Nézet-Séguin signs with DG

[Oscar]

Yannick Nézet-Séguin, who has recorded alternately for Atma Classique
and EMI, announced earlier this week his exclusive signing to DG.
Philadelphia Orchestra is expected to record for the label, making it
the second American orchestra under exclusive DG contract (Cleveland
Orchestra). I wonder if/when another DG 'name' musician, Gustavo
Dudamel, will start making recordings with his home ensemble, the LA
Phil??

From Philadelphia Enquirer, January 25 edition http://tiny.cc/zpq1u

<<[T]he 36-year-old incoming music director also let it drop (in an
interview before the announcement [of the Philadelphia Orchestra
2012/13 season]) that the orchestra will record for the prestigious
Deutsche Grammophon label...

As for the recordings, Nézet-Séguin will be working with Deutsche
Grammophon with other orchestras — last summer he recorded Mozart's
Don Giovanni in Baden Baden with the Mahler Chamber Orchestra - and he
fully intends Philadelphia to be part of that contract. Details are
still to come.>>

[Steve de Mena]

On 1/26/12 5:54 PM, Oscar wrote:
> Yannick Nézet-Séguin, who has recorded alternately for Atma Classique
> and EMI, announced earlier this week his exclusive signing to DG.
> Philadelphia Orchestra is expected to record for the label, making it
> the second American orchestra under exclusive DG contract (Cleveland
> Orchestra). I wonder if/when another DG 'name' musician, Gustavo
> Dudamel, will start making recordings with his home ensemble, the LA
> Phil??

DG has released about 7 Dudamel/LAPhil recordings, however download only.

Steve

[herman]

On 27 jan, 02:54, Oscar <oscaredwardwilliam...@gmail.com> wrote:
> Yannick Nézet-Séguin, who has recorded alternately for Atma Classique
> and EMI, announced earlier this week his exclusive signing to DG.
> Philadelphia Orchestra is expected to record for the label, making it
> the second American orchestra under exclusive DG contract (Cleveland
> Orchestra).  I wonder if/when another DG 'name' musician, Gustavo
> Dudamel, will start making recordings with his home ensemble, the LA
> Phil??
>

> From Philadelphia Enquirer, January 25 editionhttp://tiny.cc/zpq1u

>
> <<[T]he 36-year-old incoming music director also let it drop (in an
> interview before the announcement [of the Philadelphia Orchestra
> 2012/13 season]) that the orchestra will record for the prestigious
> Deutsche Grammophon label...
>
> As for the recordings, Nézet-Séguin will be working with Deutsche
> Grammophon with other orchestras — last summer he recorded Mozart's
> Don Giovanni in Baden Baden with the Mahler Chamber Orchestra - and he
> fully intends Philadelphia to be part of that contract. Details are
> still to come.>>

N-S also works with the Rotterdam Philharmonic, as successor to
Gergiev, and has recorded (among other things) Ravel's Daphnis & Chloe
in Rotterdam.

Since the US market is actually a rather small market in classical
music terms I would not be surprised if the Philadelphia would not be
his main recording orchestra. It's also much more expensive to
record with a US orchestra.

[Thornhill]

On Jan 26, 8:54 pm, Oscar <oscaredwardwilliam...@gmail.com> wrote:
> Yannick Nézet-Séguin, who has recorded alternately for Atma Classique
> and EMI, announced earlier this week his exclusive signing to DG.
> Philadelphia Orchestra is expected to record for the label, making it
> the second American orchestra under exclusive DG contract (Cleveland
> Orchestra).  I wonder if/when another DG 'name' musician, Gustavo
> Dudamel, will start making recordings with his home ensemble, the LA
> Phil??
>

> From Philadelphia Enquirer, January 25 editionhttp://tiny.cc/zpq1u

>
> <<[T]he 36-year-old incoming music director also let it drop (in an
> interview before the announcement [of the Philadelphia Orchestra
> 2012/13 season]) that the orchestra will record for the prestigious
> Deutsche Grammophon label...
>
> As for the recordings, Nézet-Séguin will be working with Deutsche
> Grammophon with other orchestras — last summer he recorded Mozart's
> Don Giovanni in Baden Baden with the Mahler Chamber Orchestra - and he
> fully intends Philadelphia to be part of that contract. Details are
> still to come.>>

"fully intends Philadelphia to be part of that contract" is a long
ways off from "Philadelphia will record for DG."

