Music I'm Listening To: Maria Dueñas with the San Francisco Symphony

I attended the Friday 12 June performance of the San Francisco Symphony at Davies Symphony Hall. On the program were a new piece by Iranian composer Iman Habibi entitled Zhian, the Korngold Violin Concerto, and, after intermission, Rimsky-Korsakov’s Scheherazade. On the podium was guest conductor Tianyu Lu, an entirely new name to me. The soloist in the concerto, I was excited to find was Spanish violinist, Maria Dueñas. I say “excited to find” because, being a subscriber to the symphony, I buy tickets in May for the following year’s season, and by June, the end of the season, I frequently forget who’s performing by the time the concert comes around. The Symphony never prints the full program on the tickets, so I wasn’t aware until I sat down with the program at my seat. More importantly, perhaps, I had never heard of Dueñas last year when buying the subscription, so, at that time I would have had no particular expectations. I became aware of her fairly recently and I’ve been impressed by what I’ve heard, so it was a very pleasant surprise to learn as I settled in that I was about to hear her in person. 

I wasn’t disappointed. While the Korngold isn’t among my favorite violin concertos, it has its moments and Dueñas attacked it with vigor. I particularly enjoyed the sound of her violin in the low register. It had an extraordinary, rich, throaty, tone that fit the concerto perfectly, I thought. According to some Internet sleuthing, she plays a number of different violins on loan to her but she appears to have played a 1779 Giambattista Guadagnini violin on Friday, this one on loan from the Karolina Blaberg Foundation via the Deutsche Stiftung Musikleben*. She was called back for an encore (something I didn’t recognize) after an extended standing ovation. The crowd loved it. Conductor Lu was great fun to watch. She’s a tiny woman but she is overflowing with energy. A fun concert all around.  

*Ms. Dueñas contacted me a couple of days later. She said she played the 1718 "Michelangelo" Stradivari violin, not the Guadagnini.

Music I'm Listening To: The San Francisco Symphony

I attended the Friday, March 20 performance of the San Francisco Symphony at Davies Symphony Hall. On the program were Overture to Euryanthe (Carl Maria Von Weber), Mozart's Piano Concerto No. 9, an early work that I have surely heard before but didn't really recognize, and Dvorak's Symphony No. 7, perhaps my favorite of them (but it's hard not to like No. 8 and No. 9 as well). The soloist in the Mozart was Jan Lisiecki, a Canadian-born pianist that appears to be well known, but I hadn't been aware of him. The guest conductor was Andrés Orozco-Estrada. 

Orozco-Estrada was a lot of fun to watch. Some conductors barely move. Orozco-Estrada was virtually dancing on the podium, and with great energy, his baton seemingly a wizard's wand. It was a uniformly excellent concert, but I thought his reading of the Dvorak was particularly good. The audience seemed to agree with me. The concert ended with a prolonged standing ovation. 

According to the program notes, Orozco-Estrada will take over as director of the Swedish Radio Symphony next season. He has in the past been the music director of the Houston Symphony, and conducted the Hesse Radio Symphony and the Vienna Symphony. 

Music I'm Listening to: Recent concerts

I attended the Friday, May 10 performance of the San Francisco Symphony at Davies Symphony Hall. Guest conductor Marta Gardlolinska had to cancel at the last minute. She was replaced by Gemma New (currently music director of the Hamilton Philharmonic Orchestra and principal conductor of the New Zealand Symphony Orchestra). I had heard of neither conductor, but I rather liked New. She was interesting to watch on the podium, her movements short and sharp, and slightly stiff, but she made the music flow. The concert opened with a piece called Overture, written in 1943 by Grazyna Bacewicz. It was not particularly memorable, but it was interesting to hear as I'm a fan of Bacewicz's chamber music. I have several recordings of her string quartets and other pieces for small ensembles. I was under the impression that she was a contemporary composer. I had no idea that the she was born in 1909 and died in 1969. Her music sounds more modern than her birth and death years might suggest. 

