DA4iePpHR5bOaTEyWK+iiG+UqbqTfwk+TCCBicM5HlhBnaoj8wd98wrEedAzOeRb46VsfQDudS7DNdwKIWbs8jp4XCBeAOIVjF0Dg6YnHkokDfRuKhsJ5SJnwIh0DiIJILh61mqJw/ERPE2jICcs+gYMUkTXWjQp6EE6v4lY0fUKpRcQoZl3YTowuXi8dg7fHnph+2PgWRttndw7tT1gfo3fWEmhG0gM0SxC9rQCiHn6kIAG007n01gzEAbs8jp4XCBeAOIVjD0CQeWIYS8pN/43q/ZNa38oU7rTQDj0Md05PF1nYHFFqAqklm4vnNoR0xL7sgwSMHru8SxrO7uK9986FEsVbxHf5AIsPKCuID1Ea+C6y5FXw+GQ9ssNAQmunc4m0+QFVcPo6gDhol8fR8wLhAhCncBwAiJY6+PZg/jq9U/x3Sn0lIQ0H75zzMb+fyHnv0OHhdL4RpJr4IxIsFwROVCr7F6CdziXe5gX0dQCR/9prl8fR8wLhAhCncOxuYUg3vJbeKf47pb6SCICwtp1GaY9j1jMvvm3qHc0CxBC0GzuXvkP3ARCft8ut6XmBcAGIUzguADFL7xT/nVJfSQRAPDH6HKf7AIiX2+V5gXABiFM4mkWLFi1atGjRol20lQzEVJmv+cjyTvHfKfXS8E3Kd5WzTHO9Kh7G6GHiMI4LQOzT1+vKO6VeGr5JWQDiJuV5gfBhxl0A4u7lneK/U+ql4ZuUBSBuUp4X1x9m3AUg7l7eKf47pV4avklZAOIm5Xlx/WHGXQDi7kUWPxprTDiPS3DGuP13eROvlHqVpeEXKGeZZpcqoj8yd6W7gjMu3I7R58opIuw10LnlBAARvTFi+AzK979cREWVd2b+t/GkSVfedV1V54zgK94aYxFi8NbUn75O9P8uEamjp0yFEloHXDgIht5WVpS6rXKWaXapQgxsk3e5MunditHnyiki7DXQuWUOQIQWNmBNZ4xxKoAoPwMhNRiNNcZHnWM0KBS6xk7o24UwRVBU7aoWWQOSoiN7Ds+lway69JE1TgBEsgKhs9RSpU7YJgSBl/Ol284YY3ww1hgXMrrq2XoV7FcwkwTXKHS9EiSXC8aF7iXG4v4lKaf+iAz0pejbR4/R84nOH1zD4t4aH6e+gY2g4WmNx6haDAY3LM1LiYMFJLssC5wn2ZzprQnRWMcYYV+Ff6uMYM05RsRzWn080YXSWhK2/PihibUFbaUU0FquStEXAd4FgywRQTbQpS4xYlx+54l20RljvQIgkq4dgwLG+FiG086FqWNLalfC1RcBxFCW6FtSwVgT9Pry+j4YA3AY/YlO4NDOCqo+U2qG1bwFgkRjrQmeAohNyaCsImg4adU1H3DQvuDvDY/KWoIHszO/JLG4fzEFQHB3gmG7quXc2cAYExyKQAMAEYTRHT0OIaDB0zdAP22Ijfke1IbTZsJonJf+rncBgKsNBzQ0uuEj15xkFI1NsMaaiF3I27wKynMpNm77vtwrdoZ4aZWiL0K7C49oIoJooGtdos84tPgUpwFEinMtgAUaz8rr9Hf09UcC4VcAACAASURBVG4Awu1cYdcVJJedw4LaYFIvb59kINqPfDrjnLFeUNc/pab4pmLE+hEAiNyZULq6djEmNLylqbkquQ49h//e2kTmyDaWpwMWXeIsfqEQAAGXvzwr+SkAUcbgEEDw9MMmAojSoLoFfL/SFhLY99pUE43XpvQOgIjGB5RMEocD8tsOI1hzktEIQFTf43asPtmZbB3B/aVvHRHgXZWpMyYwEQQDXe0SIwCRw4BrAKKzDs4eZmiOi0ZBPAsQ7YsBVZwsvgYgSvhM439fqFZkz1MJ1lVgAtKEG1gbETpr3d+MDvTfsrJlPMAtDNgBtN5aRdfwtqGlTPRt6AWPhmGdsFAWNE1JeMCiS4zFTxQKIKrU0VhHcdKHAIS1DQ13AAQJMLWIAKKNjl8DEMj3Ql6xDG7vZiBkRhv21Xm/rTUnGY0ARDUfObVQv69DVShEP5NSgLuCy+Gg/jHW26UuMceYZyC8lTIQeNtJgBpEfQltKEvzrR4tDKa2FAAjfy1+b+LXnQWwEJdxFYjr1PxA9q0GWgwg5MOSPi/ra2yu0V1cAJ0idSDDAMroe1sYU0cv310GAMIaD/6G3g7DZ/R5QucZiHyJsfiJwgFEnklDHghIIR8CED7nfvoAQuPOAYS1JQy739vCyKouM49XYBMq5TxBPqMDFhg9Rv8EEJOMRgCiJl1oCBe/x9scVD9zUsC7ngAg6kJ5CCBSisbZUQYCaMqA9CA3dkXoDgRjHymAkI9YfkRfcrf7U0DFFoF9ibCCo7pKckEWIoDYNkPRy3lBwpjGt3W1nAVLfH1YAOK/Gt42PL9UKGBMgH/XG8mOLLQOzop5OL//PoBI0Colcsni73MAIjgTAFyABL+pg7RS6mqlkACEy+fgnPvBQ5Qb2Mhwat4FlVCOT6Y1EgjYPUb/BxAzjIYAohxapMceyy3oezwqqX7mpIB3PQFA1AUuBxAwhqVRlMPbDIDgmx2s1KYcQK+h3JsT/iVLcYm+Sq+Kn9EDH5OFyZ5RGtRVNBZ8WTOHcgaC00mIyuAMRJU3e0Xqm1PPQKwtjEkNZ4vj43V5kw7+Xe5C2SawSUGOW9Ld1qcAiJpCh9HrcwAi7Q11MhBpIhJnISED4Y2zJkbj9LzF3QqZ/FMSCGb4ZwqMtdpjCKcBiElGQwBR0i2OdSBV5t/nwvUzI0Wg+yY/DyCqDXhN8YjcJIBwIMxoqqxTITnMn9e14EmbCwZhczgYnkEneamLD9I9InvdqUGnJsEjGPX0jZaB+LTU7THCYMi+SdNJyRLBDMQ6RDmp4axGfDa2Zunh39AKW/mYvo98syPIy6avS71LOXwLoyHVTz4S2QBENM6PDlEqz9eJACI4E4L6TP8NS/NSMAOkJNDjAYT28KS3xgfZ6JuonwkpyF2/DSCQBnlNJXaKAEJ87qDvefAZBwIgYMJ/gEJO1lcL9lv1CaPGSJQbwEclyMrJlPQm/IOQjzqAwE8tn6gQozzGyQFEfnNUXTEX6HPW8yBPLRqASEV8kq0OzGyL8pRmPaGdUu7wUofFnQsHEGTWJg++fgpAbMY74yaewuAdEAFEesA7IaHfAhDV9+Ac1Y9tMwd6OKN/AggBTIuMJgCEdtQjuN4ZUkE/cwAC3vXbAKKOWwFAlEUntw0/+geXC+2Zw26Qy9Vca6HVL4jkyEMQ/9XXoYPT7OVLHE5lWGDAa0wYCEt1Wk1DEyEfBBAMw5HnMmAnK57oHH9ZhWtYOEQZjXXob1ItlXrKgU+anoyOXwcQZR+dnqnczPZhAFGzgx0AIS7HRQBREfmPAQjmPzMZiOqWzrZHirTM/+kAYsBoAkBE357EIXINJ9sDZyDgXfWPwYun7gkgchgrwQzW7Oz9cwCxt+TMv9LIt87lfcpC4qsDu0XYF/g8gCA7JhxA1DxKPlkZT/CENxR5xgz5OeEcbByaU5B9Az4EDgYsusRZ/EIhACIltCBogNr4KICor5HtAAhRvTKAkCLWnYsp+Vf+oNzMY5z5+KTDf+uMqDIPPcY5xWgCQPSP8YmPZsj62Q8g2uMCo43gWwIIDBSu7+KtyjvFf6fU39Ewnl8g/IJ/01P9eJMCPs0kvLX6ZwFElXfTz71/FkD841XWAoAorwX7OQABfY9LpxWYuO0ncU8DEHOMhq+yrg/9Ce3w708HENNvG7spgPhuF29V3in+O6X+IQ0HPdvUufQr5bvut5z/elU8j9FTxVkA4oC+XlfeKfXS8E3KAhA3Kc+L6w8z7jcBxKJFixYtWrRo0TzVDMQUzdd8JL1T/HdKfSUtDXfou8pZpql0mSoexuhh4nCOC0DM0jvFf6fUV9LScIcWgLgJPS8QLgBxCscFIGbpneK/U+oraWm4QwtA3ISeFwgXgDiF4wIQs/RO8d8p9ZW0NNyhBSBuQs8LhAtAnMJxAYhZeqf4stTBGevj5Z15JL3TryZpAYib0IwqorfGhb0tp7uCy7d+l9EpLUN6nt4qnQAgordG7FFw8ve/TIr4Dw+kgnuU1/pMG7ivpxktPlnTK0p1aAGIm9CMKsQIOndXu/W7jE5pGdLz9FZpGkAEl6ZuUDM4Y4wLGoBIIUbua/S2HwoifjmYC5WdxOY6mMIUJQVS1KXgUtSr3R/KTprv1L1K9io1/30v6z0VUO+rfnlw83SdXyXoV8E3i8PlAlk6yCuJ4FzoXUp/IKcqQxvWzBXqMPwqbkPKyd5WXfHjPTMG/biR9REPu+CMc451pN3jwiYNZKh2TeHCx8YYfRqyO0kVgw5v0dveEIW+Df6O3roAbtWGA71FZaN5uMII1ddbhsKKgiu3auIAvj1xaIRthtf1pvrbwEBNV8ijVOlmAUTtDwEQRZOs4aTfPJnhiBPLd/uCQWCDNDiTxu53AET01liLJeFdggBiSnYWpMWZ4FLZu+5BBdRrVWJ97l+dr/OzBDQcvYOBpXoA/HtjH8sNvkA5+VK7saqQTTWgAuzL96gqp80l1ntXQ+VnvcEYQ1ZeyNOjtyKA2OplF6RlBlC7rnD0sUjfYCC3ssruFCqG6HhIRakiwdrYz12AtyrDgd0iU8fDRUakvt6y1hepZUj90Z2XxzpTi7oH3UDTW8ff+gbis0HxKEU6Mwcg2pAxcwAiOOzbNLocgBB3AxDlt0LR5DEGELtkJ2oEH28OINKUiwA2yFPQTitXUSP9Fn6d0MgHWmxjHv5NLjXK+EG9tNUMJlpooGEFK9wLQNQ4Hr211oJI+sk0hAwgkGM7763SheBSygLpfENqr/biCscRy8JGFCsr7M4hU9frmodE7/srI7i8BSDMYygiDQfhFpWP5uEiI6j/fssdAMFahqSNbqhGjWnMrlV8ELqBpreOv/UMhHVVv5EYEdFGACJ45ywEEDyVzQMdSSIJ0V+bwuRVOM9gfxNAgMQK270YAIiB7JCQzDWpIzP6IOlGz8sdKGBJ6aY9M4OjP5KhkHCVNeJcr4WfpzYAY4tFJWUYvfMB/B3xJQjLfehd2jaWyQRDOxOscCsAAcI4doJRVvbf3CUAYQqQMz0AUdZvNHsM1Z4xQPSuCyBqOIix4wAyu5OoGuKghwDfRn9rjPbc0mjo4YQR1P+o/3oGokeyOHNmAjgI4ZzkBjKjvr91iFcbOdEUgAiujRADszFWykDgzSEh6ohgwQVtaV4mi9oSnEXSFvz1ACKA8x94+4x2qZvhH8iOjg0i+Hqt7MQ9sChMwOCM87V/BWMAdyA7OcJV1ghxqE+uOL9CAwBhnQd/B3wJbIr7/iVAbQGrBL+ylmUY+XpKyiGhxKAx9kGHEAGEtTbP0c7aDoBAPWsfJLVLCkd7BTYPiJL54FbW2J1FeB7Y7yHXAAjYvZ6HY0Yz6sJ7DvOCy+LM8SUAgriBLs428jeRF6s20soMgAjOhTgLIMh6cQNfa0OsBgQZQAQQhfKRA1MAVguiPD/xEapzGe6ziGlSl1wHQAxkh22TpM61su8DEMlXcpoZ546aRE1e6SptpA3VZyYg+muUkE5Ao0wm+Zju9IHeRS5VqklOMLSFCilVtm/iPp/qoCNRHIj3wRSEwYcos1acy5lk55wOIFDHWo+52sEgggoHH4O3eWJ1mpU1dmeqon044CFXAoihhyNGg0xwa7MKu0fwHoAYmYkDCOQGGqOt728KK1ZtOLImAEQ5160BCJKbN8YUb58AEHyzgxLa+y7QL8+hJTHh/FVhxdRkPoZMIMwrXRI3cbqys2hLz1pcJjt2D/HQiyogrNiP/vJV3MhD8YM+Y9adHPg3uVQqZ5DQuUR44KEtVGgfv6nyOwAImoHwvpwA8B0AAdZvQKWS2tGUQgXKy06EGLiVNXbnEZ7893vIdQBi6OGUEdb/sPF9rqcDiLFIHEBw4CgwGvmbyElyy8FNYwCB+83P04nhJM4BiIzs+1tAJW5SEwP8siOL9k+SFNX2MTpdYmoayd6W6AJQu1h2mhmTGHI/YJsNEGpxkq/iRvot/DBpU0xwCY5n5Fz/3tjHLYQg3UUu1cuRDW1eodD9AAT2wS9sYfgYnAvpPxVAgC4H+CSAqPZOWBL2sDZuZYXdidS89JiHXAYghh7OGe1w8vMAxISZhC0MvnXFGY39TWaEq42lmwEQNXtnfWQRVN6SFgGEFD8HiaMWmxmAKAHr2m3aXqqm1yWkprHsJeVANZZvuFp2JDWzbe0d+pblCqAtOclX+QbRA88/bNtgl7R7+Lt8RM+X9y5F37LgaGjzCv3Z6jIy6GjYlv7GfvEFABG9c86lZx5650hyD2nKsqi9XhJQAtQ/BxBZdumY5aGXDY6peOlRD7kIQAw9HDGC+u+LMGGOPeLMmekQgOj4W4cRrzZG5mMAsZUeCRmItkrm1fnDYW21XD/01YcX6RhAlBnk4qDSU5TeJYqD+rIX9MA3y2ATV8oOpRYRI+1JFgEvpTtCi1dJIxPpqt8lcYqBYUQIKQFOIw0kdC6R9uUveAc+u8IfU1YOSsoCV/gsflABRJmQdABRTSD1sH4H9iRqWKIPEqTjivA7ZuUBu7NUQdrf5yHXAIihh2NGUP9zACK4lvmZEvw/4pRaUXYNkVHX3+bYlQ+j6fZfAELOPuTq/41sPAbRq9+Y1DqKUrt0UpyHhxQvlh1ILdmcCaikI/ZlH3AjD84+bJt+iNLUY03wb3JpwyChc0maE0gkQxViOS/2VdhWlQMjtwMvkvqoW6gAAhhGfpFUe7OAMA8jU1p8KK/yQx8DepswsfKI3Slk+F7SLg+5BEB0PFxmBPU/0/86TqYF7y0PhhR9eswHLKS1V2bLp4UY5wE37lEd+l8G4n30TvHfKfWV1Elyon0r+ZKwSaFcquktYQFfJ0ZYQT7wci1R/Hrt1qXBT2Gk2dv6mE+d6QACZgSIzjcGFPH7kuTDHtgD6CKtz+4sVfD2d3jIVQBC83CNkb4SpgSFnRdcAxCTZor4eFlndS4aiHEe8IL6Hoo3CyDIDa+ld4r/TqmvpP9pOIagTQ2dS/+qeyV91/2W81e6TBUPY/QwcTjHBSBm6Z3iv1PqK+kOGr4rflgA4i70vEC4AMQpHM2iRYsWLVq0aNEu2koGYqrM13xkeaf475R6afgm5bvKWaa5XhUPY/QwcRjHBSD26et15Z1SLw3fpCwAcZPyvEC4AMQZHBeA2Kev15V3Sr00fJOyAMRNyvMC4QIQZ3BcAGKfvl5X3in10vBNygIQNynPC4QLQJzB8SYAIhprjI8TNYMx1sRrNfVx8feU4C8VX5b6e1Z4XrmJX92zLABxkzKjiuiNcbtbTncFZ1z4PqNTWn623rBoRwGEt6eFkOhNpqFsoVRkdjpQ9orAFZV6PoV7JjTgo3FACc6amOJ0NBZ8762pv3KdyPoTtDEv9QEr9FU9Y4gT/e1uZUWp2ypnmWaXKsQIOnmXMybcgNEpLT9bb1i0PuMUukyeu2FNGOpQCcYATmo1cLUBiBIsSUhGL4PjIZNxtD5/6UIvt9HvGy9cUeWFeP/tTNJAiMZW0cot3hrnGkxpugLEvfbEUqUWrUAF7Br62NVjxvqhAv0KppfaciFQW8sriZBNQHJUQsoq1cRpJKFNXoE5G2pczEuJvepmsFrNiJXj8l3VFf+P3YemkXnBoVqKx7A+bCa4Vsfb3EKVgss11nk0tn4kOvxwUrAZIqi99Vadi6AgxNO8NSEa6xgj6AmHGKUboQlkRqTOTMu8P6BlWW/6wOww5XfV3nbEoQ42xwjqATaiSWdmAITz5IbSuhTAnMnRjkZQpf10NXrjvLHWxBogp0OFyjHkMa82qIjQKVBR0RtjM7oai9/tDA/MqQ7HCmkCcoUv+f5DpeceTEDNL3uqnjHEfmP9UIEa9q6N/OQXcPjU8c8vbXCacGj6IB9rTQJ/eZuoQl1LYO/lHabuLfVKrCm0CQAEXGb4spByJyUjO6YJEq86ZDl3uFBrACJkYdFiiclFjcJ0Xn6od9Y6n/BSyJe6kMYdd494mnMNZW7KcDjGaMMYTmNE60yLgPoTZFfURjeSrms1clftrSYOH1yTjJoeiLCKdOYwgKgp9/LLeK3rBwEE6Fz5lc+eqLCFfszWGtRE6BRDEjAG5Qb+05m0BAk+a8PgGAl12H7P0xnnQA5gQlfHSs89FACR5lCHsyaaqju+VBs5YKwfKmjkg7VdmyaqttNV6dK2Ge9ZI+xjq1lCmtpm/aYge1vaD2LjpMFOr3DL3KNazYiUk/imLbzsA59fdresb+UVQNhmM7IIIGr6AUohfOO7Oi/s8uamaL6PaSMbAvIlTKPxysBEghBPi8YHE32bPYThcIxRaaQGxQ4jWGdGBKR81rKgt87A1Jnyu1pvNXHYMJxkhPQAFa5LdxxA1A3pFA77S3ARFIvL7obWLQaejOYX/bzBOqRFEcZDCO8jkEh/rDMJQHiXz6p0AMTGMqWfDqhJatFegQkYXNZA2jNrGtZVza/yRtx+Y/1QaQMw5jxc8rFkVrgct065tIHZATQifKw1YSJUbDOgb4JrGfg2lcDGcYO9XgWp/2KHK4AIbRpJo6/6/CAr+2/TwG3jzAtkennA5gCixh4iRd5Fgt+4rs5Di3ORaLuv0hO9FPKdZgoFITKqjKAnHGKUNOYcmjxFiTp15Ja95Op9vW0TA1MspJreW8FAuxjBlucUbsYAAh+Xa4PZNDgGlwvWGI8X0DXuVJRNBr+45kbcQTKKrjYUjmpSvTaoiTDnCvDoRrPl4c7A8JxgRPo/IxdMcPmWuoL5dCHuQaxABQzGuGxWp6u6uYFoCNKIOWKsHyoDAFEngjI1CJc2E70yX7Dpo9VMFiyLXd4mrDAGELj+oFes5iZ2OGTltBjMAATqzwdMAwFE5gUPIrDCAUT9hkiBsAW+Kuo8b/XimeTqDIRkuyFTGUAo0VeNuDsZpfWM9wMA0a+jtTzZn544hwBEp7eqgeYYoZbn3GkOQKSDjeAQZVsi46cDSARN8cOZ9siAj/sARMAbBEMA0TgqMbs2qIow4QrwyQu0ID7ama2uua1x6QmLgipSqooc16LQ4sMBdR+ASK4SjbW526KqqxvIhsCNJNprrB8q8hQTGmaq4afm0vlugvdSI/wjrLmBFbDUZrPvPIAIyEBqr0rLMJ3mpFxFHXQwzQaDOrl0umlEXmRqgoUAiOa9UlfFzms6z8jJAQ0DbSdNfm43E80DgO/MFqq4fHcKCNMi7m5G0TiHYJnIqF9Ha5koYUpvZwCITm81A00yIi3PuNMEgNhac4HVJEuB/ABCiiXlkgMLTe4uCUAIyKC0Rk66UoNJHOElNMJZg4IIE64QyAA2bQo+3JkKzNOMU6ePGpsh1BDokzGVGF2wgi4gVGxf1fJV3MguY/1QkaeYaCzeEWszF7uEdjf78xTeB215LN5mYVrh7AyAQImxTq/IOIIF17wngNh0b+QAwpe7JgGEpnO+wQ+1nSaGawAE5KvaEUvUBAmypwmM2OJ7HyNvXBgBiDCoI7dcVo8zqa8zAUS3t5qBphixlmfc6b8AIvGASVSTTvcUSgvx4fAWY1JqHN7Lj1OIHNsltpbiA56IMOsKpPP1oN/RzqTzU8mE9fua/0yZjPl+nlsEozNjcQH5Eq0vgniVNPJFJVykYTZjpjV6jRZBubQF/KRfZ56CNfEJRNpmKembKQDBHixUe8Uk2pSaAoDAsPILWxiavJvZxEOU7PBKupeeH2cPEwpbGDD5D7h3dqDO91Im9ZAp31kQPY0ykuDpPCNrEerSjNuvo4kwf3r3RADR761qoAlGpOVJdxoDCNIQrElPAFQcgI9NjAFEoO3URTZSk/bgNeOYCtwslxuURJh1Ban8pzPOmuDzWx+MaeuPCkTQG6vwM42fXpEjqSUrEAFrNYgz+qqWr+JG9hrrh0pnxtzgI1j6JfSkeHeegjW9FZyntlmvzgMI0qDWK9IyVQg+CGLw0bD0NwXfVwEIb1EgF0UQAIR0+jL/rcg1AyCgtush+eA+DiCg+SZRi+g884cojzGCb9vTno+ACd2+FxERxLHT19spAKLTW26geUak5Ul3MvMAwoEzENvWYhhazZi2hoaZkJ6iy/OmfNdQeNBRSZLz0AK/0RoURJh3BV7+05mQj2SmtF7y+3RaSu7e9wCEuPUrHiZF1fqqFq+SRvYb64eKOMXkoVcfFARPDNJL5FhDd57SDiXwNgM+7BbFk+dkz6Vz2ALPg7sBBJtGhQMTnzFNAxDgoQCSKoC3iAAia48rQZFL1jl5gxA33wUZiHk7ggIF8czTZEaA1zFG/OCqxmgmA4Fa3uN14ugWPmpFOgTdy0BIT11N9vb8DETmXU5kGIBxSCDJCfw5ndbSOYtECj9+r3JMsWfUGS7CDleQVH+4M8E1uGBci531kU4AFsy2fRNACA9BMAG5TfuqFq+SRg4Y64eKPMUUWEnORYuXkGY68xSoSXffQZt5vg5lSy7dXs8Il/QYiX+8QbVXpGVSxMc48ZGgepJ/5mDdP00TOK+YH4WI0vtARQABY2GVIsA69QSVrvMNv
2014/6/25 Glenn Dicterow Discusses Leaving New York Philharmonic
Mediations and Mutiny Backstage
By MICHAEL COOPER JUNE 24, 2014
The open, empty violin case backstage at Avery Fisher Hall stood as a stark reminder that Glenn Dicterow, the longest-serving concertmaster in the history of the New York Philharmonic, would retire after Saturday night’s concert. It awaited the return of the 1727 Guarneri del Gesu violin that the Philharmonic had lent him as its first among equals.
It has been 34 years since Mr. Dicterow became the Philharmonic’s concertmaster, or principal first violinist. When he leaves to devote himself to teaching, he will have held the position for 6,033 performances; played as a soloist in 219 concerts; helped transmit the wishes of four music directors and more than 200 other conductors; and toured in 174 cities in 51 countries, lugging his belongings in an old trunk that once belonged to Leonard Bernstein.
