Getting ready for OC Can You Play — With Us?

trombones

I’ve been doing my due diligence, practicing every day (well, almost), getting my chops ready for OC Can You Play — With Us?

The chops are feeling pretty good, most of the time. The old trombone sounds nice. It’s a legit horn, a symphonic horn, suitable for the occasion. I’ll be playing the finale of Shostakovich’s Symphony No. 5 with the Pacific Symphony on Monday (April 8), the honorable Carl St.Clair on the podium.

Here’s how it works. I’ll take the stage at Segerstrom Concert Hall at 7 p.m. with the rest of the amateur musicians and the Pacific Symphony. It’s a side-by-side type of thing. St.Clair will lead us in a public rehearsal, for 25 to 35 minutes. I’m told he’ll have a microphone on, so the audience can hear his every word and gasp. Then, we’ll play the thing straight through. Don’t tell anyone but I plan to play really loud. I’ll be modeling my own performance on the Chicago Symphony (under Previn) with a dash of the USC Marching Band (in the Coliseum). Not sure if I’ll be able to outblow Mike Hoffman, Dave Stetson and Bob Sanders (pictured), though.

You’re all invited. Why you’d want to come I don’t know, but it is free. And judging from the rehearsal we had with the amateurs, I think it’ll sound decent.

Paywall happens

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“No man but a blockhead ever wrote except for money.” — Samuel Johnson

Today, my newspaper, the Orange County Register, instituted a paywall on its website, www.ocregister.com.

That means, dear blognescenti, that you can no longer read the scribbles of your favorite music critic appearing on the Register’s website for free. That means that the links on this blog that send you to the Register’s site are no longer any good, unless you are a Register subscriber.

Right now you can sign up for a free seven-day trial subscription. You can also buy a “Day Pass” or, of course, subscribe.

The paywall is a long time coming, in my opinion. Contrary to what you often hear, information is not free. (In fact, over the last few years, it cost the jobs of half the newsroom at the newspaper.)

On the other hand, the paywall puts me in a bit of a spot with this blog. I doubt my readers outside of the county will want to pay for a subscription to the Register, though it is a vastly improved newspaper of late.

You will continue to be able to read this blog for free, however. This is my personal website, and not associated with the Register. It’s, like, a hobby. I’m a blockhead, I guess. As we move forward, I’ll attempt to write more blog-centric material for your reading pleasure.

Update: For what it’s worth, all Register online content 90 days or older will apparently be free, though that feature doesn’t seem to be working at the moment.

What happened to these pieces?

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I bought this recording with a gift card yesterday. What ever happened to these pieces? Leave a comment if you’ve heard any of them performed live (and when and where), other than “The Sorcerer’s Apprentice,” of course.

New recordings: Dudamel, Bell and Cheng

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In today’s Orange County Register online, I review new recordings of music by Mahler, Beethoven, Messiaen and Saariaho.

Click here to read my review, or pick up a copy of tomorrow’s newspaper.

Review: L.A. Opera’s ‘La Cenerentola’

'Cenerentola' Final Dress - March 20, 2013

In today’s Orange County Register online, I review last night’s performance of Rossini’s “La Cenerentola” at L.A. Opera.

Click here to read my review, or pick up a copy of Sunday’s newspaper.

photo: Robert Millard, courtesy of LA Opera

Review: Pacific Symphony plays Mahler’s 5th and Bach

I’m a little late in posting this one.

In the Orange County Register online, I review conductor Carl St.Clair and the Pacific Symphony performing music by Bach and Mahler.

Click here to read my review, or go to the library to see Saturday’s newspaper.

Program note: Mahler’s Fifth

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Conductor Carl St.Clair and the Pacific Symphony perform Mahler’s Symphony No. 5 tonight through Saturday in Segerstrom Concert Hall. Here’s a program note on the work I wrote a few years ago:

Gustav Mahler composed his Symphony No. 5 in the summers of 1901 and 1902 in Maiernigg on the Wörthersee, a beautiful alpine lake in southern Austria. In 1899, the composer had purchased land there and by 1901 a lakeside villa, built to the composer’s specifications, was ready for occupation. He also rented a wooded hill above the villa, upon which he built a small cottage and to there Mahler would retire to compose in peace and quiet. The cottage still stands today, the home of a Mahler museum.

It’s hard to imagine this symphony – dark, turbulent, gigantic, in every way Mahlerian – coming out of that quaint cottage. The joyful, bucolic vision of heaven that ends the Fourth Symphony is more like it. But the Fifth was a departure for Mahler in several ways. It was his first symphony in 15 years in which he didn’t use the human voice. The musical substance is less vocal, more purely instrumental, in design as well, Mahler leaving behind the “Wunderhorn” folk songs that had inspired his earlier symphonies. Further, the Fifth coincides with the composer’s new interest in counterpoint, fueled, at least in part, by his recent acquisition of the complete works of Bach.

Read more…

St. Louis Symphony plays Strauss, Rouse and Hindemith

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In today’s Orange County Register online, I review last night’s performance of the St. Louis Symphony conducted by David Robertson. Here’s the opening:

“A professional orchestra has performed a piece of music by a living American composer for the first time in Orange County this season. It happened Monday night in Segerstrom Concert Hall. Not a single member of the listening public was injured. On the contrary. When it was over, the American piece received a hearty standing ovation.”

Click here to read the whole thing, or pick up a copy of tomorrow’s newspaper.

photo: Darius Milhaud, Paul Hindemith and Pierre Monteux. Courtesy Foundation Hindemith.

Interesting developments: OC Varsity Arts

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After a decade of giving away their product for free online, and losing their shirts, newspapers are finally thinking about print again, in ways big and small. I note that in today’s L.A. Times, the TV grid is back, just two weeks or so after it was hacked. (Obviously, print readers spoke up. The Times had told them to look up the TV listings online.)

My own paper, the Orange County Register, is once again investing big in print (while not forgetting digital; a paywall will go up online shortly). We’ve hired something like 90 reporters since our new owner took over in July, and increased pages by about 50 percent. (One of the new hires that I’m most excited about, film critic Michael Sragow, starts this week. Michael Sragow!)

Print is for old people, you say. Not so fast. The Register is at least thinking about young readers in some of its new innovations in print. Our vigorous coverage of high school sports with OC Varsity is paying big dividends from what I understand.

Today marks the launch of another new section — OC Varsity Arts — which I think may be unique in the country. Designed for print (though at least some of it is available online for free, for now), it is meant to cover the world of high school arts in Orange County in much the same way that OC Varsity covers high school sports. It’ll be published every Sunday, and include eight pages or more of arts coverage. New staff has been hired to work on it.

There’s been a lot of interest in it so far. I wasn’t so sure about the section at first, but after seeing OC Varsity Arts take shape over these last few months, I’m thinking it’s a pretty good idea.

Click here if you’d like to peruse, but you really should pick up a copy of today’s paper to see it … in print.

photo: Manzanar, by Ansel Adams; Library of Congress

Review: Tafelmusik connects with ‘House of Dreams’

In today’s Orange County Register online, I review last night’s Tafelmusik performance, an integrated theatrical presentation called “House of Dreams.”

Click here to read my review, or pick up a copy of tomorrow’s newspaper.