That was followed by Elgar's Cello Concerto in E Minor. The soloist was a Spanish cellist, Pablo Ferrandez. I had never heard of him either, but the San Francisco Symphony always brings in good guest conductors and soloists, and it was an excellent performance, although taken rather more slowly than I'm used to, particularly in the opening of the first movement. The Elgar was followed after intermission by Mendelssohn's Symphony No. 3, also nicely done. Just as impressive as the conducting was the way Ms. New acknowledged various members of the orchestra during the applause at the close of the concert. Often orchestra members hesitate to stand up and take a bow when pointed at by the conductor after a performance, but usually it's not out of modesty but because they aren't always sure who the conductor is indicating for recognition. New, with precise hand gestures, had them standing and taking the applause quickly and efficiently in what amounted to an entirely independent conducting performance. I was quite impressed. 

Dinner at Monsieur Benjamin after the concert. I've abandoned Absinthe, which for more than a decade was my go-to after-concert restaurant. Absinthe has raised its wine-by-the-glass prices to absurd levels. It just ruins the whole experience. Monsieur Benjamin is not cheap, but it now seems a better value. New and Ferrandez came into the restaurant shortly after we settled in and they happened to be seated at the table next to us. I resisted the temptation to do anything more than to quickly say that I'd enjoyed the concert – until shortly before we were leaving. I leaned over  to ask the conductor about the tempo of the Elgar and she agreed that they had taken some parts comparatively slowly but pointed out that she had taken other parts quite quickly, which was true. "Rubato," I said. "Exactly" she answered. She's one I'll look out for in the future. 

The following day, I attended the Santa Rosa Symphony concert at the Green Music Center. The jazz-focused program comprised four pieces: George Gershwin's Catfish Row: Symphonic Suite from Porgy and Bess, Gershwin's well known Rhapsody in Blue for Piano and Orchestra (but in the original jazz band version), Conrad Tao's Flung Out for Piano and Orchestra (a world premiere) and Edward "Duke" Ellington's Black, Brown and Beige – Suite for Orchestra. Conrad Tao was the piano soloist in both the performance of Rhapsody in Blue (played from memory) and Flung Out (during which he used a score on an iPad), conceived as a companion piece to the Gershwin but it was rather more abstract. Rhapsody in Blue was the highlight of the evening. Tao was exciting to listen to – fast, precise, and expressive all at the same time.  

Music I'm Listening to: Michael Tilson Thomas conducting Mahler's 5th Symphony

I attended the San Francisco Symphony concert last night (January 26) at Davies Symphony Hall. On the program was a single piece, Mahler's Symphony No. 5. Michael Tilson Thomas conducted. It was played straight through with no intermission. I hadn't known it before, but, according to the program, MTT made his debut with the SF Symphony in 1974, conducting another Mahler symphony – Symphony No. 9. So, MTT has been conducting Mahler in San Francisco for 50 years. 

The concert hall was packed – not an empty seat. I don't think I've ever seen the place completely full like that before. The entire audience rose to give MTT a standing ovation as he walked on stage. The concert ended the same way – with an extended standing ovation for the conductor, who was looking a little frail, but no frailer that when I last saw him, which was during his first performance after recovering from his brain surgery. Before that, the last time I saw him was in March 2018, in a concert that, coincidentally, included the Mahler 5. That was a brilliant performance. 

This performance was almost as good. There was a little highly uncharacteristic wobbling in the brass section in one or two places last night, but, aside from that, the SF Symphony was its usual highly competent self. MTT takes this piece slowly, letting the spaces speak in a way that is highly effective, never rushing. As I've noted before, I've not been especially fond of MTT as a conductor over the years – except when he does Mahler. 

MTT looked deeply touched by the long ovation after the performance, after a few minutes he raised his hands to stop the applause and he addressed the audience. He thanked the orchestra and the audience for the many years and many experiences shared by all of us. He seemed a bit wistful, giving the impression that he knows and has accepted the fact that most of his career and his life are behind him. The entire audience seemed to understand. There was much love in the air.

