Monday, August 13, 2007
Deems Taylor Quote
"If this book tries to say a few definite things, they are these: that behind every musician lurks a man, who is fully interesting as the trade he follows; that music is written for our enjoyment, and only incidentally for our edification; and that many a potential music lover is frightened away by the solemnity of music's devotees. They would make more concerts if they would rise from their knees."
From the introduction, Of Men and Music, 1937.
From the introduction, Of Men and Music, 1937.
Friday, August 03, 2007
Get out the vote
Wednesday, August 01, 2007
Tuesday, July 31, 2007
Another irresponsible executive
Hard to believe in Boston:
Amid struggles, arts center chief got $1.2m bonus
By Geoff Edgers, Globe Staff July 31, 2007
Not long before the Citi Performing Arts Center decided to make drastic cuts to its popular summer production of Shakespeare on the Boston Common, its board agreed to pay president and CEO Josiah Spaulding Jr., a $1.265 million bonus.
That payment came on top of Spaulding's annual compensation of $409,000, plus $23,135 in benefits. Spaulding's salary alone already makes him one of the highest-paid leaders of a performing arts center in the country.
"Spaulding's salary seems extraordinarily high compared to the activity level at the [Center]," said Richard Johnson, former chief financial officer of Boston Ballet and current CFO of Washington National Opera. "It seems to be entirely out of scale with what that organization does."
Spaulding has presided over five straight years of budget deficits, cuts to programming, and a dramatic drop in performances at the Wang and Shubert theaters, which the Citi Center operates. The decision to slash the Shakespeare production that ended on Sunday -- the budget was sliced in half, to $481,027, and the free production's run from three weeks to one -- has brought renewed criticism of Spaulding and the Citi Center.
The Globe examined Citi Center documents recently filed with the Internal Revenue Service and provided by the center, and conducted interviews about the organization's practices. Along with details about Spaulding's compensation, the examination found that the organization has installed Spaulding's wife as its website manager, and employed companies either owned by or managed by some of the group's trustees.
GLOBE GRAPHIC: Leadership pay at leading arts organizations
Citi officials sat down for a four-plus hour interview on July 10, but in recent weeks have declined to answer questions about the operation of the center.
In the interview, Spaulding confirmed that he had gotten a bonus from the Citi board. But he pointed out that, because of wider cutbacks, he volunteered to take a $100,000 pay cut. His salary declined from $504,000 in the fiscal year that ended May 31, 2005, to $409,000 for the fiscal year that ended in 2006.
"I wanted to contribute what I could," said Spaulding.
"It was viewed as a very responsible thing for Joe to do that," said board chairman John William Poduska Sr.
There are other performing arts center leaders who are paid more than Spaulding. But they preside over centers with operations, in some cases, nearly 20 times larger than that of the Citi Center. According to the most recent records on file, Michael Kaiser of the John F. Kennedy Center for the Performing Arts in Washington, D.C., earns $1,029,691 a year. The Kennedy Center has a $141 million budget, meaning Kaiser's salary is 0.7 percent of the organization's budget.
The Citi Center's budget for fiscal year 2006 was $6.3 million. That makes Spaulding's salary 6.5 percent of the organization's budget. Spaulding is also paid a higher percentage of his organization's operating budget than leaders of the premiere performing arts centers in Los Angeles, New York, Minneapolis, Chicago, New Jersey, and Cleveland.
The son of a former Republican State Committee chairman who founded the Spaulding Rehabilitation Hospital, Josiah Spaulding Jr. was hired by the Wang Center in 1987 to serve as general manager. A year later, he was named president. He is credited with reviving the once run-down hall, and making it one of Boston's most successful arts centers during the 1990s.
Spaulding's bonus was actually set in motion in 2001, when the then-Wang Center's trustees created what they called a "retention program . . . to maintain continuity of key positions within the organization," according to documents filed with the IRS. At the time, the center was coming off several years of surpluses.
In 2005, after announcing they had extended Spaulding's contract until 2008, center trustees said that Spaulding would be eligible on May 31, 2006, for a $1 million bonus for contract completion. In fact, the total was $1.265 million, the organization's government filing stated. The center declined to say when the payment was made, and where it came from the budget.
The document did not name Spaulding as the beneficiary of the "retention program." But Lynne Kortenhaus, the trustee serving as spokesperson, confirmed the bonus in a July 12 e-mail. Kortenhaus declined to say whether any other center employees were made part of the retention program.
In a phone interview on July 18, board chairman Poduska said the bonus was created to keep Spaulding at the center. "Was it justified or not? Boy, I'll tell you it was," he said. "Joe was being courted by everyone under the sun. . . . He stayed and did a heck of a job."
Poduska said he did not know specifically what other organizations had offered positions to Spaulding.
In the latest fiscal year for which figures are available, which ended May 31, 2006, the Citi Center had a $2.7 million deficit, according to figures provided by chief financial officer Peter D. Fifield.
For fiscal 2007, Fifield projects, the center will have a narrower, $354,716 deficit, largely because of severe programming cuts and a $1.3 million infusion from New York-based Citigroup, which purchased naming rights for the institution last year.
The former Wang Center has struggled in recent years due to increased competition, which has caused difficulty in finding profitable touring shows to fill its theaters. To reduce potential losses, the center cut the number of shows it presents. Over the last year, the Wang Theatre, Citi Center's main venue, held 131 performances, a Globe examination of performance records supplied by the center has found. The theater has been open for business only a third of available nights. This is down from the 96 percent rate that Spaulding touted throughout the 1990s.
Citi Center's struggles make Spaulding's bonus questionable, said Marcus S. Owens, the former head of the IRS's exempt organizations division who is now practicing law with the Washington, D.C., office of Caplin & Drysdale.
"Any compensation at these levels is one that would undoubtedly raise eyebrows," said Owens. "Completing one's contract doesn't sound like extraordinary performance. It sounds like expected performance. Bonuses typically award extraordinary performance."
Trent Stamp, president of the New Jersey-based nonprofit watchdog group Charity Navigator, criticized not just the bonus but the way it was reported.
"At best, they're trying to be cute," he said. "At worst, they're being evasive. If this is a bonus for one particular person, why not say that? And the reason they won't say that is because people will be outraged."
Charity experts also raised questions about the hiring of Spaulding's wife, Joyce Spinney, for a key position.
Spinney is Citi Center's website manager, the center confirmed July 12. The center declined to provide her salary, nor would it discuss the process that led to her hiring. The organization is not required to list her status on government filings, but charity experts say the center should do so in the spirit of transparency, and to remove the perception that Spinney's relationship with Spaulding led to her position.
Spinney was director of theater services at the Wang when she and Spaulding were married in 1998. The couple have homes in Charlestown and Hobe Sound, Fla., and a 42-acre property in Vinalhaven, Maine, according to property records.
Center leaders also declined to discuss the hiring of Kortenhaus Communications, which is operated by trustee Kortenhaus. The center disclosed the hiring of Kortenhaus in its most recent IRS filing.
While neither hiring is illegal, charity experts say that a nonprofit board should explain how the insider hired provides a special service, or special price, to avoid the appearance that the person or firm received an unfair advantage.
"Certainly, hiring a relative or a trustee is an area where there needs to be great care taken to make sure it's the right thing for the charity," said Richard Allen, a Boston attorney who was chief of the state attorney general's Division of Public Charities from 1987 through 1999.
The Citi Center paid Kortenhaus Communications $43,109 for public-relations work for the fiscal year that ended in May 2006, according to the same IRS filings. In addition, the center paid DLA Piper $99,441 for legal services during the same fiscal year. Elliot Surkin, a managing partner at the firm, is a Citi Center trustee.
Surkin, Kortenhaus, and the center's leaders declined to answer questions about payments to the firms, though Kortenhaus remains the public-relations person.
Following the July 10 interview, Kortenhaus asked the Globe to submit any further questions via e-mail.
