… and rather favorable, at that!
You can hear Ravel’s Piano Concerto played by Gabriela Montero and the Detroit Symphony Orchestra (second movement is near the 9:00 mark in case you are wondering and Monica Fosnaugh is playing.) if you go here.
Originally aired October 14, 2012
Venezuelan-American piano virtuosa Gabriela Montero performs Ravel’s Piano Concerto in G Major, and Music Director Leonard Slatkin leads the incomparable Boléro!
Leonard Slatkin conductor
Gabriela Montero piano
RAVEL: Piano Concerto in G major
Bank of America has initiated foreclosure proceedings against the Nashville Symphony.
According to a legal notice from the bank, the Schermerhorn Symphony Center is slated for a public auction June 28 at 11 a.m. on the steps of the Davidson County Courthouse.
The symphony has been negotiating with a bank group, led by Bank of America, concerning $102 million in debt tied to construction of the Schermerhorn.
The symphony’s board voted in April to not renew a letter of credit with Bank of America. The symphony still owes $82.3 million on the downtown concert hall.
The bank’s move doesn’t come as a surprise, coming a few days after Bank of America appointed a successor trustee for the symphony’s loan, typically a first step toward foreclosure.
The Nashville Symphony can file for bankruptcy protection at any point between now and the scheduled auction to halt the foreclosure sale.
… rehearsals begin! This is the final classic series week for Symphony Silicon Valley. We will be playing other things this summer, but Saturday and Sunday are the last “biggies”. I’ll be on English horn, and I do have a somewhat significant solo in the Concierto de Aranjuez that I’m looking forward to. I also play English horn and oboe in Ein Heldenleben. I’ve played both works before, and I see my notes on the Strauss part.
I so love the Rodrigo!
Kaori Muraji, guitar: Concierto de Aranjuez
Symphony Silicon Valley has announced the 2013/14 season, including this, although not flashmob style!
I had a fantastic time this past weekend. I’m so very thankful I was asked to help with the supertitles. Had I not been asked to do that I might have stayed home — pretty likely I would have, in fact! — and I would have missed the wonderful program.
I really fell in love with the music of Kurt Weill, and Lisa Vroman was simply incredible. What a wonderful program!
Here is a video featuring Ms. Vroman with the Malaysian Philharmonic Orchestra and Richard Kaufman conducting:
There is a Symphony Silicon Valley set this week. Concerts are on Saturday and Sunday, and rehearsals begin on Wednesday. I still don’t know if I’m playing.
This has never happened before. We are doing the music of Kurt Weill, and from what I’ve been told no works they have at this point call for second oboe or English horn. Trouble is, not all the music has arrived. I’ve had to cancel students, but who knows if I really needed to. I’m so hoping I’ll find out soon so I can put students back on the roster if I am not called after all.
… and this is the first time I’ve played Tchaikovsky’s sixth symphony!”
Those were the words I spoke to George Cleve during a rehearsal break yesterday.
Crazy, no? But for the majority of my career I was the English hornist of the San Jose Symphony, and only morphed into a second oboist when the SJS folded and Symphony Silicon Valley was started. I continue to be blessed and amazed and incredibly moved by the music that I’ve heard all my career but have only recently been able to play.
Tchaikovksy’s sixth is, for me, about life and death and joy and sorrow and oh so much more. (I normally don’t like to say a work is “about” anything at all — it makes me uncomfortable to do so — but I’m going there with this. Please forgive!) It’s painful. It’s beautiful. And for some reason it makes me miss my parents terribly. When I spoke those words above to the Maestro I nearly cried. When I think of the work and playing it I nearly cry too. I’m so honored to finally get to play it.
It’s also my first time playing Brahms’ first piano concerto. I look forward to hearing Peter Serkin tonight. I’m sure it’ll be incredible.
Some works get less impressive as I age. Some that I thought were amazing when I was twenty … well … I think, “How in the world did that move me like it did?” (Some books are the same way: I read something years ago that had me sobbing on the floor when I finished, so I read it again more recently to try and remember why I was so moved and it left me rather cold. Funny how that goes.) But these two works? For me they’ve grown better with age. Go figure.
I am most blessed to have this little career ‘o mine. Truly.
Q One more question, before you go. I’ve read about your nervousness as a performer. Do you still have bouts of nerves?
A Yes, it’s true. I’m afraid so. But I live with it, and I almost respect it in a certain way. I don’t dread it as much as I used to. I can live with it. It’s part of the energy of what’s going on.
That was just the very last part of the interview, so go read the rest. I always find it a relief to hear that even the top folks have the nerve thing going on.
Mr. Serkin came and played with San Jose Symphony right after I became orchestra librarian there, so I must have been around twenty years old. I am excited to have him return here. Of course neither of us has changed at all, I’m sure.
I really had an enjoyable time on the stage of the San Jose Center for the Performing Arts for our Symphony Silicon Valley concerts. I enjoyed the conductor, Wilson Hermanto, tremendously. I loved our soloist, Mayuko Kamio (huge WOW with her, really!). The review is good, too. How ’bout that?
It was fun to be back on the CPA stage. What memories. I first played there in 1975. Yes. Really. I played on that stage the whole while I was in the San Jose Symphony, and even after that when this new group began. The size of the hall is a bit too large and difficult to fill, in my little opinion, but it’s much easier to hear my colleagues on this stage, so it was great fun to be there.
I also liked the program. The overture to Poet & Peasant is just a bit ‘o fun fluff for the start (again, in my little opinion), the Lalo was impressive, due to our fantastic soloist, and the Dvorak was new to me so I had a good time learning it and performing it. Before I began learning it I didn’t know that the opening of the slow movement would begin with second oboe. All alone. Good old Dvorak! We often “get” to play very low pianissimo lines. We also get to play when the principal oboe isn’t playing. I appreciate that: to know that we are “trusted” to get to do something without our leader … it’s kind of nice! It’s also very rare.
Oh, and fyi: I nailed my four important solo notes. (Or at least I felt as if I did.)
Yes, I just wrote something positive about myself. Don’t worry, I won’t let it happen again. Or at least not often.
Next up: San Jose Chamber Orchestra and Tango Barroco by Michael Touchi!