Music I'm Listening to: Beatrice Rana with the San Francisco Symphony

I belatedly note here that I attended the June 2 performance of the San Francisco Symphony at Davies Symphony Hall, the last concert of the season for me. On the program were a piece called Amazon, by Gloria Isabel Ramos Triano, Rachmaninoff's Rhapsody on a Theme of Paganini, and, after intermission, Schubert's Symphony in C ("The Great"). 

Beatrice Rana was the soloist in the Rachmaninoff. The guest conductor was Manfred Honeck. I enjoyed the whole program, but Rana was the highlight. She played with all the energy and precision she's recently gotten a great deal of notice for. My seat this time was somewhat further to the left than usual, which, in the end, was quite fun, as it afforded an excellent view of her fingers on the keyboard. She played an encore that I did not recognize and she didn't identify it. 

Music I'm Listening To: Bruce Liu with the San Francisco Symphony

I attended the Friday, May 11 San Francisco Symphony Concert at Davies Symphony Hall. It was supposed to have featured Hilary Hahn playing the Brahms Violin Concerto, with guest conductor Rafael Payare, but Hahn canceled her appearances for an unspecified illness. While I hope she is OK and I wish her a speedy and complete recovery, it was a great disappointment. I heard her recently in recital (in March), but it's been many years since I've had the chance to hear her with a full orchestra. I was very much looking forward to the Brahms. 

Having said that, with only one exception in going on 15 years of attending SFS concerts, I've never been disappointed by artists unknown to me that they've brought in. Pianist Bruce Liu, who in 2021 won the 18th Chopin International Piano Competition, replaced Hahn, performing the Beethoven Piano Concerto No. 3. I had never heard of Liu, who now records with Deutsche Grammophon, or the guest conductor, Rafael Payare, but I enjoyed the concert, which opened with William Grant Still's Darker America, before the Beethoven. Intermission was followed by Strauss's Ein Heldenleben. Liu followed the concerto with a jazzy set of variations on Für Elise that had the audience giggling. He received a prolonged standing ovation. 

The conductor was a lot of fun to watch. Tall, thin, and with a great mop of hair that made him look a little top-heavy, he is about the most athletic conductor I've ever seen. He was virtually dancing on the podium. Despite all the activity, at times he would stand quite still, with his feet pressed together, stretched to his full height, gesturing grandly, letting only his upper body move, which made him look rather like one of those tubular plastic advertising figures animated from below by blasts of air that seem to live mostly on used car lots. By dwelling on his antics I don't mean to disparage his conducting. He got a very expressive, full-throated version of Heldenleben from the always-reliable SFS musicians. Concertmaster Alexander Barantschik was featured on the violin in the Strauss.  

Music I'm Listening to: Joshua Bell with the San Francisco Symphony

I attended the Friday, April 28 San Francisco Symphony concert at Davies Symphony Hall. Featured was Joshua Bell performing the Sibelius violin concerto. On the whole, I've never been a particular fan of Bell's recordings (with the exception of his recording of Corigliano's 'The Red Violin Concerto'; he tends to pick more overtly romantic music than I like and he can sometimes use a bit more vibrato than I care for), but I've heard him live now four times in San Francisco, once with him leading the Academy of St. Martin in the Fields, and three times as a soloist, and I've been impressed every time. He made the very challenging Sibelius concerto seem effortless and clearly the guest conductor, Dalia Stasevska (currently chief conductor of Lahti Symphony Orchestra) really understands Sibelius.

The program began with a short, relentlessly dynamic composition by Anna Meredith called 'Nautilus' originally written as a piece of electronic music (here transcribed for orchestra), and finished, after the violin concerto and intermission, with Sibelius's 'Symphony No. 2'. After the concerto, Bell played a duet for two violins by Shostakovich, joined by the evening's concertmaster, Wyatt Underhill, as an encore. It was a very full house – the fullest I've seen at Davies Symphony Hall since the pandemic. Both the Sibelius pieces received unreserved, much deserved, standing ovations.
 

Music I'm Listening to: Hilary Hahn in recital, San Francisco

I attended what was nominally a San Francisco Symphony concert at Davies Symphony Hall last night, March 12 (which happened to be my birthday). The SFS is actually on tour in Europe at the moment. The concert last night was Hilary Hahn in recital – Hahn alone on the stage usually filled with musicians, dressed in a beautiful dark grey and Prussian blue dress adorned with sparkly silver sequins. 