After receiving a list of 35 questions on July 25, she and the other Citi officials declined to answer any of them.
Instead, Poduska sent a statement that read, in part:
"As is common practice in both profit and nonprofit organizations, we do not comment on internal operations, personnel issues or proprietary information on employees, outside vendors or consultants beyond what is required by law. . . . We have complete confidence and fully support the institution's senior management team and the leadership of its President & CEO, Josiah Spaulding, Jr."
Geoff Edgers can be reached at gedgers@globe.com. For more on the arts, visit boston.com/ae/ theater_arts/exhibitionist.
Now read about other executives...
Amid struggles, arts center chief got $1.2m bonus
By Geoff Edgers, Globe Staff July 31, 2007
Not long before the Citi Performing Arts Center decided to make drastic cuts to its popular summer production of Shakespeare on the Boston Common, its board agreed to pay president and CEO Josiah Spaulding Jr., a $1.265 million bonus.
That payment came on top of Spaulding's annual compensation of $409,000, plus $23,135 in benefits. Spaulding's salary alone already makes him one of the highest-paid leaders of a performing arts center in the country.
"Spaulding's salary seems extraordinarily high compared to the activity level at the [Center]," said Richard Johnson, former chief financial officer of Boston Ballet and current CFO of Washington National Opera. "It seems to be entirely out of scale with what that organization does."
Spaulding has presided over five straight years of budget deficits, cuts to programming, and a dramatic drop in performances at the Wang and Shubert theaters, which the Citi Center operates. The decision to slash the Shakespeare production that ended on Sunday -- the budget was sliced in half, to $481,027, and the free production's run from three weeks to one -- has brought renewed criticism of Spaulding and the Citi Center.
The Globe examined Citi Center documents recently filed with the Internal Revenue Service and provided by the center, and conducted interviews about the organization's practices. Along with details about Spaulding's compensation, the examination found that the organization has installed Spaulding's wife as its website manager, and employed companies either owned by or managed by some of the group's trustees.
GLOBE GRAPHIC: Leadership pay at leading arts organizations
Citi officials sat down for a four-plus hour interview on July 10, but in recent weeks have declined to answer questions about the operation of the center.
In the interview, Spaulding confirmed that he had gotten a bonus from the Citi board. But he pointed out that, because of wider cutbacks, he volunteered to take a $100,000 pay cut. His salary declined from $504,000 in the fiscal year that ended May 31, 2005, to $409,000 for the fiscal year that ended in 2006.
"I wanted to contribute what I could," said Spaulding.
"It was viewed as a very responsible thing for Joe to do that," said board chairman John William Poduska Sr.
There are other performing arts center leaders who are paid more than Spaulding. But they preside over centers with operations, in some cases, nearly 20 times larger than that of the Citi Center. According to the most recent records on file, Michael Kaiser of the John F. Kennedy Center for the Performing Arts in Washington, D.C., earns $1,029,691 a year. The Kennedy Center has a $141 million budget, meaning Kaiser's salary is 0.7 percent of the organization's budget.
The Citi Center's budget for fiscal year 2006 was $6.3 million. That makes Spaulding's salary 6.5 percent of the organization's budget. Spaulding is also paid a higher percentage of his organization's operating budget than leaders of the premiere performing arts centers in Los Angeles, New York, Minneapolis, Chicago, New Jersey, and Cleveland.
The son of a former Republican State Committee chairman who founded the Spaulding Rehabilitation Hospital, Josiah Spaulding Jr. was hired by the Wang Center in 1987 to serve as general manager. A year later, he was named president. He is credited with reviving the once run-down hall, and making it one of Boston's most successful arts centers during the 1990s.
Spaulding's bonus was actually set in motion in 2001, when the then-Wang Center's trustees created what they called a "retention program . . . to maintain continuity of key positions within the organization," according to documents filed with the IRS. At the time, the center was coming off several years of surpluses.
In 2005, after announcing they had extended Spaulding's contract until 2008, center trustees said that Spaulding would be eligible on May 31, 2006, for a $1 million bonus for contract completion. In fact, the total was $1.265 million, the organization's government filing stated. The center declined to say when the payment was made, and where it came from the budget.
The document did not name Spaulding as the beneficiary of the "retention program." But Lynne Kortenhaus, the trustee serving as spokesperson, confirmed the bonus in a July 12 e-mail. Kortenhaus declined to say whether any other center employees were made part of the retention program.
In a phone interview on July 18, board chairman Poduska said the bonus was created to keep Spaulding at the center. "Was it justified or not? Boy, I'll tell you it was," he said. "Joe was being courted by everyone under the sun. . . . He stayed and did a heck of a job."
Poduska said he did not know specifically what other organizations had offered positions to Spaulding.
In the latest fiscal year for which figures are available, which ended May 31, 2006, the Citi Center had a $2.7 million deficit, according to figures provided by chief financial officer Peter D. Fifield.
For fiscal 2007, Fifield projects, the center will have a narrower, $354,716 deficit, largely because of severe programming cuts and a $1.3 million infusion from New York-based Citigroup, which purchased naming rights for the institution last year.
The former Wang Center has struggled in recent years due to increased competition, which has caused difficulty in finding profitable touring shows to fill its theaters. To reduce potential losses, the center cut the number of shows it presents. Over the last year, the Wang Theatre, Citi Center's main venue, held 131 performances, a Globe examination of performance records supplied by the center has found. The theater has been open for business only a third of available nights. This is down from the 96 percent rate that Spaulding touted throughout the 1990s.
Citi Center's struggles make Spaulding's bonus questionable, said Marcus S. Owens, the former head of the IRS's exempt organizations division who is now practicing law with the Washington, D.C., office of Caplin & Drysdale.
"Any compensation at these levels is one that would undoubtedly raise eyebrows," said Owens. "Completing one's contract doesn't sound like extraordinary performance. It sounds like expected performance. Bonuses typically award extraordinary performance."
Trent Stamp, president of the New Jersey-based nonprofit watchdog group Charity Navigator, criticized not just the bonus but the way it was reported.
"At best, they're trying to be cute," he said. "At worst, they're being evasive. If this is a bonus for one particular person, why not say that? And the reason they won't say that is because people will be outraged."
Charity experts also raised questions about the hiring of Spaulding's wife, Joyce Spinney, for a key position.
Spinney is Citi Center's website manager, the center confirmed July 12. The center declined to provide her salary, nor would it discuss the process that led to her hiring. The organization is not required to list her status on government filings, but charity experts say the center should do so in the spirit of transparency, and to remove the perception that Spinney's relationship with Spaulding led to her position.
Spinney was director of theater services at the Wang when she and Spaulding were married in 1998. The couple have homes in Charlestown and Hobe Sound, Fla., and a 42-acre property in Vinalhaven, Maine, according to property records.
Center leaders also declined to discuss the hiring of Kortenhaus Communications, which is operated by trustee Kortenhaus. The center disclosed the hiring of Kortenhaus in its most recent IRS filing.
While neither hiring is illegal, charity experts say that a nonprofit board should explain how the insider hired provides a special service, or special price, to avoid the appearance that the person or firm received an unfair advantage.
"Certainly, hiring a relative or a trustee is an area where there needs to be great care taken to make sure it's the right thing for the charity," said Richard Allen, a Boston attorney who was chief of the state attorney general's Division of Public Charities from 1987 through 1999.
The Citi Center paid Kortenhaus Communications $43,109 for public-relations work for the fiscal year that ended in May 2006, according to the same IRS filings. In addition, the center paid DLA Piper $99,441 for legal services during the same fiscal year. Elliot Surkin, a managing partner at the firm, is a Citi Center trustee.
Surkin, Kortenhaus, and the center's leaders declined to answer questions about payments to the firms, though Kortenhaus remains the public-relations person.
Following the July 10 interview, Kortenhaus asked the Globe to submit any further questions via e-mail.
After receiving a list of 35 questions on July 25, she and the other Citi officials declined to answer any of them.