“It’s going to be a tough Saturday night,” Mr. Dicterow, 65, said in an interview this week in his studio, as he prepared for a series of final performances of Beethoven’s Triple Concerto, running through Saturday, with the pianist Yefim Bronfman and the orchestra’s principal cellist, Carter Brey. “The last one. Saying goodbye.”
Audiences know the concertmaster as the violinist who sits to the conductor’s left, leading the orchestra as it tunes up and playing solos. But behind the scenes, concertmasters can wield power to shape an orchestra’s sound - which is why they are the best-paid players in orchestras. (Mr. Dicterow was paid $523,647 in 2011, according
to the Philharmonic’s most recent tax filing.)
As he reflected on more than three decades in the concertmaster’s chair, Mr. Dicterow said that in the course of his duties, he had made decisions on how string passages should be bowed, mediated disputes between players and conductors, clowned around on television with Danny Kaye and, at least once, waged something of a benevolent mutiny.
That mutiny of sorts was before he came to New York, when he was the concertmaster of the Los Angeles Philharmonic. William Steinberg, a respected conductor who was getting on in years, was leading a piece by Paul Hindemith when he got lost during a long pause before the final coda. “He thought that was the end,” Mr. Dicterow recalled. “Instead we had another two minutes to go. So while his hands were up, I said to myself, this is not going anywhere . and everybody watched me while I went to start the next section.”
Even when conductors do not get lost, they can sometimes be less than clear in communicating their wishes, so many players in the orchestra will rely on the concertmaster for their musical cues. “You lead like the first violinist in a string quartet,” Mr. Dicterow said.
Alan Gilbert, the Philharmonic’s music director, said in a recent interview that Mr. Dicterow had played a major role in molding the orchestra’s sound, and that replacing him would be the most important personnel decision he would make.
“The concertmaster is the single most important person in terms of being able to guide the flow of the music, and affecting the sound of the entire orchestra,” Mr. Gilbert said, adding that Mr. Dicterow was “unusually brilliant” at transmitting the wishes of conductors.
Sometimes the job involves diplomacy.
Mr. Dicterow recalled a rehearsal for an oratorio that took nearly an hour to get through the opening bars, as the conductor tried to coax more of a period sound out of the orchestra, which is better known for sounding brash than Baroque. “You just have to try to save it,” he said. “I think that’s what a great concertmaster needs to do. He needs to mediate, to be a secretary of state.”
Another incident he recalled involved Bernstein, the orchestra’s laureate conductor, who had been leading the ensemble in an open rehearsal that ran overtime, partly, some players felt, because he kept addressing the audience. As the overtime continued, the players were given the option to leave . and quite a few did. Bernstein stormed off the podium, Mr. Dicterow said. “Things like that, what do you do?” he asked.
But a shooting incident with a conductor was only a joke. It was a 1981 comedy concert conducted by Kaye, broadcast on public television. Mr. Dicterow played a false note, enraging Kaye, who yelled, “The concertmaster is the one who blows it?” before marching him off the stage. Shots rang out. A triumphant Mr. Dicterow returned.
Usually the job is lower profile, though. One of the most fundamental roles of the concertmaster is deciding the way passages should be bowed: Should the note be played with an up stroke or a down stroke? Mr. Dicterow said the music directors he had worked with sometimes had different ideas about it .-Lorin Maazel, a violin player himself, sometimes suggested idiosyncratic bowings - and he tried to strike a balance between their wishes and finding organic, comfortable bowings for the orchestra players.
On rare occasions, he would leave it up to the players, a sort of musical dealer’s choice. “There are times that I decide there shouldn’t be any bowing, when I’ll say, ‘It’s free bowing here,’ ” he said, noting that it had been a “trick” of the conductor Leopold Stokowski when he led the Philadelphia Orchestra. “I’ll say, ‘Just do what you
need to do to make it sound seamless.’ ”
Music, and the music business, have both changed quite a bit since Mr. Dicterow made his New York Philharmonic debut in 1967, at 18, performing Tchaikovsky’s Violin Concerto in a concert led by Andre Kostelanetz. (A review in The New York Times said that he had “blended talent and immaturity in his performance.”)
Mr. Dicterow said that playing had changed, to some extent. “It’s a given that you’re supposed to play perfectly, virtuosically,” he said. “But maybe there’s a bit of the generic quality in music making-people don’t have as much individual style. I think that’s just a product of the age we live in.”
He seemed genuinely taken aback when talking about the 2011 bankruptcy of the Philadelphia Orchestra and the current labor woes at the Metropolitan Opera, which is seeking to cut costs. And he lamented the disappearance of music education and the lack of government support for music. Speaking of art, and orchestras, he asked, “If we don’t have that, what do we have?”
But he said that he was looking forward to moving back to California- his father played in the Los Angeles Philharmonic for 52 years-to hold the Robert Mann Chair in Strings and Chamber Music at the University of Southern California Thornton School of Music. And he said that while he would miss the Philharmonic, he would not miss the stress of sitting in the first chair.
Mr. Dicterow recalled a pep talk he received from a friend who had retired from the orchestra, who told him that he would enjoy listening to music without the responsibility. “He said that on the stage, you hear more or less what’s around you,” he said. “He said that it’s great to sit back and not worry about things- bringing people
in or playing solos.”
.
A version of this article appears in print on June 25, 2014, on page C1 of the New York edition with the headline: Mediations And Mutiny Backstage.
2014/5/15 New York Philharmonic Faces Big Orchestra Hiring Decisions
Philharmonic Transformation, From Members to Mission
By MICHAEL COOPER MAY 14, 2014
The New York Philharmonic is playing musical chairs in reverse these days, as retirements and a couple of unexpected departures have left it with more seats than players- and the most turnover of principal players, or section leaders, since World War II.
The orchestra has begun the process of auditioning, hiring and breaking in five new principals, including a concertmaster to replace the retiring violinist Glenn Dicterow, who has helped shape its sound for more than three decades. It recently started by raiding its next-door neighbor: two Metropolitan Opera Orchestra principals, Timothy Cobb, a bass player, and Anthony McGill, a clarinetist, are joining the Philharmonic, Alan Gilbert, the Philharmonic’s music director, disclosed in a recent interview.
Mr. McGill, a rising star who played at President Obama’s inauguration and has performed as a soloist at concert halls around the country, will become the Philharmonic’s first African-American principal player when he starts there in the fall.
The changing roster of musicians is perhaps the most visible manifestation of the transformation underway at the Philharmonic, the oldest symphony orchestra in the United States. These days, the ensemble is learning to fill its hall one concert at a time as subscription sales fade; expanding its education role with partnerships in Shanghai and California; trying to end a run of deficits; featuring new music more prominently under Mr. Gilbert, introducing its first NY Phil Biennial late this month; and quietly moving forward with plans for the long-delayed renovation of its worn Lincoln Center home, Avery Fisher Hall.
Orchestras across the country are working to try to stay both solvent and culturally relevant in the 21st century. The Los Angeles Philharmonic has found success with its charismatic young music director, Gustavo Dudamel, and popular concert hall. The Cleveland Orchestra has started a series of residencies in Miami, Vienna, New York and Switzerland. The Detroit Symphony Orchestra has embarked on an ambitious program to stream live videos of many of its concerts at no charge on the web. The Chicago Symphony Orchestra has thrived under Riccardo Muti, a maestro of the old school, while the Philadelphia Orchestra turned to a dynamic young conductor, Yannick Nezet-Seguin, to help guide it back to solvency after its 2011 bankruptcy. This year, the eyes of the music industry have been on the Minnesota Orchestra, which is trying to rebuild after a 16-month lockout.
The New York Philharmonic is looking to Mr. Gilbert, 47, a native New Yorker whose parents both played in the orchestra, to help it navigate the changed environment. In the interview, in his studio at Avery Fisher Hall, he said that hiring was his “biggest responsibility,” and that he was looking for players who would energize the ensemble while maintaining its traditions. He spoke of the way the orchestra continues to be influenced in some repertoire-he singled out Mahler-by music directors who led it decades ago, including Dimitri Mitropoulos and Leonard Bernstein.
“There are almost no players who were there back then,” Mr. Gilbert said. “But it’s like the old philosophical question: If you have a knife, and you break the blade and replace it, and then you break the handle and replace that, is it the same knife? There is a kind of knifeness about it that hasn’t changed, even though it’s all new parts. And that’s exactly what happens with an orchestra.”
Mr. Gilbert offered a few hints about what the revamped concert hall might look like. He said he does not favor designs that would surround the orchestra with the audience, as do Walt Disney Concert Hall in Los Angeles and the Philharmonie in Berlin, preferring a more traditional shoe-box shape, which he said would offer acoustical advantages and allow the Philharmonic to present the multimedia events it is becoming known for, including films, projections, staged works, puppets and dancers.