A shame that they will not be SACDs like the Ondine recordings.

[Phlmaestro75]

He seems fond of conducting choral works based on recent Philly
appearances and next season's schedule. They're leading off next
season with Verdi's Requiem and he is also conducting St. Matthew's
Passion. I'm not sure if there are plans to record either, but I think
his work for DG so far has consisted mainly of music with vocals. So
it wouldn't surprise me to see something happen with one or the other
if he is going to be recording here that soon.

[Sol L. Siegel]

Phlmaestro75 <phlmae...@yahoo.com> wrote in news:2817f3ba-3f9b-42fc-
9401-876...@do4g2000vbb.googlegroups.com:

> He seems fond of conducting choral works based on recent Philly
> appearances and next season's schedule. They're leading off next
> season with Verdi's Requiem and he is also conducting St. Matthew's
> Passion. I'm not sure if there are plans to record either, but I think
> his work for DG so far has consisted mainly of music with vocals. So
> it wouldn't surprise me to see something happen with one or the other
> if he is going to be recording here that soon.

There is also a ton of stuff the orchestra has done a zillion times
before.

Quick quiz: What is the one symphony that you can buy a Philly
Orchestra recording of by every MD from Stokowski on? Hint: YNS
is conducting it next season.

- Sol L. Siegel, Philadelphia, PA USA

[Mark S]

On Jan 26, 6:27 pm, herman <her...@yahoo.com> wrote:

> Since the US market is actually a rather small market in classical
> music terms

Classical music sales in the USA for 2009 were $1.4BILLION. (
http://musicandcopyright.files.wordpress.com/2010/08/genre-12.jpg ).

Small indeed!

[Oscar]

On Jan 26, 6:25 pm, Steve de Mena wrote:
>
> > I wonder if/when another DG 'name' musician, Gustavo
> > Dudamel, will start making recordings with his home ensemble, the LA
> > Phil??
>
> DG has released about 7 Dudamel/LAPhil recordings, however download only.

Yeah, I see there have been three LA Phil download-only releases since
his 2009 inaugural weekend concerts. I totally missed the last two,
didn't know they had even been posted. All of the promotion and
marketing 'muscle' (atrophied, as it is) went to the Simón Bolívar SO
recordings such as Tchaikovsky Romeo and Juliet and Stravinsky Rite of
Spring. Btw, tonight's Mahler 5 with Simón Bolívar SO was
outstanding, Tuesday's Mahler 3 not so much.

[Oscar]

On Jan 26, 6:27 pm, herman wrote:
>
> N-S also works with the Rotterdam Philharmonic, as successor to
> Gergiev, and has recorded (among other things) Ravel's Daphnis & Chloe
> in Rotterdam.
>
> Since the US market is actually a rather small market in classical
> music terms I would not be surprised if the Philadelphia would not be
> his main   recording orchestra. It's also much more expensive to
> record with a US orchestra.

Yep, I forgot to mention his Bis SACD's with Rotterdam Phil, such as
the Berlioz Symphonie Fantastique and Strauss Ein Heldenleben + Vier
letzte Lieder.

[Oscar]

On Jan 26, 10:43 pm, Oscar wrote:
>
> Btw, tonight's Mahler 5 with Simón Bolívar SO was
> outstanding, Tuesday's Mahler 3 not so much.

P.S. And Dudamel turned 31 today.

[herman]

I meant a small market in comparison with other regional markets,
obviously.

I am glad to stand corrected, but wouldn't we also need the nrs for
Western Europe, Eastern Europe and East Asia too, before the point is
made?