She played one of the Bach sonatas for solo violin and two of the partitas – and played them very beautifully indeed (Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B minor, BWV 1002; and, after intermission, Partita No. 2 in D minor, BWV 1004). They say muscle memory takes over, but I'm always astounded by the feats of memory playing pieces like this without a score involves. It was mesmerizing. The audience was very appreciative and coaxed her into an encore which she introduced by saying "I think I've got one more in me...." It was a movement from one of the other Bach solo violin pieces.

Berenice Bing, A Lady and a Roadmap, Oil on Canvas, 1962

Earlier in the day I had been to the Asian Art Museum to see a show of newly acquired works by Chinese-American artist Berenice Bing, an artist I became aware of only recently (some of her work was included in the show of paintings by female abstract expressionist painters at Modern Art West last September, in Sonoma). I hadn't realized that she worked with people like Diebenkorn and Lobdell, among others. 

Berenice Bing, Lotus Goddess, 
watercolor and mixed media on paper, 1986-1988

There was also an interesting show of prints by Yoshida Hodaka. I've long been familiar with Hodaka, but it seems his entire family – his mother, his wife, and others – were artists. The show included prints by all of them. 

As it was my birthday, I indulged in oysters and sparkling wine at dinner afterwards. A much better day than my birthday last year which was spent dealing with the death of one of our cats at the hand (paw?) of some kind of predator in the middle of the night. 

Yosshida Hodaka, Red Wall B, photo etching
and woodblock print, 1995

Music I'm Listening To: San Francisco Symphony with James Gaffigan and Simone Lamsma (January 20, 2017)

I attended the January 20 performance of the San Francisco Symphony at Davies Symphony Hall. James Gaffigan was back as a guest conductor (he served as the Symphony's Asseciate Conductor from 2006 to 2009). On the program was Mussorgsky's Night on Bald Mountain, Prokofiev's Violin Concerto No. 2, with Simone Lamsma as soloist, Mozart's Symphony No. 36, and Richard Strauss's "Dance of the Seven Veils", from Salome.

It was an oddly uneven evening. The Prokofiev seemed awkward, the soloist's playing a bit tentative, the whole not really gelled. I have never heard or even heard of Lamsma before. She was certainly competent, but seemed to lack fire, which was a disappointment as this concerto is among my favorites. According to the program notes, Lamsma plays the 1718 Mylnarski Stradivarius, on loan from an anonymous source. I thought it sounded rather dark and muddy as Stradivarius violins go, although 1718 is within the period usually said to have produced his best instruments (1700-1720).

It was fun to see Gaffigan again after several years. He's matured and gained some weight, which accentuates his short stature (something I hadn't noticed before), and that was exaggerated by Lamsma's presence; she is very tall and thin (standing on the podium he was only a trifle taller than her standing on the stage)--not that appearances really matter. Gaffigan and the Symphony handled the rest of the program very well, I thought, giving us spirited versions of the other three pieces, none of which had any of the awkwardness that seemed a problem with the Prokofiev.

Photo of James Gaffigan by the author. Photo of Simone Lamsma by Otto van den Toorn, courtesy of the San Francisco Symphony website. 

Music I'm Listening To: A Week of Music

I heard Midori in recital at the Green Music Center on April 23 and Hilary Hahn in recital at Davies Symphony Hall on the 26th. On the 29th, I'll be in San Francisco again to hear a concert conducted by Pablo Heras-Casado featuring Shostakovich's Symphony No. 9.

It's sad a name as big as Midori can't fill the Green Music Center. Filling the hall seems to have been a persistent problem since its opening, about four years ago. The first two seasons, I was delighted to subscribe to reasonably priced San Francisco Symphony concerts at the Center, but that program was abandoned—because the hall was usually no more than two-thirds full. Is Rohnert Park too far to drive if you live in San Francisco? I suppose people who live in San Francisco don't feel the need, no matter how good the sound, and it appears the native (Sonoma County) audience for classical music isn't big enough to support the venue unaided. I've heard it suggested that the Center hasn't been well enough advertised in San Francisco. Perhaps attendance will pick up if Bruno Ferrandis is replaced by a better, more charismatic conductor at the Santa Rosa Symphony (his contract runs out at the end of this season and will not be renewed).

