Yet another music critic re-assigned

I’ve been too busy writing celebrity columns to weigh on this sooner, but it seems that another music critic, this one in a high place, has been demoted.

Longtime New York Times classical music critic and Beatles scholar Allan Kozinn has been re-assigned by his newspaper to the “sidewalk-pounding post” of general cultural reporter.

And, as Parterre Box puts it, “the blogosphere is in a high state of dither.”

Norman Lebrecht has the low down on it all; seems that office politics were involved. Be sure to check out at least a few of the comments (there were 104 last time I checked). Some heavy hitters are at bat, including a Pulitzer Prize winner. There’s also a fair bit of sniping at music critics, if you like that form of sport.

Also see the comments at Parterre Box. Yours truly is mentioned in passing.

I, of course, know just a little bit about what Kozinn must be going through. I have a bit of insight, too.

But I’ll say no more.

Investing in audiences

Classical music organizations spend an inordinate amount of time and money these days trying to attract new audiences when there is a great untapped pool of listeners already out there for the taking. I speak of those who would like to go to a concert or concerts but can’t afford to, listeners who are already interested in the art form, who don’t have to be sold on it, but who just don’t have the dough to spend on tickets, cheap, expensive or otherwise. These listeners aren’t necessarily poor or unemployed; I myself — ostensibly in the middle class — couldn’t afford to go to the concerts I attend were it not for the free passes I receive as a reviewer.

When I was a music student at USC, I signed up for this class called “Performance Today” or some such. The way it worked was like this. At USC if you were enrolled in 14 units of classes, you got an extra three units free. Performance Today was a three-unit class that never met. It was a box office window, actually, and if you were signed up for this class you went to the window and got “free” tickets to classical music events. I was able to see concerts in this way that I never would have been able to manage otherwise, including many performances by the Los Angeles Philharmonic conducted by none other than Carlo Maria Giulini.

Read more…

Movietone News: Spike Jones

Irresistible.

Oxymoron: A tasteful Tchaikovsky spectacular

News flash: I enjoyed myself at the Tchaikovsky spectacular last night.

I’m not yet back on the classical beat full-time, but I reviewed the concert in anticipation of that event (sort of). My review is necessarily brief, because of the tiny “news hole” in Monday’s paper. That, too, is supposed to change soon.

Click here to read my review of the Pacific Symphony’s Tchaikovsky spectacular

Dietrich Fischer-Dieskau sings Schubert’s ‘Standchen’

The pianist is Gerald Moore. Enough said.

Another celebrity columnist re-assigned

Nearly two years to the day since my last re-assignment, I have received word — sotto voce — that I will return to my former duties at the Orange County Register as the fearless voice for classical music in the suburban hinterlands. I will, in short, no longer be my newspaper’s celebrated celebrity columnist on Page Two, skewering the famous with my relentless wit and mischievous prose, but instead, once again, dabble in the ultra-elitist art of music criticism full time somewhere in the back pages of the newspaper, past Dear Abby, past the pet stories, past the bridge column — just keep going, OK? — where, no doubt, the young and innocent will be protected from my words and where, what’s more, snobs such as the likes of me truly belong.

The timing of said shift (why do I sound like Sounds and Fury?) has yet to be exactly determined, thus the sotto voce announcement, though I assure you it was official. “That’s going to happen,” were, I believe, the exact words of the announcement, uttered in reply to a query, not mine, concerning the future of one Tim Mangan and whether he might become, given the shocking changes currently rocking the Register these days, the fearless voice for classical music etc. that he previously was.

With a new, young and ambitious owner now ensconced, the Orange County Register, I’m convinced, will soon be the talk of the newspaper industry. How to put it in a nutshell? Let me put it this way: We’re hiring. In the newsroom alone, we will be hiring 23 persons, including copy editors, a restaurant critic, a car writer, a Dodgers writer and — gasp — a movie critic. We will be beefing up the print product with more pages — including a daily business section of 8 pages — and install a pay wall on the website. A weekly Sunday magazine (glossy) is forecast. Writers will no longer be valued (or scorned) for the number of page views they rack up. In such a climate, naturally, you return Tim Mangan to his old beat.