[Dufus]

>On Jan 26, 11:34 pm, "Sol L. Siegel" <vod...@aol.com> wrote:

> Quick quiz: What is the one symphony that you can buy a Philly
> Orchestra recording of by every MD from Stokowski on?  Hint: YNS
> is conducting it next season.

I cant find an easy to use list of the 2012-2013 works, so I'll make
wild guesses of either the Tchaikovsky 6th or Berlioz "Fantastique."

[Mark S]

The US is the largest market in the world for recorded music. I
believe it places about third in percentage sales of classical music,
with the dollar figure being as high as it is because the US market
itself is so big. IIRC, Japan is the largest market for classical
music in both percentage of market share and volume of sales, but I
could be wrong.

If you're going to compare regional markets (ie: Western Europe,
Eastern Europe) , you need to consider US sales as a percentage of
North American sales for it to be a fair comparison, do you not?

My point is that you're wrong to claim that the US market for
classical music is "small" in any sense of the word.

[Matthew B. Tepper]

"Sol L. Siegel" <vod...@aol.com> appears to have caused the following
letters to be typed in news:Xns9FE75EA3B2...@130.133.4.11:

I'm going to go out on a limb and say Tchaikovsky 5th.

--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers

[Mark Obert-Thorn]

On Jan 27, 12:34 am, "Sol L. Siegel" <vod...@aol.com> wrote:
> Quick quiz: What is the one symphony that you can buy a Philly
> Orchestra recording of by every MD from Stokowski on?  Hint: YNS
> is conducting it next season.

I haven't seen the list for next season yet, but from what I know of
the PO's discography, I would say that it's either the Shostakovich
5th (if you count the download-only Sawallisch performance the
orchestra released) or the Tchaikovsky 4th (if you count the WFLN
Radiothon CD issue of Sawallisch's version). I think these are the
only works that have been recorded by Stokowski, Ormandy, Muti,
Sawallisch and Eschenbach with the PO.

Mark O-T

[David Fox]

It has to be the Shosty 5th. My first guess was the Franck Symphony,
but I know that Sawallisch for one didn't record it. I think I
remember reading in the liner notes of one of your Stokowski issues
that this was perennially voted as the most popular piece of
Philadelphia orchestra subscribers for many years.

DF

[Oscar]

On Jan 27, 7:39 am, Mark S wrote:
>
> > I am glad to stand corrected, but wouldn't we also need the nrs for
> > Western Europe, Eastern Europe and East Asia too, before the point is
> > made?
>
> The US is the largest market in the world for recorded music. I
> believe it places about third in percentage sales of classical music,
> with the dollar figure being as high as it is because the US market
> itself is so big. IIRC, Japan is the largest market for classical
> music in both percentage of market share and volume of sales, but I
> could be wrong.

Wrong, it is South Korea, by far, with 18% of recorded music sales
being classical (in 2009, that is). France placed a distant second
with 9%.

[Thornhill]

On Jan 27, 12:34 am, "Sol L. Siegel" <vod...@aol.com> wrote:

> Phlmaestro75 <phlmaestr...@yahoo.com> wrote in news:2817f3ba-3f9b-42fc-
> 9401-8767b143e...@do4g2000vbb.googlegroups.com:

There is none for commercial recordings released on LP or CD --
there's no overlap between Eschenbach and Sawallsich.

Now if you include downloads, then there is the Shostakovich 5.

[Thornhill]

Given that Marina Poplavskaya and Rolando Villazón are singing in the
Verdi Requiem, I could easily see that being a DG release.
Unfortunately,

[Steve de Mena]

That chart represents *Global* sales.

Steve

[Steve de Mena]

On 1/26/12 10:43 PM, Oscar wrote:
> On Jan 26, 6:25 pm, Steve de Mena wrote:
>>
>>> I wonder if/when another DG 'name' musician, Gustavo
>>> Dudamel, will start making recordings with his home ensemble, the LA
>>> Phil??
>>
>> DG has released about 7 Dudamel/LAPhil recordings, however download only.
>
> Yeah, I see there have been three LA Phil download-only releases since
> his 2009 inaugural weekend concerts.