At the Midori recital on the 23rd, I sat in the seats behind the stage for the first time. They are closer to the performer than I realized, but it's easy to forget how directional the sound projection of a violin is. I remember noticing sharp changes in dynamics at concerts by Kyung-wha Chung (who virtually dances while playing, frequently turning from side to side). Midori, mostly facing away from my vantage point, was sometimes hard to hear, especially during the opening piece, a Bach sonata for violin and piano that lacked impact. However, I very much enjoyed her performance of Schubert's C Major Fantasy for Piano and Violin (although it always seems a little longer than it needs to be) and her performance of the Brahms Piano and Violin Sonata No. 1, in G Major). Two pieces by Tchaikovsky rounded out the program—The Valse Sentimentale and the Valse-Scherzo. Midori also played an encore, a song by Grieg, as she told us in the lobby after the performance. She was accompanied on stage by pianist Özgur Aydin.

I've heard Hilary Hahn twice before in San Francisco, playing the Tchaikovsky violin concerto, with James Gaffigan conducting, and playing one of the Prokofieff concertos, with Osmo Vänskä conducting. I'd never heard her in recital before. It was an excellent opportunity to listen closely to the sound of her violin (according to the Wikipedia article on Hahn "an 1864 copy of Paganini's Cannone made by Vuillaume"), which seems particularly sweet in the mid-register and rather nicely balanced throughout its range, unlike some violins that seem to favor either the low or the high end.

The program was varied, earlier music in the first half, more modern music after intermission. It began with Mozart's Sonata in G Major for Violin and Piano (Cory Smythe accompanying) followed by the Bach Sonata No. 3 in C major for Solo Violin. Hahn played the Bach absolutely purely, absolutely correctly—every note articulated and right where it was supposed to be—without sounding in the least cold or distant, somehow being  utterly confident and charismatically present yet almost transparent, the music seeming to flow through and out of her. Her performance was mesmerizing—probably the most convincing performance of one of the Bach solo violin pieces I've ever heard, its only possible rival in my experience being one by Itzhak Perlman I heard as a college student in the early 1980s in Columbus, Ohio. Hahn was deeply moving. The entire audience immediately rose to its feet after she finished and brought her back on stage to acknowledge the applause several times before letting her go and starting the mid-concert leg stretch. She wore a beautiful floor length skirt—black with embroidered metallic discs.

She was equally impressive in a selection from Anton Garcia Abril's Six Partitas for Solo Violin (which I'd like to hear more of), in the Copland Sonata for Violin and Piano that followed, and in Tina Davidson's Blue Curve of the Earth, which is one of the 27 pieces Hahn commissioned for her recording In 27 Pieces (Hahn played this as an encore at the May 25, 2012 concert with Osmo Vänskä that I attended, so I've heard her perform it twice now).

For an encore, Hahn played the world premiere, she said, of Catch, by Aaron Severini, one of the honorable mentions among the 400 or so pieces she received as entries in her encore competition. She spoke directly to the audience in introducing the piece. After the concert, signing autographs for the longest line of people I've ever seen at Davies Symphony Hall waiting for a signing, she kindly wrote the name of the piece in my program for me. She gives the impression of being an extremely gracious, down-to-Earth person. When I asked her to date the CD cover she signed for me, she didn't know what day it was. It must be hard to keep track sometimes when you travel as much as a touring performer does.

[Update: The concert on the 29th was wonderful. Heras-Casado was overflowing with energy and so was the music. The program included Dance Suite by Bartok, the world premiere of Auditorium, by Mason Bates, Ravel's Le Tombeau de Couperin, and Symphony No. 9, by Shostakovich. ]

Photo of Midori courtesy of the Green Music Center website. Photo of Hilary Hahn courtesy of the San Francisco Symphony website.