Needless to say, I’m cheered by the news. Maybe more relieved than cheered though. Writing the celebrity column these last two years has been an experience that I wouldn’t wish upon my worst enemy, if I had one. No, wait. I would. That would be perfect.

Two concerts

We occasionally show our scorn here for various classical programs, so fair is fair. We came across not one but two summer concerts this week that we admired for their ingenuity and accessibility. Both the connoisseur and novice could potentially enjoy them. Both feature well known composers (one of them good box office), yet both avoid warhorses. Without further ado, here they are:

SummerFest (La Jolla Music Society), MCASD Auditorium, 7:30 p.m. Aug. 17

Beethoven: The Other Masterpieces

  • Sextet in E flat for two horns and string quartet, Op. 81b
  • String Quintet in C, Op. 29
  • Piano Trio in G, Op. 121a (“Kakadu” Variations)
  • Quintet in E flat for piano and winds, Op. 16

Los Angeles Philharmonic, Nicholas McGegan conductor, Hollywood Bowl, 8 p.m. Aug. 21

McGegan conducts Haydn

  • Symphony No. 30, “Alleluia”
  • Trumpet Concerto (with Alison Balsom)
  • Overture to Windsor Castle
  • Symphony No. 103, “The Drumroll”

Credit where credit is due. We’d buy tickets to these.

Ruggiero Ricci, 1918-2012

Ruggiero Ricci, one of the greatest violinists of the 20th century, died a week ago Sunday in his home in Palm Springs. He was 94.

Ricci had an incredibly long career, beginning in the 1920s as a child prodigy. His given name was Woodrow Wilson Rich, which was changed to Ruggiero Ricci because it sounded better as a prodigy. He seems to have been bitter about his early years as a star, according to as his obituary in the New York Times.

But he overcame them and turned himself into a musician of historical talent. During World War II he played solo repertoire for troops and, wanting to impress and entertain, mastered the 24 Caprices of Paganini. His subsequent recording of these pieces, in 1950, was the first of the complete series, and groundbreaking. It is unsurpassed to this day, as any violinist will tell you.

The place to start with Ricci, or at least a good place to start, is with the recording shown above, which contains that phenomenal recording of the Paganini Caprices as well as many other works. (Ricci didn’t want to be known as a specialist; he made more than 500 recordings. Of special interest in the collection mentioned are his recordings of the Hindemith sonatas for solo violin, the Prokofiev Sonata for solo violin and the Khachaturian Violin Concerto. The recording of Ravel’s “Tzigane,” with Ernest Ansermet and the Orchestre de la Suisse Romande, included here, is jaw dropping.)

I met Ricci once, briefly. My girlfriend (at the time) studied with him at the University of Michigan in Ann Arbor and I was introduced before one of her lessons. If memory serves, he seemed rather brusque.

And I have to say, that quality is one I like best about his recordings. There is a palpable impatience to the playing, a denial of interpretive nonsense in favor of a gun-ho forwardness. He was a pistol when he played. Some call it “naturalness,” and I suppose it is — natural to Ricci. At any rate, it makes his recording of the Paganini Caprices sound thoroughly Modern, milked not for Romantic excesses but taken for what they are — astonishing technical challenges (like the Sequenzas of Luciano Berio) that need no emotive juice to make them work. And he dispatches them with an almost frightening virtuosity.

Back

I’m back from a short vacation and hope to get back to posting some this week.

Meanwhile, the Register published a more extensive article on the new owner while I was gone. It may not be of interest to some of you, but as for me … my future as a music critic hangs in the balance. (I’m getting conflicting messages at the moment.) I will add that the newspaper industry will be watching the Register to see what happens, so radical are the new owner’s plans. I think they just might work, though.

Register takes bold new direction

As always, your own thoughts are welcome here.

Update: I’m in photo No. 3 of the slideshow for the linked article. Can you find me?

Hiatus

I’ll be taking a brief hiatus from posting here. In the meantime, visit the blogs in my blogroll (to the right).

By the way, the Register has a new publisher. Impressive gentleman.