Instead, Poduska sent a statement that read, in part:
"As is common practice in both profit and nonprofit organizations, we do not comment on internal operations, personnel issues or proprietary information on employees, outside vendors or consultants beyond what is required by law. . . . We have complete confidence and fully support the institution's senior management team and the leadership of its President & CEO, Josiah Spaulding, Jr."
Geoff Edgers can be reached at gedgers@globe.com. For more on the arts, visit boston.com/ae/ theater_arts/exhibitionist.
Now read about other executives...
Saturday, July 28, 2007
Artist Spam
What if composers phished and spammed?!
Matt Orchestra
Fax : +1 800 CHA MBER (242-6237)
e-mail : mattorchestra@bigmusicfestival.org
Dear Sir,
I have picked-up courage and trust to forward this letter with divine confidence that you are a reliable and honest person who will be capable to handle this important business proposal believing also that you will never let me down either now or in the future. I am Matt Orchestra a private audio consultant with the Big Music Festival. There is a world premiere from 1997 and since 1998 nobody has performed this work, it has been dormant thereafter.
After going through mp3s and cds, I discovered that if I do not remit this score out urgently it would be forfeited as an unserviceable / dormant piece. The composer of this work was the late Dr. Norbert Lionel Hamden Berlioz El Captain, a serialist, he was an associate concertmaster at Kruger Gold Chamber Players, a waiter by profession, and he died 2003 in a plane crash. No one is believed to have any knowledge or details of these scores since they remained dormant after his death.
From my findings during auditioning at the end of last season, the deceased did not leave a will and no indication of a next of kin and as such has no beneficiary and my investigation proved to me last employers' does not have knowledge of these scores which is total sum of nineteen ballets, symphonies and piano works.
I wish to transfer these scores into a safe foreign program or series. I am contacting you based on the fact that you are a musician because the tuning of this score will only be approved for performance to a 20th century specialist. I know that this proposal will come to you as a surprise as we don't have fore knowledge of each other. I therefore implore that you treat this as important as can be to enable us achieve the performance of the scores.
However, I got your contact from a trade consultant here at the Festival, though I did not disclose the purpose of my seeking for a second performance to the consultant. I have involved a very senior official in the programming department of my establishment, and we have agreed that after the score selection into your designated series, you shall be entitled to 50% more attendance.
All necessary precautions have been taken to ensure a risk free situation on the side of both parties. Please note that this deal can only take place on the following conditions:
1. You will provide the arts series/program and other relevant particulars information for easy and onward performance of the scores.
2. Absolute tuning and sincerity will be required and guaranteed, considering our positions in the festival.
3. Assurance that our recording will be released to us in good faith when these scores finally gets onto your program.
From my estimates, this transaction will be within 10 rehearsal days as soon as we hear from you. Please treat with utmost confidentiality.
Expecting your immediate response.
Yours musically,
Mr. Matt Orchestra
Matt Orchestra
Fax : +1 800 CHA MBER (242-6237)
e-mail : mattorchestra@bigmusicfestival.org
Dear Sir,
I have picked-up courage and trust to forward this letter with divine confidence that you are a reliable and honest person who will be capable to handle this important business proposal believing also that you will never let me down either now or in the future. I am Matt Orchestra a private audio consultant with the Big Music Festival. There is a world premiere from 1997 and since 1998 nobody has performed this work, it has been dormant thereafter.
After going through mp3s and cds, I discovered that if I do not remit this score out urgently it would be forfeited as an unserviceable / dormant piece. The composer of this work was the late Dr. Norbert Lionel Hamden Berlioz El Captain, a serialist, he was an associate concertmaster at Kruger Gold Chamber Players, a waiter by profession, and he died 2003 in a plane crash. No one is believed to have any knowledge or details of these scores since they remained dormant after his death.
From my findings during auditioning at the end of last season, the deceased did not leave a will and no indication of a next of kin and as such has no beneficiary and my investigation proved to me last employers' does not have knowledge of these scores which is total sum of nineteen ballets, symphonies and piano works.I wish to transfer these scores into a safe foreign program or series. I am contacting you based on the fact that you are a musician because the tuning of this score will only be approved for performance to a 20th century specialist. I know that this proposal will come to you as a surprise as we don't have fore knowledge of each other. I therefore implore that you treat this as important as can be to enable us achieve the performance of the scores.
However, I got your contact from a trade consultant here at the Festival, though I did not disclose the purpose of my seeking for a second performance to the consultant. I have involved a very senior official in the programming department of my establishment, and we have agreed that after the score selection into your designated series, you shall be entitled to 50% more attendance.All necessary precautions have been taken to ensure a risk free situation on the side of both parties. Please note that this deal can only take place on the following conditions:
1. You will provide the arts series/program and other relevant particulars information for easy and onward performance of the scores.2. Absolute tuning and sincerity will be required and guaranteed, considering our positions in the festival.
3. Assurance that our recording will be released to us in good faith when these scores finally gets onto your program.
From my estimates, this transaction will be within 10 rehearsal days as soon as we hear from you. Please treat with utmost confidentiality.
Expecting your immediate response.
Yours musically,
Mr. Matt Orchestra
Wednesday, July 25, 2007
Classical vids
Check out the Verbier Festival and their amazing shows online! You can watch videos through the 31st of August! Great sounds, sights and music making!
Friday, July 20, 2007
See you soon!
Hope you can come out and have some fun tomorrow in Hummelstown (see the right hand side of this blog for more info!) or Sunday at Mt. Gretna:
Violin legend Midori has packed the Mt. Gretna Playhouse for her 7:30 p.m. concert this Sunday, July 22. There’s not a seat left!
A limited number of Standing Room Only tickets for this concert will go on sale at 3 p.m. on the day of the event. For more information, call 717-361-1508.
A pre-concert discussion of the evening’s music will be led by WITF’s afternoon classical music host, John Clare, at 6:30 p.m.
Violin legend Midori has packed the Mt. Gretna Playhouse for her 7:30 p.m. concert this Sunday, July 22. There’s not a seat left!
A limited number of Standing Room Only tickets for this concert will go on sale at 3 p.m. on the day of the event. For more information, call 717-361-1508.
A pre-concert discussion of the evening’s music will be led by WITF’s afternoon classical music host, John Clare, at 6:30 p.m.
Thursday, July 19, 2007
5 Things about Cazenovia Counterpoint
I attended the Saturday night concert of the Society for New Music in Cazenovia, NY.
5. The evening finished with Pulitzer Prize winning composer Steven Stucky. The premiere of his Dialoghi and a combination of all the performers on this program (2 violins, viola, cello, clarinet & piano) in his Partita-Pastorale after J.S.B.. Elinor Frey was back for the Dialoghi, with a few remarks by the composer. It was short and sweet, poetic and a conversation that made you smile and think. The performance alone was worth the ticket price and travel time! The Partita is a perfect closer and left the audience pleased, ready for snacks and beverages at the reception afterwards.
1. The evening began with the premiere of Sean Shepherd's Preludes. These three works were interesting and captivating, and in the best sense, pianist Sar Shalom Strong seemed to be creating them as the performance went along.
2
. Next cellist Elinor Frey eloquently explained and then presented Kaija Saariaho's solo cello piece Sept Papillons (seven butterflies). To say that Frey conveyed passion and technique well beyond her years is an understatement, she clearly has a connection and understanding of this work. It was a great teaser for the premiere later on the program.
. Next cellist Elinor Frey eloquently explained and then presented Kaija Saariaho's solo cello piece Sept Papillons (seven butterflies). To say that Frey conveyed passion and technique well beyond her years is an understatement, she clearly has a connection and understanding of this work. It was a great teaser for the premiere later on the program.3. Next were two works by a dear composing friend of mine, Augusta Read Thomas. These performances of Rumi Settings & Caprice weren't as polished as I wished they might have been, nor were they as exciting as the notes written. That said, it was nice to have them on this program.