He said the new space should be more intimate than the current hall, which seats 2,700. “The thing that I miss most is a real sense of connection with the audience,” he said. At Avery Fisher, “there are certain seats in the hall you feel you might as well be in the East Side, you’re so far away.”
With talk of renovations dragging on for more than a decade, there has been little effort to spruce up the hall in recent years. While the musically inclined have long complained of the hall’s acoustics, a more immediate problem may be its glamour deficit: Its brown carpeting and boxy look can make it feel more like a vast school auditorium than a temple of music. The excitement of a reinvented hall could help the Philharmonic lure concertgoers as it grows more reliant on single-ticket buyers. Although attendance has risen a bit, it says, only 40 percent of its audience were subscribers last season, down from 57 percent a decade ago.
But the renovation, which is being planned with Lincoln Center, poses serious challenges for the orchestra-not least the question of how it will be paid for. The Philharmonic has run deficits every year for the last decade, and last season it had its biggest yet: a $6.1 million shortfall on a $71 million budget. Its endowment was worth
$187 million at the end of last year, still not back to pre-recession levels, and efforts to shore it up for the long term could wind up competing with the fund-raising that will be needed to help pay for the renovations.
Then there is the question of how the orchestra will fare during the renovation, when it plans to present concerts elsewhere around the city- and whether Mr. Gilbert will remain at the helm to provide continuity during a time of upheaval. Officials have not yet said when the renovations might begin, and Mr. Gilbert, who is finishing his fifth season as the Philharmonic’s music director, is under contract through the end of the 2016-17 season. “I’d be very proud if it could happen on my watch,” he said.
Matthew VanBesien, the Philharmonic’s executive director, said that a new hall was “hugely important” for the organization as it seeks to adapt and refocus in the new century.
In another initiative, some of the ensemble’s musicians will fly to Shanghai in September to teach their first classes at the Shanghai Orchestral Academy, part of a four-year collaboration with the Shanghai Conservatory of Music and the Shanghai Symphony Orchestra that will see the entire Philharmonic go there next year for eight days of concerts and teaching.
The orchestra announced another partnership last month with the Music Academy of the West in Santa Barbara, Calif., which calls for both teaching and performing. “I think it’s a time of change, but it’s a time of renewal,” Mr. VanBesien said.
In the short term, though, the most pressing issue besides the hall is rebuilding the orchestra. By next season, Mr. Gilbert will have appointed 17 of the orchestra’s 106 musicians.
Most of the musicians departing this year are retiring after decades with the orchestra. Mr. Dicterow has been with the ensemble for 34 years; Philip Smith, the principal trumpet, 36; and Marc Ginsberg, the principal second violin, 44.
But a couple of the departures were surprises.
Stephen Williamson, whom the Philharmonic lured away from the Chicago Symphony last year to be its new principal clarinet, announced this winter that he would return to Chicago. It was the second setback for the Philharmonic in filling the post recently. After its longtime principal clarinet player Stanley Drucker retired in 2009, the orchestra announced that it had hired a player from the Philadelphia Orchestra. But he backed out, citing “family reasons.”
Fora Baltacigil, who became the Philharmonic’s principal bass player in 2012 after stints with the Berlin Philharmonic and the Minnesota Orchestra, left this winter as well, exposing rifts in the bass section. In a recent email, Mr. Baltacigil said that he left the ensemble because he had not found the “harmony and peace” there that he had found in his previous orchestras.
Of those departures, Mr. Gilbert said only that “it didn’t work out.” He added that he could not be happier with his new hires from the Met: Mr. Cobb, who will become principal bass this month, and Mr. McGill, who said in a brief interview that he was excited about the opportunity to play new repertoire. They will both be considered “on leave” from the Met for their first year, as is common in orchestra hirings.
The most crucial appointment will be of a new concertmaster-the musician who helps mold the sound of the orchestra, performs key violin solos and helps transmit the conductor’s wishes to the players. Erin Keefe, the concertmaster of the Minnesota Orchestra, played two trial weeks with the Philharmonic this season. Mr. Gilbert said that she was “absolutely great,” but that, on principle, he did not want to appoint anyone until more players had tried out.
Mr. Gilbert said he enjoyed trying to identify the right musicians for the Philharmonic, from the auditions to the discussions with committees made up of members of the orchestra.
“The standard is so clear,” he said. “ ‘Maybe’ means no.”
.
A version of this article appears in print on May 15, 2014, on page C1 of the New York edition with the headline: Philharmonic Transformation, From Members to Mission .
New York Philharmonic Faces Big Orchestra Hiring Decisions
nyti.ms/1oSwHe2
| ショスタコーヴィッチ 交響曲第15番 河童ライブラリー | |||||
| 指揮者 | オーケストラ | メディア | 番号 | 録音年月日 | |
| 1 | クルト・ザンデルリンク | ベルリン放送響 | LP | SCHALLPLATTEN ET 5061 | 1978.5.26-6.2 |
| 1 | クルト・ザンデルリンク | ベルリン響 | SACD | AVEX AVCL-25286 | 1978.5.26,31,6.1-2 |
| 2 | クルト・ザンデルリンク | シカゴ響 | CD | RARE MOTH 539 | 1985.11 |
| 3 | クルト・ザンデルリンク | ベルリン・フィル | DAT | 1988.9.17 | |
| 4 | クルト・ザンデルリンク | バイエルン放送響 | CD | RE!DISCOVER RED101 | 1990S |
| 5 | クルト・ザンデルリンク | クリーヴランド管 | SHMCD | ERATO WDCS 12233-4 | 1991.3.17-18 |
| 5 | クルト・ザンデルリンク | クリーヴランド管 | CD | ERATO 2292-45815-2 | 1991.3.17-18 |
| 6 | クルト・ザンデルリンク | シュトゥットガルト放送響 | DAT | 1996.2.29 | |
| 7 | クルト・ザンデルリンク | ベルリン・フィル | CD | BPH0611 | 1997.6.9 OR 1999.3.16 |
| 8 | クルト・ザンデルリンク | BBC響 | CD | ER | ？ |
| 9 | エフゲニー・ムラヴィンスキー | レニングラード・フィル | LP | MELODIYA VIC28053 | 1972.5.5-6 |
| 10 | エフゲニー・ムラヴィンスキー | レニングラード・フィル | LP | MELODIYA C10 19299 000 | 1976. |
February 21, 2013
Before Wagner’s Cycle, but That Legend Has a Familiar Ring
By ZACHARY WOOLFE
In Quentin Tarantino’s “Django Unchained,” a film whose soundtrack echoes with the wide-vista twang of Ennio Morricone and some Rick Ross thrown in for good measure, one of the most important musical selections is one we never hear: Wagner’s “Ring” cycle.
Sitting by their campfire one night the two main characters in the film, which has been nominated for five Academy Awards, turn their conversation to the ancient tales on which Wagner’s cycle is based. The wife of the black slave Django (Jamie Foxx) is still being held captive. But he reveals that her childhood masters were German and called her Brünnhilde: Broomhilda von Schaft, to be exact, neatly summing up the film’s interweavings of deep myth, cartoonish playfulness and modern blaxploitation.
Django’s new friend and mentor, the German dentist turned bounty hunter King Schultz (Christoph Waltz), quickly perceives that his quest to rescue Broomhilda fits into a larger cultural pattern. After all, there was once another fearless young hero who saved an imprisoned woman called Brünnhilde. His name was Siegfried.
It is a story, Schultz says, that “every German knows”: how Brünnhilde, having disobeyed her father, the king of the gods, is put into a magic sleep and surrounded by a circle of fire that only the bravest man can penetrate. This is the part of the story that Wagner placed at the end of the cycle’s second opera, “Die Walküre,” and the beginning of the third, “Siegfried”; the febrile Magic Fire Music is one of the most frequently played excerpts from the score.
“Django Unchained” refers only to the source of the story in “German myth,” not explicitly to Wagner, who celebrates his 200th birthday on May 22. Bringing up Wagner’s “Ring” would be an anachronism. “Django” is set in the late 1850s, before the Civil War and long before the premiere of “Das Rheingold,” the first “Ring,” opera, in Munich in 1869, let alone “Die Walküre” (Munich, 1870) and “Siegfried” (Bayreuth, 1876).
But Mr. Tarantino hardly stints on anachronism in this film and in the rest of his body of work. And if a large public today knows the stories of Siegfried and Brünnhilde, it is only through Wagner’s passionate advocacy. To bring up the “Ring” myths is to bring up the “Ring.” So what is the purpose of having Wagner in “Django”?