Music I'm listening to: Chee-Yun, Alisa Weilerstein, and Jeremy Denk, with Marek Janowski Conducting the San Francisco Symphony

Last night, Friday February 4, I attended a San Francisco Symphony concert featuring Chee-Yun, Alisa Weilerstein, and Jeremy Denk as soloists, with Marek Janowski conducting an all-Beethoven program that opened with the Symphony No.1 followed by the Triple Concerto, and, after intermission, the Symphony No. 2.

I hate to complain, but the concert last night was rather uneven, I thought. As is so often the case at concerts (although not usually in San Francisco), the first piece on the program gave the impression that the performers weren't quite warmed up. I suppose it was competently played, but there wasn't much excitement to it. I'm afraid I felt much the same way about the Triple Concerto, which ought to have been the centerpiece of the program. No oomph, and Weilerstein seemed to be unsure about where her entrances were, despite having the score in front of her. All three of the soloists used scores. I guess that's OK, but it's a bit unusual--not that I could remember the solo part to Yankee Doodle.

Part of the problem was the odd dead spot that I'm increasingly convinced really does exist at Davies Symphony Hall. I was in seat Y107, just under the overhang of the balcony. At other concerts sitting in this area (most recently Gil Shaham and Itzhak Perlman) I've noticed that the sound is very muddy, and especially in the lower registers of the various instruments. It appears most marked when a solo instrument is playing over the orchestra.

This is particularly unfortunate in the case of the Triple Concerto. Chee-Yun's violin was usually crisp and had presence, the piano was audible throughout, but Weilerstein's cello, especially when she was playing on the lower two strings, seemed to disappear at times--as if she were miming, her fingers and bow moving but producing no sound. Too often, she was simply inaudible. That was disconcerting, to say the least, but it was especially disappointing in the many sections of the concerto that involve a conversation among the three solo instruments: The cello wasn't talking. I wonder if others in the audience had the same impression? [I just looked back at my most recent previous posts that touch on this problem: At the Gil Shaham concert, I was in Y107--the same seat. At the Perlman concert, I was in seat 107, two rows back, in AA107. Clearly there's a pattern here.] Chee-yun looked lovely in a magenta gown, Weilerstein wore a dress of a pretty amethyst color.

The performance of the Syphony No. 2, however, was excellent. The conductor and musicians seemed finally to have connected, and we were treated to a lively, nuanced performance of Beethoven's second symphony, which seems to me an altogether more self-assured, more interesting composition than his first. The woodwind section was a stand-out, as it usually is at the San Francisco Symphony.

Photo of Davies Symphony Hall courtesy of the San Francisco Symphony.

Music I'm Listening to: Gil Shaham, The San Francisco Symphony

Heard a moderately disappointing concert in San Francisco last night, Michael Tilson Thomas conducting. On the program were Henry Cowell's Synchrony, Mozart's Violin Concerto No. 5 (Gil Shaham soloist), and Harmonielehre, by John Adams--choices that seemed a rather odd juxtaposition of the modern and the classical. I didn't particularly care for the Cowell, although I'm not sure it got the most sympathetic of readings from MTT. I'm afraid I would have to say the same about the Mozart. Shaham played well, but MTT's direction seemed flat and lifeless, particularly in the middle movement, which had a rather droning effect. The dramatic swelling effects of the third movement seemed stifled, the dynamics all wrong. Was it just me? Also, the sound seemed distant and muffled. I've had that sensation once before at Davies Symphony Hall, when hearing Itzhak Perlman in October 2009. Last night I was in seat Y107. At the Perlman concert I was in AA107--same seat two rows back. I wonder if there's a dead spot there? Still, that doesn't explain MTT's apparent apathy during the Mozart.

The night was saved by hearing what I thought was an excellent performance of Harmonielehre, by modern composer John Adams. To my surprise, Adams (pictured) appeared onstage afterward. He seemed very pleased with the performance, and the audience was very appreciative as well. Harmonielehre, nominally a minimalist composition, doesn't suffer from the monotony the word "minimalist" often conjures up. I felt like I was riding a scintillating wave throughout, but particularly in the rousing first and third movements of this long (40-minute), three-movement composition from 1985. It was almost hypnotizing in places, but never boring. I'm sure it is a taxing piece for the musicians to play (the cellos, for example, have to bow identical patterns over and over again, and the percussion has to maintain the same difficult rhythms for long stretches, although I noticed that the cello section had been divided where possible, so that one group would take over while others rested briefly). The San Francisco Symphony rose to the challenge, and the conductor seemed engaged in this case. Very enjoyable.