I counted five since 2009.

Brahms 4
Bernstein 1
ROSSINI Overtures & Arias Flórez Dudamel
Adams: City Noir
MAHLER Symphonie No. 1

Steve

[Mark S]

You're right. I misread that. Mea culpa.

[Mark S]

Percentages aren't the whole story. What was the dollar value of the
Korean or French market?

[herman]

On 28 jan, 00:39, Mark S <markstenr...@yahoo.com> wrote:


>
> You're right. I misread that. Mea culpa.

But that's rather typical, isn't it?

Americans always think "US" and "world" are identical.

So, what IS the story with the USA's importance in the classical
market, compared to Western Europe, Eastern Europe and East Asia.

Recently there was a discussion here of cd sales and it turned out
major soloists (just under the Yuja Wang, Joshua Bell level in terms
of fame) were selling titles in the hundreds, in the US, while the
numbers in Germany and Japan were much better.

[Sol L. Siegel]

Thornhill <seth...@gmail.com> wrote in news:e7ee7ede-9285-4285-8382-
5164a2...@w4g2000vbc.googlegroups.com:

>> Quick quiz: What is the one symphony that you can buy a Philly
>> Orchestra recording of by every MD from Stokowski on?  Hint: YNS
>> is conducting it next season.

> There is none for commercial recordings released on LP or CD --
> there's no overlap between Eschenbach and Sawallsich.
>
> Now if you include downloads, then there is the Shostakovich 5.

That's what I meant: A live Sawallisch from 2000, and a pretty
good performance. Stokie, of course, gave the piece its US
recording debut, Ormandy did it at least twice, and Muti did it
for EMI but waited too long - the life had leached from the
performance. I was at Verizon for Eschenbach's performance on
Shostakovich's cententary date, but Choong-jin Chang's
"postlude"performance of the Viola Sonata that came after was
more memorable.

MOT did mention Tchaikovsky 4: there was an Orchestra promotional
CD of Sawallisch doing that with the String Serenade. But that's
not a disc you can buy right now AFAIK. I wish I could, at least
reasonably - I was at both concerts, and that was one of the most
gorgeous renditions of the Serenade I've ever heard.

Oddly, Stokie didn't do the Tchaikovsky Pathetique (except for
an acoustic recording of the third movement) or String Serenade
in Philly.

[Phlmaestro75]

The Mahler sixth I saw Yannick lead tonight was unquestionably the
best I've heard from him in concert here in Philly so far, and I'd go
so far as to say it was one of the better Mahler performances I've
heard from the PO over the past couple decades. He really pushed the
Orchestra hard in the right places and they delivered. They've been in
extremely good form whenever I've seen them this season, although I
don't think the sound they put out is as powerful or beautiful as it
was under Sawallisch.

I'm not sure how likely it is that the Orchestra will make this Mahler
sixth available for download given how recently they recorded it with
Eschenbach, but it would be nice if they do. I didn't think nearly as
highly of the Mahler fifth he led here last season, which is out as a
download.

[Thornhill]

On Jan 27, 11:21 pm, "Sol L. Siegel" <vod...@aol.com> wrote:
> Thornhill <seth.l...@gmail.com> wrote in news:e7ee7ede-9285-4285-8382-
> 5164a2519...@w4g2000vbc.googlegroups.com:

>
> >> Quick quiz: What is the one symphony that you can buy a Philly
> >> Orchestra recording of by every MD from Stokowski on?  Hint: YNS
> >> is conducting it next season.
> > There is none for commercial recordings released on LP or CD --
> > there's no overlap between Eschenbach and Sawallsich.
>
> > Now if you include downloads, then there is the Shostakovich 5.
>
> That's what I meant: A live Sawallisch from 2000, and a pretty
> good performance.  Stokie, of course, gave the piece its US
> recording debut, Ormandy did it at least twice, and Muti did it
> for EMI but waited too long - the life had leached from the
> performance.  I was at Verizon for Eschenbach's performance on
> Shostakovich's cententary date, but Choong-jin Chang's
> "postlude"performance of the Viola Sonata that came after was
> more memorable.