4. Up next were the premiere of 4 Episodes for Clarinet and piano by Fred Cohen. I've not heard Fred's music before and want to hear more. I was less than entertained or engaged by these works - maybe an intermission would have helped here. In any case, the material was not unpleasant, perhaps some prunning would be in order.
5. The evening finished with Pulitzer Prize winning composer Steven Stucky. The premiere of his Dialoghi and a combination of all the performers on this program (2 violins, viola, cello, clarinet & piano) in his Partita-Pastorale after J.S.B.. Elinor Frey was back for the Dialoghi, with a few remarks by the composer. It was short and sweet, poetic and a conversation that made you smile and think. The performance alone was worth the ticket price and travel time! The Partita is a perfect closer and left the audience pleased, ready for snacks and beverages at the reception afterwards.It was a charming, well varied program and was glad to hear it. Portions will be heard on Composing Thoughts later!
Dinner
I had the most charming dinner with new friends last week in Ithaca (at Zaza's Cucina). I left immediately from work, and it being Friday the 13th, had quite an adventure driving, but made it barely in time for the reservations.The company was exquisite, the
food plentiful and tasty, and the wine numerous and succulent! Here are the bottles we enjoyed:2000 Vieux Télégraph Chateauneuf-du-Pape La Crau (France)
2003 Domaine la Barroche Chateauneuf-du-Pape (France)
2002 Finca Sandoval (93% Syrah, 7% Mourvedre) (Spain)
2003 Arietta Variation One (60% Merlot, 40% Syrah) (California)2003 Clarendon Hills Grenache Old Vines Romas Vineyard (Australia)
2003 Clarendon Hills Syrah Liandra Vineyard (Australia)
It's hard to name a favorite, although the Finca and Arietta were superb and our host, an amazing composer and brilliant man, had a "bad" bottle of Clarendon Grenache, so it would have ended the supper, had it been in top shape.
Afterwards, we joined our host at his apartment for cigars and scotch.
Wednesday, July 18, 2007
Gilbert Interview
I was happy to read about Alan Gilbert being named the next Music Director of the NY Philharmonic. So I went to the archives and found this interview from 2004, speaking with him about Santa Fe Opera and their then new Don Giovanni. Enjoy!Monday, July 16, 2007
Update
Back from Ithaca, what a great weekend. More very soon!
This sad news, in from Madison, about violinist Vartan Manoogian, 1936-2007. Read about him here and here. The biggest connection we have is that my mentor David Perry followed Vartan as 1st Violinist of the Pro Arte Quartet. I also have a couple of recordings of the older version of the quartet with Vartan, and am going to look into getting his recent Bach Sonatas & Partitas disc.Friday, July 06, 2007
Pre 7-7-7
Thought I'd try to catch up on some of my activities. Happy belated Independence Day, btw.
Let's go back to last month's Next Generation Festival at Millersville University:
They played Beethoven, Brahms and Franck. I was less than impressed with violinist Ben Breen, who has the fine art of making a bad face and grimacing, even when he isn't playing out of tune. The balances were hard to make out clearly, other than the piano, which was bad for the wonderful violist and cellist, but not so much for Ben.
Juliette Kang was stunning in the Franck Violin Sonata. Definitely made the evening hearing her. I would have rather heard something new though...while it was fine chamber music, something from the 20th or 21st century would have been fitting, especially with players of Juliette and Awadagin's musical capabilities.
I also caught the last of the Notable Women Festival with the Orchestra of 
St. Luke's Chamber Players, curated by Joan Tower. It was an awesome concert, not as far out as I thought it might be; and I really enjoyed it. I'm looking forward to interviewing Julia Wolf, who's string quartet was quite stunning. I also enjoyed meeting Joan LaBarbara and hearing her solo oboe with tape piece will not be soon forgotten.
Hmmm. I forogt that during the Piano Event with Reif Snyders that the Berenstein Bears
I felt very good and renewed my artistic spirit. Nice to have met director Ken Pool, as well as Alexander Bernstein.
So that is part of what my June was like, just been busy. More soon on my DC trip last weekend!
Let's go back to last month's Next Generation Festival at Millersville University:
They played Beethoven, Brahms and Franck. I was less than impressed with violinist Ben Breen, who has the fine art of making a bad face and grimacing, even when he isn't playing out of tune. The balances were hard to make out clearly, other than the piano, which was bad for the wonderful violist and cellist, but not so much for Ben.Juliette Kang was stunning in the Franck Violin Sonata. Definitely made the evening hearing her. I would have rather heard something new though...while it was fine chamber music, something from the 20th or 21st century would have been fitting, especially with players of Juliette and Awadagin's musical capabilities.
I also caught the last of the Notable Women Festival with the Orchestra of 
St. Luke's Chamber Players, curated by Joan Tower. It was an awesome concert, not as far out as I thought it might be; and I really enjoyed it. I'm looking forward to interviewing Julia Wolf, who's string quartet was quite stunning. I also enjoyed meeting Joan LaBarbara and hearing her solo oboe with tape piece will not be soon forgotten.Hmmm. I forogt that during the Piano Event with Reif Snyders that the Berenstein Bears
were at work, and I posed with them - as a joke for my friends Stu and Julia (who's names you can read on the decorated plates the volunteers made.) Too funny.
Here's where I spend my weekdays from 12 to 3pm.
From Berenstein to the Leonard Bernstein Center and the leadership institute that Gettysburg College held a few weeks ago - wow! I felt like I was hugged by the arts. I could only attend one day, but it was well worth it. Brilliant minds, great arts and seminars.
I felt very good and renewed my artistic spirit. Nice to have met director Ken Pool, as well as Alexander Bernstein.So that is part of what my June was like, just been busy. More soon on my DC trip last weekend!
Thursday, July 05, 2007
Sharl
Be sure to check out the amazing interview with Charles Wuorinen over at NewMusicBox.Dick Strawser suggests this caption: I CAN HAZ CEREAL?
Monday, July 02, 2007
Don't forget
Tomorrow night in Harrisburg! And find out other great NEW MUSIC sort of concerts/happenings here at NewMusicBox from the American Music Center...
Thursday, June 28, 2007
Hightech Higdon
Previously unreleased recordings of works by Higdon and Shostakovich added to Online Music Store
Several live recordings are newly available as downloads in The Philadelphia Orchestra's Online Music Store. In addition to the 70-plus items already in the Store, music lovers can purchase the world premiere performance of Jennifer Higdon's highly acclaimed Concerto for Orchestra written for The Philadelphia Orchestra.
The Store also includes downloads of three works by Shostakovich performed by rising classical music stars. Pianist Stewart Goodyear, a replacement for André Watts, performed Shostakovich's First and Second Piano Concertos in October 2006. Twenty-four-year-old American cellist Alisa Weilerstein stepped in for Truls Mørk in Shostakovich's First Cello Concerto last November. The Philadelphia Inquirer called Goodyear "combustible" and Weilerstein "intense," "impressive," and "daring."
In addition to these new releases, downloads of the Orchestra's live performances of all nine Beethoven symphonies under Christoph Eschenbach are now available as a package for a reduced price.
For more information, visit www.thephiladelphiaorchestra.com.
Several live recordings are newly available as downloads in The Philadelphia Orchestra's Online Music Store. In addition to the 70-plus items already in the Store, music lovers can purchase the world premiere performance of Jennifer Higdon's highly acclaimed Concerto for Orchestra written for The Philadelphia Orchestra.
The Store also includes downloads of three works by Shostakovich performed by rising classical music stars. Pianist Stewart Goodyear, a replacement for André Watts, performed Shostakovich's First and Second Piano Concertos in October 2006. Twenty-four-year-old American cellist Alisa Weilerstein stepped in for Truls Mørk in Shostakovich's First Cello Concerto last November. The Philadelphia Inquirer called Goodyear "combustible" and Weilerstein "intense," "impressive," and "daring."