Christopher Benfey, on the Web site of The New York Review of Books, suggests that what may have begun as an attempt to account for Schultz’s ? that is, Mr. Waltz’s ? German accent “seems to have spread into the plot,” which is also peppered with stock characteristics like beer drinking. The “Ring” story adds a note of the epic to Django’s story and prefigures the climactic conflagration.
From the 19th century on it was believed that there was something particularly American about the “Ring” myths. The critic Henry Krehbiel once wrote, as if anticipating Mr. Tarantino, that Americans “have not preserved Siegfried in the character of a popular hero, as the peoples who occupy our ancestral homes have done, but we have put his manliness and strength, and even his frank lawlessness, into many of the heroes of our fairy tales.”
But it is at least strange that a film about a rebellious slave and his violent rampages through Southern plantations takes its mythical backbone from the “Ring,” when Wagner’s views on race tended to the vitriolic and reactionary. His shadowy presence in “Django” unavoidably raises, in this birthday year, the ever troubling issue of Wagner and race.
Those views have some ambiguities. Wagner acknowledged in his prose writings that even his beloved Germans are themselves the product of generations of racial mixing, but he was clear in his belief that the races are “irremediably disparate,” and he mocked pretensions of equality like those that “authorized the blacks in Mexico to hold themselves for whites.”
Though Wagner, who died in 1883, was not around to see his music embraced by the Nazis, the operas are not exempt from the dark currents of his personal beliefs, including the “Ring” and “Die Meistersinger von Nürnberg,” with their depictions of sniveling, vindictive characters seemingly modeled on Jews.
Not even his soaring valediction, “Parsifal,” which is now appearing in a thoughtful new production at the Metropolitan Opera, is free of taint. As the music historian Joseph Horowitz has written, “The desirable preservation of pure racial stock figures among the confusion of themes entangling ‘Parsifal.’ ”
Are Mr. Tarantino’s glimmers of Wagner, then, a cruel joke? Has he been drawn merely to the sweep of the story, ignoring its ideological side?
I’m not sure. But “Django” should play an important role in how we think about Wagner today.
It is telling that, as a friend pointed out, Mr. Waltz plays the same role in Mr. Tarantino’s “Inglourious Basterds” as he does in “Django: a clever, polyglot, murderous huntsman with courtly manners. The difference ? and it is quite a difference ? is that in “Basterds” he is a Nazi villain, and in “Django” he is someone we are meant to root for, someone on our side.
Including the “Ring,” with all its baggage, in a narrative of violent slave rebellion is like casting Mr. Waltz as a Nazi before smoothly transitioning him to abolitionist. These juxtapositions encourage us to examine both sides more closely, to recall the Nazi when we watch the abolitionist and the “good guy” when the Nazi is on screen.
In the same way “Django” encourages us to put the “Ring” in a new, unexpected context of American slavery ? to make the two inseparable. We are not allowed to forget Wagner’s vicious, xenophobic writings or the troubled, troubling aspects of his works, but neither should we avoid his music or fail to take pleasure in it.
What we are required to do is to remain aware, as Mr. Tarantino’s film perhaps inadvertently reminds us, that Wagner’s operas do not exist outside history or politics. Robert Lepage’s production of the “Ring” cycle is proudly apolitical, but when it returns to the Metropolitan Opera in April, audiences will ideally have “Django” in the back of their minds when Jay Hunter Morris, as a muscular, blond Siegfried, crosses the magic fire and awakens Deborah Voigt’s blond Brünnhilde.
Defying Wagner With Buckets of Blood
By CORINNA da FONSECA-WOLLHEIM
On Monday afternoon Jonas Kaufmann stood in his dressing room at the Metropolitan Opera holding up his hands, which were stained red. He had just rehearsed Act II of a new production of “Parsifal,” in which he sings the title role, and although he had stripped off the makeup and slipped into jeans and a crumpled shirt, there were parts of his skin where the stage blood just wouldn’t come off.
There is lots of blood in this production, which is directed by François Girard and will receive its Met premiere on Friday evening. (It is a co-production with Opéra de Lyon and was first performed there in March.) In the first act blood fills a dried river bed that bisects the stage; in Act II the entire floor is covered in 1,600 gallons of the fake blood made of a combination of water, glycerin and food coloring.
“There is blood everywhere in this opera,” said Mr. Kaufmann, a German tenor. “It’s about this wound that never heals, so why not play the second act inside this wound?”
“Parsifal,” first performed in 1882, is Wagner’s final work for the stage: in equal parts, fairy tale, ritual and philosophical testament. He wrote the manuscript in purple ink and termed the work a Bühnenweihspiel, a festival for the consecration of the stage. He left instructions for it never to be performed outside Bayreuth, where he had built a theater that created a new kind of immersive and worshipful listening experience, with a covered orchestra pit and house lighting that plunged the audience into darkness.
In 1903 the Met gave “Parsifal” its first performance outside Bayreuth, after a copy of the score had been smuggled out. Since then this drama about an “innocent fool” who gains knowledge in the act of resisting temptation and restores the power of the knights of the Holy Grail has demanded interpretation.
“It’s reputed to be undirectable,” said Mr. Girard, a Canadian director whose movies include “The Red Violin.” “And now, after five years of working on ‘Parsifal,’ I can lecture students in theater schools on why it’s the impossible piece.”
In his vision “Parsifal” is set in a postapocalyptic world made barren by global warming. The sets by Michael Levine, Mr. Kaufmann said, “look exactly like those images you see from Africa where it hasn’t rained in many years and there are cracks in the surface of the earth.”
During the prelude operagoers look at themselves, mirrored in a reflective curtain. “It starts with, ‘Ladies and gentlemen, this piece is about you,’ ” Mr. Girard said. “It’s about our own search for spirituality and the fundamental principles of compassion and temptation.”
For the most part, Mr. Girard added, he stayed very close to Wagner’s text. “You see a swan, you see a spear, you see a grail,” he said. “The second act will always be abstract. We are talking about Klingsor, the prince of darkness. Here it’s revealed as the underside of consciousness. We are going into the depth of the wound of Amfortas. It’s set in a thick layer of human blood, which is ultimately the center of gravity of the piece.”
Amfortas, the knight whose wound is closed only in Act III, when Parsifal reunites the spear with the chalice of the grail, will be sung by Peter Mattei. The cast also includes René Pape as Gurnemanz and Katarina Dalayman as the temptress Kundry, who seeks deliverance from generations of painful reincarnation, punishment for having laughed at Jesus on the cross. The role of Klingsor is sung by Evgeny Nikitin.
The opera’s themes of reincarnation, renunciation and enlightenment through compassion are evidence, Mr. Girard said, of Wagner’s fascination with Buddhism. Wagner was introduced to Eastern forms of spirituality through the writings of Schopenhauer, and the Buddhist ideal of renunciation in particular comes through in letters to Wagner’s muse, Mathilde Wesendonck, and in the diaries of his wife, Cosima.
In Mr. Girard’s vision the Buddhist wheel of suffering is represented by the knights of the grail, who sit on one side of the stage in a perfect circle. Mr. Pape, who sang the role of Gurnemanz in the Met’s previous production by Otto Schenk, described it as “a closed circle, and the knights all want to break out but can’t.”
He continued: “It expresses this men’s world, this sense of being lost, this hope, this ‘it can’t go on like this.’ And on the other side is the excluded society of women, who come and go and constantly form new constellations. The men’s configuration is stable, but there is that barrenness. When all come together four and a half hours later, it ends on a very human note.”
Mr. Girard said that the opera’s prodigious length and the cast of nearly 180 singers, dancers and extras forced him to relinquish control over certain details. Rather than cue every step, he is giving groups of chorus members autonomy to initiate certain movements. Mr. Kaufmann said there were heated conversations among the cast on details of the text, which in its mock-archaic German holds many ambiguities. And there are the stage directions inside the music, which demand to be heeded and sometimes put the conductor, Daniele Gatti, in the position of stage director.
“The piece is greater than everyone,” Mr. Girard said. “It levels the egos, because you have no choice but to bond within that huge piece to survive.”
Mr. Kaufmann added: “Every time I’m overwhelmed by the beauty of this music. The music that describes all these miracles and all this passion is just incredibly gorgeous and tempting. It really pulls you into this world. Even people who are not religious become religious while hearing this music.”
This article has been revised to reflect the following correction:
Correction: February 13, 2013
An earlier version of this article misstated what happens at the end of a “Parsifal” performance in Bayreuth. The audience does applaud at the end of the opera, though, in the past, they sometimes didn’t.