I actually like the Muti recording quite a bit. I think he nails the
coda. I was also at the Eschenbach performance. Thought it was so good
that I went back a second time. The recording, though, strikes me as
flat, and the cymbals are completely off-mic.

[Steve de Mena]

On 1/27/12 7:52 PM, herman wrote:
> On 28 jan, 00:39, Mark S<markstenr...@yahoo.com> wrote:
>
>
>>
>> You're right. I misread that. Mea culpa.
>
> But that's rather typical, isn't it?
>
> Americans always think "US" and "world" are identical.

No, he just missed the fact it was a global chart. No conspiracy here. :)

>
> So, what IS the story with the USA's importance in the classical
> market, compared to Western Europe, Eastern Europe and East Asia.

Good question. I don't have the answer but maybe someone with actual
classical recording experience, like Mark or Tom, do.

> Recently there was a discussion here of cd sales and it turned out
> major soloists (just under the Yuja Wang, Joshua Bell level in terms
> of fame) were selling titles in the hundreds, in the US, while the
> numbers in Germany and Japan were much better.

I remember the discussion of the numbers in the U.S. (such as sales of
something like 900-1000 copies for Hilary Hahn after an appearance on
"The Tonight Show") but don't remember the numbers for other markets
compared.

Steve

[Oscar]

Dudamel played Mahler 6 tonight with the LA Phil. I was Front
Orchestra second row (BB) center. Awesome.

[Oscar]

On Jan 27, 7:52 pm, herman wrote:
>
> Recently there was a discussion here of cd sales and it turned out
> major soloists (just under the Yuja Wang, Joshua Bell level in terms
> of fame) were selling titles in the hundreds, in the US, while the
> numbers in Germany and Japan were much better.

Reported January 2010 by Anne Midgette in the Washington Post
http://tiny.cc/03fdh

Stenroos is totally out-to-lunch on this topic: the US classical
market was good for $1.4 BILLION?? The world market in 2011 was worth
$16.7 BILLION (all genres, digital and physical product) . As former
chieftain of a classical music record label, he should know _much_
better. I guess the 1% really are out-of-touch, just like they say.

On Sep 26, 2:22 pm, Mark S wrote:
>
> Of course, I might have been out-of-touch with the goings on of the
> "office clerks," what with my being the MHS VP of Sales & Marketing
> and pulling down a salary of over $100k a year (sorry, but it's true).
> I don't contend that I knew everybody there on a first-name basis,
> though I bought plenty of pizza and donuts over the years for those
> who did the grunt work in order processing.


From Reuters http://tiny.cc/vncqo

Music sales fall again in 2011, but optimism grows
January 23, 2012
By Mike Collett-White

• Music revenues in 2011 down 3 percent to $16.2 BILLION
• Digital revenues jump 8 percent to $5.2 BILLION
• Label bosses optimistic that return to growth is near

LONDON - Digital music revenues rose eight percent in 2011 to $5.2
billion, but it was not enough to prevent another annual decline in
the overall market to $16.2 billion from $16.7 billion in 2010.

Figures released on Monday by record industry body the International
Federation of the Phonographic Industry (IFPI) confirmed expectations
that a downward trend which began in the late 1990s continued last
year.

The good news was that the 2011 decline of around three percent was
smaller than the eight percent drop in 2010, and there were signs that
the industry was finally beginning to get on top of the rampant online
piracy it blames for its woes.

Record label bosses were cautiously optimistic that music revenues
would finally return to growth in 2013, a view not shared by everyone
in the business.

"The future is looking extremely bright. Has the industry turned a
corner? I'm definitely more positive now than I've ever been," said
Rob Wells, president of global digital business at Universal Music
Group, the world's biggest label.

