Carlos Kleiber conducts the Vienna Philharmonic in the “Radetzky March” by Johann Strauss I.
‘Christmas Every Day’ by William Dean Howells
(A great Christmas story that you don’t know. I hope you enjoy.)
Christmas Every Day
By William Dean Howells
THE little girl came into her papa’s study, as she always did Saturday morning before breakfast, and asked for a story. He tried to beg off that morning, for he was very busy, but she would not let him. So he began:
“Well, once there was a little pig–”
She stopped him at the word. She said she had heard little pig-stories till she was perfectly sick of them.
“Well, what kind of story shall I tell, then?”
“About Christmas. It’s getting to be the season.”
“Well!” Her papa roused himself. “Then I’ll tell you about the little girl that wanted it Christmas every day in the year. How would you like that?”
“First-rate!” said the little girl; and she nestled into comfortable shape in his lap, ready for listening.
“Very well, then, this little pig–Oh, what are you pounding me for?”
“Because you said little pig instead of little girl.”
“I should like to know what’s the difference between a little pig and a little girl that wanted it Christmas every day!”
“Papa!” said the little girl warningly. At this her papa began to tell the story.
Trombonist/conductor/composer Christian Lindberg’s daily routine
I still like this.
Esa-Pekka Salonen named music director of the San Francisco Symphony
Esa-Pekka Salonen. Photo by Andrew Eccles
In a surprise announcement, the San Francisco Symphony named Esa-Pekka Salonen its next music director, effective September 2020. He is named music director designate, effective immediately, and will conduct the orchestra in January. He succeeds Michael Tilson Thomas.
The announcement is a surprise for many reasons, especially since Salonen has been pursued by several major orchestras in the past, and turned the offers down. What’s more, in an interview in the early 2000s, he told me he’d never accept another music directorship after he left the Los Angeles Philharmonic, and he has stuck to that pledge. (His position with London’s Philharmonia Orchestra is less taxing than a full music directorship.)
In the press release, Salonen even addressed these questions:
“I wasn’t looking for another Music Directorship. I am so proud of the work we did together at the Swedish Radio Orchestra, at the LA Philharmonic, and at the Philharmonia Orchestra, and that those organizations where I’ve held music director titles thrive without me gives me great joy. But there was a ‘no brainer’ aspect to this that I’ve been fortunate to have experienced a few times before in my career, so I know it when I see it. The San Francisco Symphony is an ensemble and an organization at the top of their game, renowned for their interpretations of masterpieces and unafraid to treat new works the same way. They have had the powerhouse combination of Michael’s exacting musicality and freedom of spirit for 25 years: a legacy I’m privileged to inherit. “
The full press release is below. There’s more news in it.
Review: Choral Arts Initiative
Review: Living Composers Reign During Choral Arts Initiative Concert. Voice of OC, Nov. 13, 2018.
The Hobbification of Music Criticism
Since being laid off in mid September, I’ve received a number of offers to do some freelance writing (thanks, everyone), specifically in my area of expertise, music criticism.
I’ve turned most of them down for the simple reason that they don’t pay enough. Freelance rates are barely higher than they were in 1998, when I left the freelance market for a staff job, and they weren’t great then.
One can’t make anything like a living as a freelance music critic, and I need to make a living. I’m not independently wealthy, that’s the simple fact. I’m looking for a full-time job.
The going rate for a concert review is $150, often less, rarely more, even at major publications. By the time I finish with all the work involved in a review — preparation, driving to and from the concert, writing, editing, etc. — that can work out to be minimum wage. Without benefits, without retirement. (What’s more, if you happen to be on unemployment, you have to deduct the freelance pay from your claim; that means that often, you’re essentially writing for free.) This in a “profession” that I have a master’s degree in from a reputable university.
Mariinsky encore
In case you were wondering what the Mariinsky Orchestra and conductor Valery Gergiev played as an encore Saturday night at Segerstrom Concert Hall, it was the nifty little ditty above, Liadov’s “Baba-Yaga.”
As Gergiev didn’t say anything, the irony of the choice must have been lost on most of the audience.
It was Liadov who was first approached by Diaghilev to write the ballet “The Firebird,” the complete version of which, composed by Stravinsky, we had just heard a performance of. Though the story goes that Liadov was working too slowly and Diaghilev got impatient, giving the commission to the inexperienced Stravinsky (who hit it out of the park), there apparently is no evidence of that. Still, had Liadov composed “Firebird,” would we know him today?
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