A Foot-Stomping Night at Carnegie Hall
By ANTHONY TOMMASINI
When the players of an excellent student orchestra want to pay special tribute to an inspiring conductor at the end of a concert, they stomp and shuffle their feet during ovations. On Thursday night at Carnegie Hall it was not a bunch of exuberant students but the veteran players of the great Philadelphia Orchestra who stomped their feet for Yannick Nézet-Séguin, the 37-year-old Canadian conductor now in his first season as the orchestra’s music director.
And no wonder. The concert, following Mr. Nézet-Séguin’s acclaimed Carnegie debut with the orchestra in October, was phenomenal. The ensemble, famous for its glowing strings and homogeneous richness, has never sounded better.
Mr. Nézet-Séguin chose works Ravel, Szymanowski and Shostakovich wrote between 1919 and 1937 that show them grappling with issues of modernism during tumultuous musical times. He began with Ravel’s dazzling “La Valse,” though he actually had to begin twice. Just as the lower strings, following Mr. Nézet-Séguin’s cue, were about to play the murky stirrings that open the piece, a cellphone emitted an unusual ring tone: it was the sound of a violin playing. Mr. Nézet-Séguin stopped the performance. After a pause and some laughter, he began again. But really, had he stormed off the stage, who could have blamed him?
Ravel, who conceived of this piece as the “apotheosis of the Viennese waltz,” described the opening as “eddying clouds” that allow glimpses of waltzing couples until the clouds disperse. In this performance Mr. Nézet-Séguin drew out the music’s primordial qualities, as if the clouds were parting to reveal not waltzing couples but primitive dancers who had wandered in from “The Rite of Spring.” Ravel offers a radical deconstruction of the waltz, and sinister things keep happening in the background. The performance vividly captured both the score’s glittering splendor and its strangeness.
In recent years the Polish composer Karol Szymanowski has been increasingly championed by major artists, including the brilliant Greek violinist Leonidas Kavakos, who was the soloist here in the Violin Concerto No. 2, written in 1933. Like other Szymanowski scores, this 20-minute work, played without break, draws from disparate musical currents: French Impressionism, Stravinskian modernism, the mysticism of Scriabin. There are traces of Polish folk music but also hints of Eastern exotica.
Mr. Kavakos, playing with an entrancing combination of sweet sound and dark intensity, captured both the autumnal warmth and the restless energy of this deeply personal concerto.
After intermission Mr. Nézet-Séguin turned to Shostakovich’s popular Fifth Symphony. This bold and ambiguous work almost screams “major statement.” A conductor had better have something to say about it. He did.
In the first movement Shostakovich channels mournful feelings into a Neo-Classical structure. But Mr. Nézet-Séguin drew such intensity from the music that it seemed almost expressionistic. The scherzo came across like a heavy-booted and menacing dance. He tapped into the anguish of the funereal Largo, yet the Philadelphia strings brought grave beauty to its stretches of choralelike harmony.
In the finale Mr. Nézet-Séguin coaxed vehement playing from the orchestra, with brutal, slashing power and pummeling rhythmic intensity. Was the final, triumphant (excessively triumphant?) episode Shostakovich’s ironic response to Soviet authorities who had condemned his music as decadent modernism? This performance was so driving and glorious you did not care.
The ovation was enormous. The orchestra has come through rough times, including a financial crisis and a leadership vacuum. But the Philadelphia Orchestra seems to have found its ideal music director, though Mr. Nézet-Séguin will have to balance his commitment to Philadelphia with his international ambitions.
Maestro With the Turtle Tattoo
By DANIEL J. WAKIN
Montreal
TAKING Bruckner to the people last month, the compact maestro arrived at a cultural center on the blue-collar outskirts of this city. The hall had the ambience of a glorified high school auditorium, with dust-dry acoustics and concrete walls. But the 400 seats were packed with families and couples and groups of retirement-age friends.
That maestro, Yannick Nézet-Séguin, picked up a microphone and spoke to audience members, seamlessly switching from French to English, and reassured them about all the empty chairs onstage for the Bach suite opening the program. For Bruckner, he promised, “you will see all the chairs filled.”
So they did. And the standing ovation was immediate for shapely performances of Bach’s Orchestral Suite No. 2 and Bruckner’s Symphony No. 6.
The listeners were clearly delighting in the presence of Mr. Nézet-Séguin, their native son, at the helm of the ensemble he had led for 12 years, the Orchestre Métropolitain of Montreal.
The circumstances in December were a far holler from what Mr. Nézet-Séguin will experience on Thursday evening. The stage then will be Carnegie Hall and the musicians members of the storied Philadelphia Orchestra, which he took over as music director in the fall, after one of the roughest patches since its founding in 1900.
Mr. Nézet-Séguin (pronounced nay-ZAY say-GHEN) has reached the top of the orchestra game. In addition to Philadelphia, he is music director of the Rotterdam Philharmonic in the Netherlands and principal guest conductor of the London Philharmonic Orchestra.
Major orchestras around the world book him as a guest. Equally at home in the pit, he has a long-term relationship with the Metropolitan Opera, where he has been talked about as a credible successor to James Levine as music director.
When asked about such speculation, Mr. Nézet-Séguin said he could see himself as the music director of a major opera house someday.
“It’s too early now,” he added. “I’m only 37. It’s been going so wonderfully, I need to live for the moment.” Mr. Nézet-Séguin is what the orchestra world is desperate for: a young, charismatic maestro who can win the respect, even affection, of grizzled orchestra veterans, the enthusiasm of audiences and the praise of critics, which has for him been pretty exalted.
Partial to skinny jeans and tight V-neck sweaters, with a turtle tattoo on his right shoulder acquired while on vacation in Tahiti, Mr. Nézet-Séguin has the technical wherewithal and the musical knowledge of an established maestro. He also commands an almost supernatural amount of energy ? the kind that drives him to turn score pages with a crack, the kind that keeps him ebullient even after long hours of rehearsal, picture-taking sessions, interviews and meetings with music industry operatives.
He made a rousing Carnegie debut with the Philadelphians in October. The next day he was back in Philadelphia, rehearsing, offering suggestions to the composer of a work awaiting its premiere, doing detailed work on Brahms’s Symphony No. 4. He was bouncing off his stool.
“I should be glued to that thing,” he said.
Mr. Nézet-Séguin sometimes seems not so much to conduct as to mold his gestures to the flow of the music. His motions are large, extending from his upper torso. Often his shoulders seem hunched, like those of a cougar waiting to pounce. At 5-foot-5 he has a powerful upper body from working out. (Mighty Mouse, the soprano Joyce DiDonato called him.)
He is deft and sure in leading large forces and has a keen sense of climaxes and endings, making them seem inevitable yet often gripping. He draws an uncommon sweep and suppleness from orchestras. He also works well with singers.
“He’s able to walk the line between accommodating the singer and keeping his vision as the conductor of the piece,” said Ms. DiDonato, who sang Donna Elvira in a recent recording of Mozart’s “Don Giovanni” conducted by Mr. Nézet-Séguin for Deutsche Grammophon. “He brought confidence and reassurance.”
It seems a dizzying rise for a former boy chorister who made his European conducting debut only in 2004 and his New York debut at Mostly Mozart in 2009.
But before he came to international attention, Mr. Nézet-Séguin served a fruitful apprenticeship in Canada, conducting in places like Winnipeg, Manitoba; Kitchener, Ontario; and Victoria, British Columbia. Above all he was molded by an extraordinarily fertile classical music world in his native province, Quebec. Time spent with him, his family and his friends in Montreal, where he lives, made clear the powerful influence of his roots and his long tie with the Orchestre Métropolitain, founded in 1981 for the sake of Québécois musicians. It is with that orchestra that he “puts on his slippers,” in the words of Lise Beauchamp, the orchestra’s principal oboist for 20 years. “Here we are like family,” she said.
Mr. Nézet-Séguin knows many of its members from their time at the conservatory together. His companion of 16 years, Pierre Tourville, is the assistant principal violist. One of his oldest and closest friends, Jennifer Bourdages, is the orchestra’s pianist.
It was also with the Orchestre Métropolitain that he plowed through the heart of the symphonic repertory: Mahler, Beethoven, Bruckner. By 26 he had conducted mammoth staples like Mahler’s Symphony No. 2 and Verdi’s Requiem. He and the orchestra have made 13 recordings.
Mr. Nézet-Séguin is repeatedly asked, now that his career is on an international level, whether he will move. He always says no. “Do you want me to leave?” he once erupted when the orchestra’s board asked him the same question.