Photo of John Adams by Deborah O'Grady, courtesy of the San Francisco Symphony

Music I'm Listening To: Gustavo Dudamel and the Los Angeles Philharmonic

I enjoyed an excellent concert last night in San Francisco at Davies Symphony Hall with Gustavo Dudamel conducting the Los Angeles Philharmonic. The program was a simple one--City Noir, by John Adams, and Mahler's Symphony No. 1--although an extremely appreciative audience also got an encore that I believe to have been the Intermezzo from Act III of Puccini's Manon Lescaut, with some excellent solo passages for cello and viola. (I'm always rooting for the viola players of the world; I love the sound of the viola.)

City Noir was unfamiliar. That's not surprising, I suppose, as it's a new work (its first performance was in early October 2009). It's one of three pieces the composer has written about "the California experience, its landscape, and its culture," according to Adams in the program notes--this piece written in celebration of the city of Los Angeles in the spirit of film noir. It is, in fact, reminiscent of film scores of the 40s and 50s in places, although I wonder how much of that is attributable to the power of suggestion. It's sometimes brash and jazzy, sometimes slinky, sexy, and moody, but nearly always it has an irresistible nervous energy. I enjoyed this very much. I kept imagining black and white street scenes starkly lit, with Robert Mitchum lurking in a dark corner, obscured by a billow of cigarette smoke. The score was notable for a six-man percussion section, two harps, a sizzling alto sax, and some wonderful trombone playing. The entire orchestra was extraordinary, actually--focused, crisp, and astonishingly responsive to the conductor. The sound was excellent, too. I was somewhat off to the left this time (from the perspective of the audience, in seat CC 5). Maybe the dead spot I've experienced at Davies Symphony Hall is mostly in the middle section of what they call "upper orchestra?" Hmmm....an ongoing investigation.

[Update (December 11, 2010): See my comment on last night's concert for more about the Davies Symphony Hall dead spot.]

With one reservation, the Mahler was wonderful. I have three recordings of this piece--Solti and the Chicago Symphony on CD (London F35L-50050), Leonard Bernstein and the New York Philharmonic (Columbia Masterworks MS 7069), and Erich Leinsdorf and the Boston Symphony (RCA Victor Red Seal LM-2642), both on LP. The Leinsdorf recording has always been my favorite (in part because of the absolutely beautiful suit Leinsdorf is wearing in the cover photo--OK, that's not the best reason, but that suit is beautiful).

The performance last night was rather different from what I'm used to. Dudamel chose a very slow tempo. I think this worked against Mahler in the first movement. The opening, with its sustained notes, is already quite slow and the music seemed to lack focus as a result of the excessively languorous pace (and a restless audience didn't help). The remaining three movements, however, were highly persuasive. Again the conductor took what seemed to me some rather broad liberties with the tempo--this time not just slow overall, but using rubato liberally--stealing here, giving back there. Dudamel's reading was idiosyncratic, but it worked. He milked the score for every drop of expressiveness. Again the playing was startlingly crisp and together--the members of each section absolutely perfect in their unison--the kind of playing that gives you goosebumps, the kind of playing that can elicit involuntary giggling--unbridled joy. This is live music at its best. Dudamel clearly has something special. It was a privilege to hear the orchestra, despite the somewhat less successful first movement. The audience appeared nearly unanimous in its approval, rewarding the players and their leader with a standing ovation that lasted several minutes.

Fashion Note: Gustavo needs to talk to his tailor--His attire was cut very long in the back, in a way that seemed to accentuate his rather short stature. The opposite effect presumably would be more desirable.

(Photo of Gustavo Dudamel courtesy of the San Francisco Symphony. Photo by Mathias Bothor.)