In addition to these new releases, downloads of the Orchestra's live performances of all nine Beethoven symphonies under Christoph Eschenbach are now available as a package for a reduced price.
For more information, visit www.thephiladelphiaorchestra.com.
Opera news
One of the nation's best-known opera singers is seriously ill with cancer: Beverly Sills is at a New York City hospital, with her daughter at her side.In an e-mail this week to members of its board, the Metropolitan Opera said Sills is ''gravely ill.''
Sills was chairwoman of the Met until she resigned two years ago, citing health and family reasons. Her sparkling voice and her charming personality won over fans worldwide, and she became a powerhouse in the New York arts world.
Tuesday, June 26, 2007
Joycee in the news
From Gramophone:
EMI Classics signs Joyce DiDonato
June 25 2007
The accolades continue to roll in for mezzo-soprano Joyce DiDonato. April saw her named the Metropolitan Opera's second recipient of the Beverly Sills Artist Award, worth $50,000. Now the American singer has signed an exclusive contract with EMI Classics and is due to release a selection of Handel Arias with Les Talens Lyriques conducted by Christophe Rousset in Autumn 2008.
"To be invited to join the EMI Classics recording label is a genuine honour for me," said DiDonato. “The legendary recordings of Callas and Baker continue to influence and inspire me in a myriad of ways, so, to be given the privilege of joining their ranks is a responsibility I embrace and celebrate. I plan on doing all I can to continue the legacy of excellence”. In addition to the Beverly Sills Award DiDonato was the winner of the Richard Tucker Music Foundation Award in 2002, New York City Opera's Richard Gold Debut Award in 2003, and the Royal Philharmonic Society Singer of the Year Award in 2006 for her role as Rosina in the Covent Garden production of Il Barbiere di Siviglia. DiDonato's first solo CD was “The Deepest Desire”, a selection of songs by Bernstein, Copland and Heggie released on the Eloquentia label in 2006 and named winner of the Diapason d'or de l'année. This was followed in the same year by a live Wigmore Hall recording of songs and arias by Fauré, Hahn, Handel and Rossini with pianist Julius Drake.
Charlotte Smith, Gramophone
EMI Classics signs Joyce DiDonato
June 25 2007
The accolades continue to roll in for mezzo-soprano Joyce DiDonato. April saw her named the Metropolitan Opera's second recipient of the Beverly Sills Artist Award, worth $50,000. Now the American singer has signed an exclusive contract with EMI Classics and is due to release a selection of Handel Arias with Les Talens Lyriques conducted by Christophe Rousset in Autumn 2008."To be invited to join the EMI Classics recording label is a genuine honour for me," said DiDonato. “The legendary recordings of Callas and Baker continue to influence and inspire me in a myriad of ways, so, to be given the privilege of joining their ranks is a responsibility I embrace and celebrate. I plan on doing all I can to continue the legacy of excellence”. In addition to the Beverly Sills Award DiDonato was the winner of the Richard Tucker Music Foundation Award in 2002, New York City Opera's Richard Gold Debut Award in 2003, and the Royal Philharmonic Society Singer of the Year Award in 2006 for her role as Rosina in the Covent Garden production of Il Barbiere di Siviglia. DiDonato's first solo CD was “The Deepest Desire”, a selection of songs by Bernstein, Copland and Heggie released on the Eloquentia label in 2006 and named winner of the Diapason d'or de l'année. This was followed in the same year by a live Wigmore Hall recording of songs and arias by Fauré, Hahn, Handel and Rossini with pianist Julius Drake.
Charlotte Smith, Gramophone
Sunday, June 24, 2007
Overpaid Executive
This really gets my goat!
World Herald Article
Symphony pay gap flap off-key, chairman says
BY ASHLEY HASSEBROEKWORLD-HERALD STAFF WRITER
Omaha Symphony musicians have gotten patrons talking at their past few concerts — and not just about their performances.
Rob HallamHuddled in the Holland Performing Arts Center lobbies during intermissions, audience members have been discussing the leaflets that musicians distributed before each program, detailing their current contract dispute.
"Management . . . raised CEO Rob Hallam's compensation on average 20 percent a year for each of the past three years," the leaflet states. It also says that "Hallam hired his wife as a consultant to the Omaha Symphony at over $99,000.
"The musicians — who have received raises of 2 to 3 percent over the same period — find these figures hard to swallow. On Friday, they released a statement that expressed a "vote of no confidence" in Hallam's leadership.
For anyone who has been watching the dispute between the musicians and management over the 2007-08 contract, the musicians' latest move is no surprise. Negotiations broke down more than three weeks ago, and subsequent meetings haven't been scheduled. Musicians are seeking a base pay raise higher than the 2.5 percent increase management has offered.One of the biggest points of contention in the dispute is the gap between the musicians' base pay — $28,327 in 2005-06 — and Hallam's salary — $205,152 for the same period. (Neither figure includes benefits.)
Hallam could not be reached Friday afternoon to respond to the musicians' no-confidence vote. He previously referred questions about his pay to the chairman of the Omaha Symphony board of directors, William A. Fitzgerald.Fitzgerald said there are solid reasons for the board's compensation decisions.
"That is only one side of the story," Fitzgerald said, referring to the information in the musicians' leaflets.It's true that Hallam's total compensation has increased by more than 5 percent annually over the past few years.It's also true that Hallam's wife, Mary Prefontaine, was the interim vice president of marketing for more than a year, and in her last full year was paid $99,000.The orchestra's board approved and still supports both decisions.
While Hallam's total compensation might have increased by more than 5 percent over the past few years, Fitzgerald said, his base salary has increased by only 2.5 to 5 percent each year since the 2003-04 season, which was his first full term as the orchestra's chief.The rest of the money — which fills the gap between his 2003-04 compensation of $160,500 and his 2005-06 compensation of $210,050 — comes from incentive pay.
When Hallam was hired, the board set up a program that gives him financial rewards for meeting goals related to ticket sales, contributions and attendance. Fitzgerald declined to provide the specifics of those goals. "If he meets or exceeds (the goals), he is going to get what we agreed to as incentives," Fitzgerald said.
The musicians say Hallam's salary still is way above average for executives at comparable orchestras, with or without the incentive pay.During the 2004-05 season, the average salary for top executives in the Regional Orchestra Players Association — a group of about 70 orchestras, including the Omaha Symphony — was about $106,000, said Drew McManus, a Chicago-based orchestra analyst and consultant. McManus said he doesn't expect that average to change much when he gets figures for 2005-06.The Omaha Symphony, with a budget of $6.5 million, is in this group because of the number of full-time players it employs. The group also includes orchestras with much smaller budgets — around $1 million — such as the Green Bay (Wis.) Symphony and the Shreveport (La.) Symphony.
McManus said executive salaries have generally been increasing "exponentially" over the past few years."Boards are leaning toward wanting to pay what they would pay in the for-profit world so they can attract that level of talent," McManus said.Omaha Symphony board members stand behind their compensation package for Hallam. He has presided over substantial increases in revenue and a music director search that resulted in the hiring of Thomas Wilkins."He has been very good at managing the overall process of running the symphony," Fitzgerald said.Board members also point to good performance as the reason for hiring Prefontaine. Shortly after Hallam took over, the orchestra was having difficulty finding a vice president of marketing, Fitzgerald said."Somebody on the board commented that Mary had a marketing background, so we put her in as an interim," Fitzgerald said. "It wasn't just 'Let's pay her some money, too.'"Prefontaine had leadership jobs in marketing for Tourism Vancouver and the Vancouver 2010 Winter Olympic Games Bid Corp.