Quebec’s unusually rich classical music culture results partly from generous government spending on the arts and a strong Roman Catholic tradition that creates a heavy demand for church choirs and organists. The province, home to eight million people, has 12 orchestras, 7 conservatories (in addition to university music programs) and high classical music recording sales.
“We claim a lot here in Quebec that we are close to Europe and the French spirit,” Mr. Nézet-Séguin said. At the same time Quebecers are free of “this burden of generations of history,” he added. Two cultures and two languages create an “effervescence” as well as an “underlying energy that you always have to prove yourself, to make sure that you exist.”
“That’s very productive and very creative,” he said.
Mr. Nézet-Séguin is part of a small wave of Québécois conductors on the international scene, including Bernard Labadie, founder of Les Violons du Roy in Quebec City; Jacques Lacombe, music director of the New Jersey Symphony Orchestra; and Jean-Marie Zeitouni, music director of the Columbus Symphony in Ohio.
“We are definitely currently in a golden era,” André Gremillet, managing director of the Melbourne Symphony Orchestra in Australia, said in an e-mail. Himself a Quebec native, Mr. Gremillet, while president and chief executive of the New Jersey Symphony, hired Mr. Lacombe as music director, starting in 2010.
It may seem odd that Quebec’s best-known conductor does not conduct Quebec’s top ensemble and one of Canada’s finest, the Montreal Symphony Orchestra. Rivalry with the Orchestre Métropolitain may be the reason. Mr. Nézet-Séguin made guest appearances early in his career, he said, but the last invitation came in 2004. He declined because of what he called a condescending tone.
“It’s not as if I need it,” he said, departing from his usual sense of diplomacy.
Madeleine Careau, the Montreal Symphony’s chief executive, said the orchestra invited him every year but, after repeated rejections, simply gave up. “Maybe he doesn’t want to conduct another Montreal orchestra,” she said. “We would love to have him.”
Returning to Montreal to work with the Orchestre Métropolitain remains a significant part of Mr. Nézet-Séguin’s life. In December he conducted each of two programs ? the Bach-Bruckner pairing and Mahler’s Symphony No. 4 with a Bach cantata ? at the Maison Symphonique and out in a neighborhood.
Mr. Nézet-Séguin was born the third of three children in 1975 in Montreal. His parents were university educators. He began piano lessons at 5, quickly absorbing repertory, and at 9 he joined the prominent Choeur Polyphonique de Montréal.
At 10 he announced his desire to conduct. “His playmates would pretend to play violin with a tree branch, and he would pretend to conduct with a stick,” said his mother, Claudine Nézet, now his personal assistant.
At 12 he started formal music studies at the Quebec Conservatory. He began leading the choir in rehearsals a year later and became its conductor at 18, as well as founding his own orchestra and choir, La Chapelle de Montréal.
Around then he wrote to his hero. As a boy Yannick haunted record stores and used his earnings as a church singer to vacuum up CDs. Having randomly picked up Brahms’s Symphony No. 1, conducted by Carlo Maria Giulini, he was smitten and bought many Giulini recordings.
“It was the clarity” of the music making, he said. “I felt I was hearing the score. Everything was in the right place. It transformed eventually my understanding of the spirituality of it or the humanity of it.”
Twice Mr. Nézet-Séguin wrote Giulini, a revered Italian maestro with the air of a musical high priest, asking to meet him. Finally, while in Trieste in the summer of 1997 for a four-hand piano competition, Mr. Nézet-Séguin was summoned to Milan for an audience with the maestro.
The two met a half-dozen times during Giulini’s last year of conducting. Mr. Nézet-Séguin traveled to sit in on rehearsals, attend concerts and go over scores with his mentor. Giulini never saw him conduct nor gave him an actual lesson in stick waving. But Mr. Nézet-Séguin said he learned important lessons.
“He was so respectful of everyone,” he said. “He had the capacity to make me feel more confident about my own ideas, which in the end is the best lesson in conducting. Any question I would ask him would always go back to: ‘How do I feel? How would I sing it? How do you keep things simple?’ ”
Mr. Nézet-Séguin counts two other individual influences: his piano teacher at the conservatory, Anisia Campos, a student of Alfred Cortot, and Joseph Flummerfelt, who runs weeklong conducting seminars in the summer at Westminster Choir College in Princeton, N.J. Mr. Nézet-Séguin attended two of them as a teenager.
Mr. Nézet-Séguin’s first major appointment arrived in 2000, when he became music director of the Orchestre Métropolitain. The circumstances were ugly, but he seems to have sidestepped any taint. His predecessor, Joseph Rescigno, a well liked conductor from New York, had invited Mr. Nézet-Séguin as a guest conductor. Abruptly the orchestra’s chairman and a former government minister, Jean-Pierre Goyer, announced that Mr. Rescigno would be replaced by Mr. Nézet-Séguin.
Mr. Rescigno later sued, saying he was forced out in violation of his contract, and won damages. In an interview Mr. Rescigno said he did not think Mr. Nézet-Séguin was aware of the machinations. Mr. Nézet-Séguin said his appointment “came as a total surprise.” (Mr. Goyer died in 2011.)
Another surprise, he said, was the music directorship of the Philadelphia Orchestra, which came 18 months after his debut with the orchestra, in December 2008, conducting Tchaikovsky’s Symphony No. 6. With perfect pitch he told the Philadelphia players at their first rehearsal that he had listened to Eugene Ormandy’s recording of the work with the Philadelphians over and over. It was the kind of reference to musical tradition that he often makes.
“It felt from the first moment that we had known each other in a previous life,” Mr. Nézet-Séguin said.
The orchestra has been adrift, held together by the caretaker leadership of Charles Dutoit, for many years the music director of the Montreal Symphony. Philadelphia emerged from bankruptcy proceedings last year, the first major American orchestra to go that route.
Mr. Nézet-Séguin said his main goal in Philadelphia was “to grab the city again, to transform the pride the city has toward its orchestra to a much more proactive pride, a real passion for it, a sense of ownership.”
At that last Carnegie outing, the Verdi Requiem in October, Mr. Nézet-Séguin held his hand up for a good 20 seconds after the final chord expired before dropping his arms to his sides. He seemed stunned by the ovation.
Applause from his inner circle greeted him in the crowded dressing room. Attendants broke open bottles of sparkling wine. Mr. Nézet-Séguin embraced his companion, Mr. Tourville, looked him in the eyes and said, “Oui?”
“Oui,” Mr. Tourville answered.
With an air of coronation, orchestra and Carnegie Hall executives toasted Mr. Nézet-Séguin.
“It was my deepest wish that it would work here,” he said, “and it did.”
（パソコンでご覧ください）
2012年7月現在で、100回以上メトロポリタン・オペラで歌った歌手のランキングです。
ダントツの1位は2928回のチャールズ・アンソニーです。指揮者のレヴァインの2441回の回数をはるかに越えておりますが、その割には名前を知らないのではないでしょうか。メト専属の脇役です。
他にも上位は同じような歌手たちが多いですね。
10位までのうち、チャールズ・アンソニー、ポール・フランク、ジェイムズ・コートニー、アンドレア・ヴェリス、ポール・プリシュカは観たことがあります。
.
三大テノールはどうでしょうか。
パヴァロッティ 145位 378回
カレラス ランク外
ドミンゴ 69位 653回
カレラスは回数が少なくランク外。マリア・カラスなども同じく。
エンリコ・カルーソが40位で863回。ここらあたりから真の偉大な歌手たちがあらわれる。
リチャード・タッカー53位で738回。
60位番台におなじみの名前がずらーっと並びます。
139位のテレサ・シュトラータスは139位で385回、35年以上歌った！
.
とにかく、すごいとしかいいようがありません。
.
2012年7月現在
日付は、MM/DD/YYYYです。
以前同じようなものをアップしたことがあるのですが古くなりましたので、あらためて2012年7月現在のメトロポリタン・オペラでの指揮者出演回数ランキングをあげておきます。
メトを100回以上振った指揮者のランキングとなりますが、ジミーの2441回！！が、超ダントツ。アンビリーバブルな回数ですね。
次点のボダンツキーは1088回も振っているのにジミーの半分以下！！
6位のセラフィンは10年余りで683回！！
ラインスドルフがトップ10の10位。
11位にトスカニーニ、ネルロ・サンティが401回で15位もすごい。
トマス・シッパース16位341回、これなど日本の感覚からではちょっとわからないところがあります。
とにかく有名どころがずらっと並びますね。
46位のゲルギエフよりドミンゴが45位と上をいってますがその差１回ですので時間の問題で追い越されるでしょう。
ファビオ・ルイジが111回で56位。これから増えていくと思います。
.
2012年7月現在
.
日付は、MM/DD/YYYYです。