"I think 2013 is probably a safe bet," he told an IFPI briefing in
London. "However, despite all the good news, still great effort needs
to be put on the piracy problem that still exists."

Edgar Berger, president and CEO International at Sony Music
Entertainment, added: "I think the environment is changing favourably
and we're going from headwind to tailwind."

Frances Moore, chief executive of the IFPI, said major legal digital
music services spread dramatically last year to 58 countries from 23
in 2010.

She welcomed the arrival of new models for accessing music, including
cloud-based services like iTunes Match, and said the number of
subscribers to sites like Spotify and Deezer had jumped to 13.4
million from 8.2 million in 2010.

But despite signs that governments were taking the issue of piracy
more seriously, it continued to undermine the recording industry's
efforts to return to growth.

The IFPI estimated that 28 percent of internet users accessed
unauthorised services on a monthly basis.

Wells said piracy's significance could not be played down.

"Spain, which should be the powerhouse of repertoire for Latin America
and the U.S. Latin market, is effectively a dead market," he said.
"Yet in South Korea, where we have new anti-piracy laws, the market is
surging and now spreading its repertoire far beyond its own borders."

There were encouraging signs for the album format, too, with digital
album volumes surging 24 percent in 2011 and defying predictions that
the download age would spell the end of the LP as listeners cherry
picked their favourite singles.

Overall the music market has shrunk every year since 2004, despite
digital revenues rising.

In 2004, when digital sales first registered in IFPI statistics, the
overall music industry was worth $24.3 BILLION, according to the
latest adjusted figures.

Other sectors, like publishing and movies, are concerned that the pain
the recording industry has gone through for the best part of a decade
awaits them in the future.

Digital sales accounted for 32 percent of global music revenues in
2011, compared with five percent for newspapers, four percent for
books and just one percent for films.

[Steve de Mena]

On 1/28/12 12:02 AM, Oscar wrote:

>
> Dudamel played Mahler 6 tonight with the LA Phil. I was Front
> Orchestra second row (BB) center. Awesome.

I just checked to see if there were any tickets available for tonight.
There were. Guess where I'm going to be sitting? Row BB, Center (144 I
think)

Steve

[Sol L. Siegel]

Thornhill <seth...@gmail.com> wrote in news:6e0ac883-d10a-4acd-84d7-
3180cb...@s9g2000vbc.googlegroups.com:

> I actually like the Muti recording quite a bit. I think he nails the
> coda.

I was at Muti's live performance in '82 and thought it the most
thrilling I'd heard of the work. The recording was made almost
a decade later and I thought some of the life had leaked out.
I think you're right about the coda, though.

[Oscar]

On Jan 28, 7:05 am, Steve de Mena wrote:
>
> > Dudamel played Mahler 6 tonight with the LA Phil.  I was Front
> > Orchestra second row (BB) center.  Awesome.
>
> I just checked to see if there were any tickets available for tonight.
> There were. Guess where I'm going to be sitting? Row BB, Center (144 I
> think)

Oh, you are in for a treat, Steve. Lebrecht is doing the pre-concert
lecture in BP Hall _and_ a post-concert Q&A from the stage. Kind of
want to go again...but tonight I start a five-day gig for Joe Walsh.
James Gang always been one of my favorites.

[David O.]

On Sat, 28 Jan 2012 09:25:53 -0800 (PST), Oscar
<oscaredwar...@gmail.com> wrote:

>Oh, you are in for a treat, Steve. Lebrecht is doing the pre-concert
>lecture in BP Hall _and_ a post-concert Q&A from the stage. Kind of
>want to go again...but tonight I start a five-day gig for Joe Walsh.
>James Gang always been one of my favorites.

Joe & Stevie Nicks dated in 1983! (He also tagged along on her entire
Wild Heart tour as opener.)
http://cdn.pimpmyspace.org/media/pms/c/7g/gp/py/people016.jpg

She wrote "Has Anyone Ever Written Anything for You?" for Joe in 1984
in honor of his daughter Emma.