The Omaha Symphony board — not Hallam — set her compensation at $99,000 because it was "at or below the market for that job at that time," Fitzgerald said.The person who held the job before Prefontaine was paid less. However, Lex Poppens, who is in the job now, is paid more, Fitzgerald said. Poppens declined to give his specific salary but said it is "market-driven."Prefontaine decided after a little more than a year to take a job as the executive director for the Institute for Career Advancement Needs."The primary reason for me leaving the Omaha Symphony was because of this amazing opportunity I now have as the executive director of ICAN," Prefontaine said. "It was incredibly appealing to me."Prefontaine said she didn't see it as a conflict for her to work with her husband. Neither did the board, Fitzgerald said."I don't think there was (a conflict)," Fitzgerald said. "But was it perceived by other people? The answer is yes."
Another dispute...video story.
World Herald Article
Symphony pay gap flap off-key, chairman says
BY ASHLEY HASSEBROEKWORLD-HERALD STAFF WRITER
Omaha Symphony musicians have gotten patrons talking at their past few concerts — and not just about their performances.
Rob HallamHuddled in the Holland Performing Arts Center lobbies during intermissions, audience members have been discussing the leaflets that musicians distributed before each program, detailing their current contract dispute.
"Management . . . raised CEO Rob Hallam's compensation on average 20 percent a year for each of the past three years," the leaflet states. It also says that "Hallam hired his wife as a consultant to the Omaha Symphony at over $99,000.
"The musicians — who have received raises of 2 to 3 percent over the same period — find these figures hard to swallow. On Friday, they released a statement that expressed a "vote of no confidence" in Hallam's leadership.
For anyone who has been watching the dispute between the musicians and management over the 2007-08 contract, the musicians' latest move is no surprise. Negotiations broke down more than three weeks ago, and subsequent meetings haven't been scheduled. Musicians are seeking a base pay raise higher than the 2.5 percent increase management has offered.One of the biggest points of contention in the dispute is the gap between the musicians' base pay — $28,327 in 2005-06 — and Hallam's salary — $205,152 for the same period. (Neither figure includes benefits.)
Hallam could not be reached Friday afternoon to respond to the musicians' no-confidence vote. He previously referred questions about his pay to the chairman of the Omaha Symphony board of directors, William A. Fitzgerald.Fitzgerald said there are solid reasons for the board's compensation decisions.
"That is only one side of the story," Fitzgerald said, referring to the information in the musicians' leaflets.It's true that Hallam's total compensation has increased by more than 5 percent annually over the past few years.It's also true that Hallam's wife, Mary Prefontaine, was the interim vice president of marketing for more than a year, and in her last full year was paid $99,000.The orchestra's board approved and still supports both decisions.
While Hallam's total compensation might have increased by more than 5 percent over the past few years, Fitzgerald said, his base salary has increased by only 2.5 to 5 percent each year since the 2003-04 season, which was his first full term as the orchestra's chief.The rest of the money — which fills the gap between his 2003-04 compensation of $160,500 and his 2005-06 compensation of $210,050 — comes from incentive pay.
When Hallam was hired, the board set up a program that gives him financial rewards for meeting goals related to ticket sales, contributions and attendance. Fitzgerald declined to provide the specifics of those goals. "If he meets or exceeds (the goals), he is going to get what we agreed to as incentives," Fitzgerald said.
The musicians say Hallam's salary still is way above average for executives at comparable orchestras, with or without the incentive pay.During the 2004-05 season, the average salary for top executives in the Regional Orchestra Players Association — a group of about 70 orchestras, including the Omaha Symphony — was about $106,000, said Drew McManus, a Chicago-based orchestra analyst and consultant. McManus said he doesn't expect that average to change much when he gets figures for 2005-06.The Omaha Symphony, with a budget of $6.5 million, is in this group because of the number of full-time players it employs. The group also includes orchestras with much smaller budgets — around $1 million — such as the Green Bay (Wis.) Symphony and the Shreveport (La.) Symphony.
McManus said executive salaries have generally been increasing "exponentially" over the past few years."Boards are leaning toward wanting to pay what they would pay in the for-profit world so they can attract that level of talent," McManus said.Omaha Symphony board members stand behind their compensation package for Hallam. He has presided over substantial increases in revenue and a music director search that resulted in the hiring of Thomas Wilkins."He has been very good at managing the overall process of running the symphony," Fitzgerald said.Board members also point to good performance as the reason for hiring Prefontaine. Shortly after Hallam took over, the orchestra was having difficulty finding a vice president of marketing, Fitzgerald said."Somebody on the board commented that Mary had a marketing background, so we put her in as an interim," Fitzgerald said. "It wasn't just 'Let's pay her some money, too.'"Prefontaine had leadership jobs in marketing for Tourism Vancouver and the Vancouver 2010 Winter Olympic Games Bid Corp.
The Omaha Symphony board — not Hallam — set her compensation at $99,000 because it was "at or below the market for that job at that time," Fitzgerald said.The person who held the job before Prefontaine was paid less. However, Lex Poppens, who is in the job now, is paid more, Fitzgerald said. Poppens declined to give his specific salary but said it is "market-driven."Prefontaine decided after a little more than a year to take a job as the executive director for the Institute for Career Advancement Needs."The primary reason for me leaving the Omaha Symphony was because of this amazing opportunity I now have as the executive director of ICAN," Prefontaine said. "It was incredibly appealing to me."Prefontaine said she didn't see it as a conflict for her to work with her husband. Neither did the board, Fitzgerald said."I don't think there was (a conflict)," Fitzgerald said. "But was it perceived by other people? The answer is yes."
Another dispute...video story.
Thursday, June 21, 2007
Bob and Bows!
This is most excellent:Going against the grain, he helps make music
By Kristen Peterson <kristen@lasvegassun.com>Las Vegas Sun
Delicately holding a polished and exquisite Emile Ouchard bow between the tips of his fingers, then placing it in its case, Bob Stewart says, "The French are to bows what Italians are to violins."
He picks up a James Tubbs bow, circa 1905, and says the British bow maker is one of his favorites, even though Tubbs' later bows were thought to be a "little bit clumsy , " with larger proportions. Then he examines one of his own creations, a cello bow.
In the course of history, this would seem an anomaly. Stewart's workbench in his tidy Las Vegas garage is a leap from the centuries-old traditions of European shops and craftsmen in musty urban storefronts.
The man himself has shaken the symphonic stereotype. Once he showed up at a client's doorstep and was told, "I expected you to be an old white guy."
"There aren't a lot of black people doing this," he says nonchalantly.
Moreover, in Las Vegas there aren't many people doing this at all.
Stewart is the go-to guy for bow repair, along with Jim Wilson, who repairs violins at Violin Outlet. Professional symphonic string players, fiddlers, students, they know him well. Expensive and rare bows are often sent to shops in Los Angeles or New York steeped in high-caliber bow repair. For everything else, Stewart and Wilson have essentially cornered the market.
But Stewart may just be the only bow maker in this city.
The South Philadelphia native played guitar, double bass and cello before apprenticing with a maker in New Jersey. He made his first bow by age 22, worked in shops and freelanced and dabbled in other professions before settling in Las Vegas in 1990.
He rehairs, repairs, restores and invests in rare bows.
His days of making bows have waned. He's made about 80 bows. At 53, he now makes only a couple of bows a year, including a bow he recently made for Las Vegas Philharmonic cellist Elena Kapustina.
Beginning with a plank of pernambuco wood from the jungles of South America, Stewart whittles and planes the stick into an octagonal shape, bevels the frog made of ebony, adds its metal parts and creates the camber in the stick. Stewart used to cut his own mother of pearl for the frog, but now orders them pre-cut.
Finishing the bows is more intuitive and less scientific. He works according to what looks and feels a certain weight, feel and graduations. After decades of working with bows, he has a pretty good idea of what he's doing. "They're very delicate and there is a subtlety about the beauty of the wood."
And they are expensive. A French bow in good shape is probably worth $15,000 to $20,000. A Tourte cello bow sold for $200,000 at auction last fall.
Although rare and expensive bows are sent away for repairs, much of Las Vegas, including members of the Las Vegas Philharmonic, relies on Stewart, who is also president of the Las Vegas Chamber Music Society.