[herman]

On 28 jan, 19:23, David O. <DavidCOber...@gmail.com> wrote:


> Joe & Stevie Nicks dated in 1983! (He also tagged along on her entire

> Wild Heart tour as opener.)http://cdn.pimpmyspace.org/media/pms/c/7g/gp/py/people016.jpg

>
> She wrote "Has Anyone Ever Written Anything for You?" for Joe in 1984
> in honor of his daughter Emma.

Wow! Cool! Nothing turns me on as much as the sex life of rock
musicians 30 years ago!

Not.

[Kip Williams]

herman wrote:

> Wow! Cool! Nothing turns me on as much as the sex life of rock
> musicians 30 years ago!
>
> Not.

Good thing you put that last line in, so we'd recognize the sarcasm.


Kip W

[Steve de Mena]

I'm so glad I went. Yes it was a treat. A moving, not as "tragic" as
one might expect, performance.

The orchestra gave 110%. It seemed like they were all onstage a little
earlier than normal, practicing. Even the concertmaster came out 15-20
minutes before showtime and went around the 1st violin stands
explaining some part.

Attended the pre and post concert talks by Norman Lebrecht. They were
interesting, but concerned themselves more with Mahler than a real
analysis of the symphony, and contained some dubious facts.

Tonight the Andante was performed 2nd and there were two hammer blows
in the last movement.

Steve

[O]

In article <NtednVIBJOc5ZbnS...@giganews.com>, Steve de

Mena <st...@demena.com> wrote:


> Attended the pre and post concert talks by Norman Lebrecht. They were
> interesting, but concerned themselves more with Mahler than a real
> analysis of the symphony, and contained some dubious facts.
>

It wouldn't be Lebrecht if it didn't contain some dubious facts.

-Owen

[Oscar]

On Jan 28, 11:43 pm, Steve de Mena wrote:
>
> I'm so glad I went. Yes it was a treat. A moving, not as "tragic" as
> one might expect, performance.
>
> The orchestra gave 110%. It seemed like they were all onstage a little
> earlier than normal, practicing. Even the concertmaster came out 15-20
> minutes before showtime and went around the 1st violin stands
> explaining some part.

Glad you went and enjoyed it.

> Attended the pre and post concert talks by Norman Lebrecht. They were
> interesting, but concerned themselves more with Mahler than a real
> analysis of the symphony, and contained some dubious facts.
>
> Tonight the Andante was performed 2nd and there were two hammer blows
> in the last movement.

Yep. But according to the pre-concert lecturer at Friday's concert,
Asadour Santourian http://tiny.cc/vv8eo at Friday's rehearsal Dudamel
took the third strike.

[Steve de Mena]

On 1/29/12 11:52 AM, Oscar wrote:

>> Tonight the Andante was performed 2nd and there were two hammer blows
>> in the last movement.
>
> Yep. But according to the pre-concert lecturer at Friday's concert,
> Asadour Santourian http://tiny.cc/vv8eo at Friday's rehearsal Dudamel
> took the third strike.

According to Lebrecht (so I'd take it with a grain of salt) in the
post concert talk, Dudomel decides during the performance how many to
do and has a "secret signal" to the percussionist to communicate his
choice.

Steve

[wagnerfan]

On Sun, 29 Jan 2012 21:38:31 -0800, Steve de Mena <st...@demena.com>
wrote:

A pillar of salt would be better -

Wagner fan

[herman]

On 30 jan, 06:38, Steve de Mena <st...@demena.com> wrote:


> According to Lebrecht (so I'd take it with a grain of salt) in the
> post concert talk, Dudomel decides during the performance how many to
> do and has a "secret signal" to the percussionist to communicate his
> choice.
>
> Steve

What a ludicrous idea. Let's hope Lebrecht made this up.

[Oscar]

From LA Phil Mahler Project blog http://www.laphil.com/blog/?p=2007

Mahler in LA
Norman Lebrecht
January 30, 2012

More than midway through The Mahler Project, not much has been talked
yet about Mahler in Los Angeles.