"He's absolutely a godsend," says Mary Straub, who teaches violin at the Nevada School of the Arts. Straub sends Stewart about 50 bows a year from her students and has had him work on her bows. "If there's small crack or something has come unglued and we say we need it done tonight, he'll do it. He keeps us going."
By Kristen Peterson <kristen@lasvegassun.com>Las Vegas Sun
Delicately holding a polished and exquisite Emile Ouchard bow between the tips of his fingers, then placing it in its case, Bob Stewart says, "The French are to bows what Italians are to violins."
He picks up a James Tubbs bow, circa 1905, and says the British bow maker is one of his favorites, even though Tubbs' later bows were thought to be a "little bit clumsy , " with larger proportions. Then he examines one of his own creations, a cello bow.
In the course of history, this would seem an anomaly. Stewart's workbench in his tidy Las Vegas garage is a leap from the centuries-old traditions of European shops and craftsmen in musty urban storefronts.
The man himself has shaken the symphonic stereotype. Once he showed up at a client's doorstep and was told, "I expected you to be an old white guy."
"There aren't a lot of black people doing this," he says nonchalantly.
Moreover, in Las Vegas there aren't many people doing this at all.
Stewart is the go-to guy for bow repair, along with Jim Wilson, who repairs violins at Violin Outlet. Professional symphonic string players, fiddlers, students, they know him well. Expensive and rare bows are often sent to shops in Los Angeles or New York steeped in high-caliber bow repair. For everything else, Stewart and Wilson have essentially cornered the market.
But Stewart may just be the only bow maker in this city.
The South Philadelphia native played guitar, double bass and cello before apprenticing with a maker in New Jersey. He made his first bow by age 22, worked in shops and freelanced and dabbled in other professions before settling in Las Vegas in 1990.
He rehairs, repairs, restores and invests in rare bows.
His days of making bows have waned. He's made about 80 bows. At 53, he now makes only a couple of bows a year, including a bow he recently made for Las Vegas Philharmonic cellist Elena Kapustina.
Beginning with a plank of pernambuco wood from the jungles of South America, Stewart whittles and planes the stick into an octagonal shape, bevels the frog made of ebony, adds its metal parts and creates the camber in the stick. Stewart used to cut his own mother of pearl for the frog, but now orders them pre-cut.
Finishing the bows is more intuitive and less scientific. He works according to what looks and feels a certain weight, feel and graduations. After decades of working with bows, he has a pretty good idea of what he's doing. "They're very delicate and there is a subtlety about the beauty of the wood."
And they are expensive. A French bow in good shape is probably worth $15,000 to $20,000. A Tourte cello bow sold for $200,000 at auction last fall.
Although rare and expensive bows are sent away for repairs, much of Las Vegas, including members of the Las Vegas Philharmonic, relies on Stewart, who is also president of the Las Vegas Chamber Music Society.
"He's absolutely a godsend," says Mary Straub, who teaches violin at the Nevada School of the Arts. Straub sends Stewart about 50 bows a year from her students and has had him work on her bows. "If there's small crack or something has come unglued and we say we need it done tonight, he'll do it. He keeps us going."
Wednesday, June 20, 2007
Ken, son of Kurt?
Who knew?
The San Antonio Symphony named Ken Masur, the son of longtime New York Philharmonic music director Kurt Masur, its new resident conductor. Masur replaces David In-Jae Cho, who is now the assistant conductor of the Utah Symphony. Masur will conduct 24 young people's concerts, four interactive family classics concerts and a summer series each season for the San Antonio Symphony.
Born in Leipzig, Masur studied orchestration with Tristan Murail, composition with Joseph Dubiel and conducting with his father and Jeffery Milarsky. A baritone as well, he studies with Thomas Quasthoff. He is currently music director of the Ensemble Berlinprojekt in Germany.
Ken Masur began his musical training as boy soprano in the legendary Gewandhaus Children’s Choir. He received his B.A. in music from Columbia University in 2002, and now gives regular concerts and lieder recitals in Europe, the US, and Asia. His 2005 CD of scenes from Mozart’s Così fan tutte received critical acclaim. Also active as a conductor, Ken was co-founder and music director of the Bach Society Orchestra and Chorus of Columbia University, and since 2004 has been Assistant Conductor of the Choir and National Orchestra at Radio France in Paris. He has been featured as both baritone and conductor on WKCR New York, RTHK4 Hong Kong, and Radio France. Upcoming engagements include performances at the Eurosilesia Festival in Poland and Les Muséiques in Basel.
The San Antonio Symphony named Ken Masur, the son of longtime New York Philharmonic music director Kurt Masur, its new resident conductor. Masur replaces David In-Jae Cho, who is now the assistant conductor of the Utah Symphony. Masur will conduct 24 young people's concerts, four interactive family classics concerts and a summer series each season for the San Antonio Symphony.
Born in Leipzig, Masur studied orchestration with Tristan Murail, composition with Joseph Dubiel and conducting with his father and Jeffery Milarsky. A baritone as well, he studies with Thomas Quasthoff. He is currently music director of the Ensemble Berlinprojekt in Germany.
Ken Masur began his musical training as boy soprano in the legendary Gewandhaus Children’s Choir. He received his B.A. in music from Columbia University in 2002, and now gives regular concerts and lieder recitals in Europe, the US, and Asia. His 2005 CD of scenes from Mozart’s Così fan tutte received critical acclaim. Also active as a conductor, Ken was co-founder and music director of the Bach Society Orchestra and Chorus of Columbia University, and since 2004 has been Assistant Conductor of the Choir and National Orchestra at Radio France in Paris. He has been featured as both baritone and conductor on WKCR New York, RTHK4 Hong Kong, and Radio France. Upcoming engagements include performances at the Eurosilesia Festival in Poland and Les Muséiques in Basel.
Monday, June 18, 2007
Sunday in Jersey
Some photos of friends over the weekend...
Promotional material
Now appearing (I'm a little confused at this "worship" service!)
In recital
Book Talk
Sensei Anthony Stultz will be speaking about his new book Free Your Mind: The Four Directions of an Awakened Life at 7pm Tuesday, Borders of York, 3000 Whiteford Road; and Thursday June 21 at 7pm at Borders Camp Hill, 3515 Gettysburg Road.
Sensei will present his innovative use of psychological language to interpret Buddhist teachings in a way all people can use to help find freedom from suffering in their own lives. If you missed his talk at Borders Harrisburg, here are two close-by chances to celebrate the new book with Sensei. If you caught the Harrisburg talk, join us and continue the discussion!
Sensei will present his innovative use of psychological language to interpret Buddhist teachings in a way all people can use to help find freedom from suffering in their own lives. If you missed his talk at Borders Harrisburg, here are two close-by chances to celebrate the new book with Sensei. If you caught the Harrisburg talk, join us and continue the discussion!
Sunday, June 17, 2007
Daddy Day
Three concerts in as many days! Friday night was the NGF 2007 at Millersville; Saturday was the finale of "Notable Women" in Chelsea; and today Elinor Frey rocks in NJ. More on all three when I get back home.
In the meantime, I'm enjoy cigars and coffee at The Bean. :)
It's also Father's Day - I've sent off a cool kid card, some books he's been wanting, and will call in a little bit. Certainly a major impact on my work ethic and dedication comes from my father, Warren Clare. Oh, and humor, his middle name is Edward, so yes, really and truly, how he signs his name is "Warren E Clare."
In the meantime, I'm enjoy cigars and coffee at The Bean. :)
It's also Father's Day - I've sent off a cool kid card, some books he's been wanting, and will call in a little bit. Certainly a major impact on my work ethic and dedication comes from my father, Warren Clare. Oh, and humor, his middle name is Edward, so yes, really and truly, how he signs his name is "Warren E Clare."
Friday, June 15, 2007
Is that a bow? or are you happy to see me?