Mahler in Los Angeles? He never set foot on the West Coast, much as he
would have liked to. As conductor of the New York Philharmonic, Mahler
invented orchestral touring and visited 12 cities in the Northeastern
U.S. in 1909-10. Had he lived longer, he might have made it out West
and maybe to Los Angeles.

Thirty years later, many of his closest associates did. His widow
Alma, forced to flee the Nazi occupation of first Vienna, then of
Paris, took up residence on the Pacific, as far as she could get from
the European horrors. Mahler’s daughter, Anna, joined her for a while,
then moved east to New York, before settling in West LA for the rest
of her life. I visited her there in 1988, bringing a first copy of my
book, Mahler Remembered.

Mahler’s two closest conducting disciples, Bruno Walter and Otto
Klemperer, became Angelenos. Klemperer was music director of the
Philharmonic in 1936-7, an unhappy period beset by exile woes and
mental illness. Walter settled here in the 1940s and made a venerable
late recording of Mahler’s Ninth Symphony with the Columbia Symphony
Orchestra, essentially a label pick-up band of studio musicians, many
of whom were fellow-European exiles.

Hollywood’s two leading composers, Erich Wolfgang Korngold and Max
Steiner, were Mahler disciples. Korngold had received his first
commission from the great man when he was 10 years old, and many of
the effects he used in 1930s swashbucklers were taken from the
Mahlerian symphonic lexicon.

Arnold Schoenberg, the radical atonalist whom Mahler saved from
destitution, wound up playing tennis with George Gershwin and Charlie
Chaplin on a court overlooking the Pacific. Thomas Mann, who revered
Mahler and imprinted his features on the anti-hero of Death in Venice,
adopted Schoenberg’s composing method as the plot-line in his epic
novel, Doctor Faustus.

Mahler’s name was on many lips as these luminaries partied in their
homes or in Salka Viertel‘s salon, where the movie elite mingled with
the cultural lions. Los Angeles, in the 1940s, was a haven for
Mahler’s inner circle. Now the city and its young music director are
opening a new era in his music – a body of work that redefined the
very meaning of music.

[herman]

On 31 jan, 11:44, Oscar <oscaredwardwilliam...@gmail.com> wrote:
> From LA Phil Mahler Project bloghttp://www.laphil.com/blog/?p=2007

>
> Mahler in LA
> Norman Lebrecht
> January 30, 2012
>
> More than midway through The Mahler Project, not much has been talked
> yet about Mahler in Los Angeles.
>

> . As conductor of the New York Philharmonic, Mahler
> invented orchestral touring

Intriguing. Of course, with Lebrecht there's no telling whether this
is factually true.

>
> Hollywood’s two leading composers, Erich Wolfgang Korngold and Max
> Steiner, were Mahler disciples. Korngold had received his first
> commission from the great man when he was 10 years old, and many of
> the effects he used in 1930s swashbucklers were taken from the
> Mahlerian symphonic lexicon.

And from Richard Strauss.
>

[M forever]

On Jan 31, 6:30 am, herman <her...@yahoo.com> wrote:
> On 31 jan, 11:44, Oscar <oscaredwardwilliam...@gmail.com> wrote:
>
> > From LA Phil Mahler Project bloghttp://www.laphil.com/blog/?p=2007
>
> > Mahler in LA
> > Norman Lebrecht
> > January 30, 2012
>
> > More than midway through The Mahler Project, not much has been talked
> > yet about Mahler in Los Angeles.
>
> > . As conductor of the New York Philharmonic, Mahler
> > invented orchestral touring
>
> Intriguing. Of course, with Lebrecht there's no telling whether this
> is factually true.

It is not. Hardly surprisingly, of course. Specifically in the US,
Theodore Thomas had toured with his orchestra extensively long before
Mahler. In Europe, touring wasn't unheard of either although
orchestras traveled far less than they do nowadays, for obvious
reasons.