Great news for musicians who travel frequently:
Exemption Approved for Travel with Bows
June 15, 2007, Washington, D.C. – Orchestras and individual musicians touring internationally may continue to travel with their bows, after winning an exemption during negotiations at the Convention on International Trade in Endangered Species (CITES). The international community met over the past two weeks to determine whether to include the Brazilian pernambuco tree on the endangered species list. Most fine bows used by string musicians are made from pernambuco wood. Negotiators settled on adding the tree to the endangered species list, but applying the listing only to “logs, sawn wood, veneer sheets…,” specifying that finished bows that are transported internationally would not be subject to cumbersome CITES permit and certification requirements.
Exemption Approved for Travel with Bows
June 15, 2007, Washington, D.C. – Orchestras and individual musicians touring internationally may continue to travel with their bows, after winning an exemption during negotiations at the Convention on International Trade in Endangered Species (CITES). The international community met over the past two weeks to determine whether to include the Brazilian pernambuco tree on the endangered species list. Most fine bows used by string musicians are made from pernambuco wood. Negotiators settled on adding the tree to the endangered species list, but applying the listing only to “logs, sawn wood, veneer sheets…,” specifying that finished bows that are transported internationally would not be subject to cumbersome CITES permit and certification requirements.
Tuesday, June 12, 2007
Hot Glass, Cool Show
I recently spoke with Steve Gibbs at the Corning Museum of Glass about the Hot Glass Roadshow.Hear our interview [mp3 file]
One of my favorite views in Las Vegas, seen left at the Bellagio, Dale Chihuly's flowers on the ceiling...
Monday, June 11, 2007
Brotherly Love
It was awesome to reconnect with an old friend from Las Vegas yesterday in Philly!Satomi and I met at the Kimmel Center, grabbed brunch at Farmicia, had some yummy scoops at the Franklin Fountain, and then walked a bit in the sun. 
Unfortunately it appears the Las Vegas Lounge burned down! (I'd never been, but had passed by it many times.)
Unfortunately it appears the Las Vegas Lounge burned down! (I'd never been, but had passed by it many times.)All in all, a fabulous time catching up. She'll be onstage soon in New Haven.
Sunday, June 10, 2007
Five Things about OSL's Chamber Players
I attended the "Unbound" concert at the Chelsea Art Museum Saturday afternoon of the Notable Women Festival with the Orchestra of St. Luke's Chamber Players.1. This series is very delightful, and while I couldn't attend the first concert, I made sure to make this one as well as next week! Joan Tower, the "host, conceiver, & curator" of the festival has assembled great music in a wonderful space. All of the composers were present, each spoke before their piece and hung out afterwards for questions and tasty treats.
2. The program began with the outstanding soprano Tony Arnold. She's as great live as she is recorded - and it was awesome to know the Tania Leon work she sang, Singin' Sepia has been recorded by Bridge Records. Look for it this fall, it's an engaging work with brilliant word painting and just the right bit of fun.
3. Joan's Night Field (String Quartet #1) was next and remains one of my favorites. She was quite eloquent addressing the idea of chamber music and this first foray into the quartet world. Skip 13 years and not only is Joan in residence with the OSL, she'll be featured later this summer at La Jolla and this season with the CMS Lincoln Center. (Remember her new work for the Orpheus Chamber Orchestra?)
4. Jennifer Higdon could set the phone book to music and I'd come hear it, and I bet she'd do an amazing job with it! Her Piano Trio is a nice blend of passion, charm and wit - besides winning "best of show" (my own award for this blog entry!) in this art museum where she could point out the "Pale Yellow" depicted in the first movement and the "Fiery Red" in the paintings behind and beside the piano!
5. Libby Larsen rounded out the program with her 2001 Piano Trio. It was written for the Angelfire Festival and as she explained, it's the festival where musicians go to relax from playing at festivals. It was extremely well woven and the perfect ending for the program.The festival continues next weekend with "Unleashed." Catch it if you can, you'll be happy you did!
Thursday, June 07, 2007
Catch Counterstream!
TONIGHT!
Counterstream Radio Premiere Broadcasts A Soldier's Story: a radio opera by Dave Soldier
Tune in: June 7th @ 9 p.m. EST
A Soldier's Story, a radio opera with lyrics by Kurt Vonnegut and music by Dave Soldier, is based on the death of Private Eddie Slovik in World War II, the only American soldier to be shot for cowardice since the Civil War.
Composer Dave Soldier points out that the 24-minute radio opera, which takes up as its subject matter the human folly of war, was turned down for (free) premiere or broadcast by every single station it was sent it to. "No radio station would play it. This despite Kurt's fame—possibly due to the format, or curse words, but I suspect because we so clearly did it referring to our new wars." Click here to find out more about this special program.
Counterstream Radio Premiere Broadcasts A Soldier's Story: a radio opera by Dave Soldier
Tune in: June 7th @ 9 p.m. EST
A Soldier's Story, a radio opera with lyrics by Kurt Vonnegut and music by Dave Soldier, is based on the death of Private Eddie Slovik in World War II, the only American soldier to be shot for cowardice since the Civil War.
Composer Dave Soldier points out that the 24-minute radio opera, which takes up as its subject matter the human folly of war, was turned down for (free) premiere or broadcast by every single station it was sent it to. "No radio station would play it. This despite Kurt's fame—possibly due to the format, or curse words, but I suspect because we so clearly did it referring to our new wars." Click here to find out more about this special program.
Studies show
A 2006 study found that the average American walks about 900 miles a year.
Another study found that Americans drink an average of 22 gallons of beer a year.
That means, on average, Americans get about 41 miles per gallon.
Another study found that Americans drink an average of 22 gallons of beer a year.
That means, on average, Americans get about 41 miles per gallon.
Wednesday, June 06, 2007
At the newsstand
Be sure to pick up a copy of June 2007 Classical Guitar Magazine and learn more about my friend Ernesto Tamayo!
You can also see myself and colleagues in the June 2007 Central PA Magazine, and read about the 89.5 Classix countdown.Tuesday, June 05, 2007
Red all over!
er, Read all over! Don't miss Adam's amazing collection of things artistic and poetic:
http://www.thedansemacabre.blogspot.com/
http://www.thedansemacabre.blogspot.com/
Is your neighbor a composer?
As we’re coming to a close on the first year of weekly Composing Thoughts shows, don’t miss an episode of composers from Central PA:
http://composingthoughts.blogspot.com/2007/06/central-pa-composers-2.html
We’ll highlight Patrick Long, David Little and James Brody who all create or have composed here in the midstate.
And our season finale next Sunday features the futuristic and far reaching sounds of DBR (Daniel Bernard Roumain) – with a doctorate from Michigan and a mix of hiphop certainly flavor this episode including collaborations with DJ Spooky and Philip Glass; conversations including Ockeghem, Beethoven, Shostakovich & Iraq; and a tribute to Rosa Parks, his fifth string quartet: Klap Ur Handz.
Enjoy it, Sunday night at 7pm on WITF-FM.
http://composingthoughts.blogspot.com/2007/06/central-pa-composers-2.html
We’ll highlight Patrick Long, David Little and James Brody who all create or have composed here in the midstate.
And our season finale next Sunday features the futuristic and far reaching sounds of DBR (Daniel Bernard Roumain) – with a doctorate from Michigan and a mix of hiphop certainly flavor this episode including collaborations with DJ Spooky and Philip Glass; conversations including Ockeghem, Beethoven, Shostakovich & Iraq; and a tribute to Rosa Parks, his fifth string quartet: Klap Ur Handz.
Enjoy it, Sunday night at 7pm on WITF-FM.
Monday, June 04, 2007
Wrong Way
Three cars went against the one-way signs for Gibbs Street on Friday night, while I enjoyed a cigar...at a safe distance from the road!
Elusive interview
I was in Rochester briefly and had really hoped to visit the TANDY Professor Heebie McJeebie, but alas, no luck in seeing the Composer Isolation Chamber. Maybe for a future episode of Composing Thoughts, we can go on location again!
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