A chat with David Robertson

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I spoke with conductor David Robertson on the phone a few days ago. He leads the St. Louis Symphony in a program of Richard Strauss, Hindemith and Rouse on Monday night at Segerstrom Concert Hall. He’s a great interview — friendly, talkative, super intelligent. We spoke at some length, and time ran out before I could even ask all my questions.

“We’re clearly having too much fun here,” he told me when he had to go, another interview on the docket.

Click here to read my interview, or pick up a copy of Sunday’s Orange County Register.

photo: Scott Ferguson

Hey, neighbor

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So, our next door neighbor knocked on our door one evening not long ago. We don’t know him, or them, very well at all, and in fact don’t usually speak. We maybe wave once in a while, but more often than not don’t even do that.

He wanted us to sign a permission form that the city we live in requires if you do any substantial remodeling of your home. Well, it’s not exactly a permission form, but a notification form — to let your neighbors know that work will be done, and, possibly, noise will be made. We had to get our neighbors to sign the same form when we had our roof replaced several years ago.

Anyway, my wife signed my name on the form. Now, the neighbor has gotten all friendly, which is fine, except I don’t know his name. Every time I go out front when he’s out, he shouts, “Hi Tim!” or “How ya doing, Tim?” and I just go, er, “Hey, how are you?” or, just now, “Good evening,” trying to sound cheery and nonchalant and, like, of course I know your name. I’ve even made several attempts to avoid him lately. Last week, pulling up to my house after work I saw that he, too, had just gotten home and was gathering up his mail. I turned right, drove around the block, and came back after he was gone.

This happens fairly often at concerts, too. I’m not bad with names, generally, but more folks know my name at concerts than I do theirs, just because of the position I’m in. Even if at one point I have known the person’s name, it may have been six months or years since I last saw him or her and, sorry, the name is just no longer in my memory bank. I feel stupid, and try not to show that I do.

I attempted to find the neighbor’s name online, by looking up his address. No luck. I’ve toyed with the idea of peeking at his mail, but haven’t done it yet. I think I’ll ask the guy across the street, whose name I know, to see if he knows my neighbor’s name. But I bet he won’t.

Pacific Symphony announces 2013-2014 season

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Mendelssohn’s Violin Concerto! “Carmina Burana”! Gah!

Seriously, though, there are some interesting things on the schedule.

Click here to read my article, or pick up a copy of tomorrow’s Orange County Register.

Review: ‘Der fliegende Hollander’

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In today’s Orange County Register online, I review last night’s performance by Los Angeles Opera of “The Flying Dutchman.”

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

photo: Robert Millard

Peter Sellars stages John Adams’ ‘The Gospel According to the Other Mary’

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In today’s Orange County Register online, I review last night’s performance of John Adams’ mammoth oratorio “The Gospel According to the Other Mary.”

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

photo: Craig T. Mathew/Mathew Imaging

Review: Academy of St. Martin in the Fields, with Alisa Weilerstein and Inon Barnatan

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In today’s Orange County Register online, I review yesterday’s concert given by the Academy of St. Martin in the Fields.

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

Which version of ‘The Firebird’ did Dudamel play?

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I’m a little perplexed by this. The Los Angeles Philharmonic program booklet implied strongly that Dudamel was conducting the complete 1910 version of the ballet. Stravinsky made three suites of “The Firebird,” though, and changed the orchestration for the suites of 1919 and 1945.

Here’s where it gets confusing. Dudamel and the Phil definitely played the complete ballet this weekend, not a suite, but there was one aspect of the scoring that I believe — but don’t know for sure — was taken from one of the suites. That is in the middle (not the end) of the “Infernal Dance,” where there were fortissimo solo trombone glissandi, which are NOT in the 1910 version (I just listened, with score), but are in at least one of the suites. Did Dudamel plug in an “Infernal Dance” from one of the suites? And if so, is that OK? I’m not so sure. Can someone at the L.A. Philharmonic enlighten us?

Man meets horn

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I got the old horn out today and gave it a bath. Took it apart, put it in the tub, ran some tepid water and added a dab of Palmolive dishwashing soap. Let it soak for about 20 minutes, and sluiced the inner part of the slide with a cotton cloth wrapped around a metal rod (designed just for cleaning trombones).

The trombone is a Bach “Stradivarius” Model 36, manufactured in Elkhart, Indiana and considered professional grade. I’ve had it since my college days, bought it used then, and it looks rather worn now. The mouthpiece is a custom job, made by Larry Minick, a famous brass instrument maker in Los Angeles.

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After its bath, I greased up the slide and it works nice. I played a bit, and the horn sounds great, if you factor in the currently decrepit state of the player. I say “currently decrepit” because I aim to change that.

On April 8, I’ll be playing side-by-side with the Pacific Symphony, under the baton of Carl St.Clair, as part of an initiative the orchestra calls “OC Can You Play with Us?” and designed to allow amateurs the chance to perform with the group. I’ll be playing the second trombone part in the finale of Shostakovich’s Fifth Symphony, which has some great stuff for the brass, I’m sure you know … so, I started practicing today. Our first (and I think only) rehearsal is next week. The concert is free; I suppose it has to be. I’ll be writing about my experiences in the Orange County Register.

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Dudamel tries out tough and dazzling tour program

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In today’s Orange County Register online, I review last night’s concert performed by the Los Angeles Philharmonic and conducted by Gustavo Dudamel. The program, which included music by Claude Vivier, Debussy and Stravinsky, is headed to London, Lucerne, Paris and New York.

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

Los Angeles Philharmonic announces 2013-2014 season

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Wow, lots of goodies, and they gave us lunch, too.

Click here to read my precis, or pick up a copy of tomorrow’s Orange County Register.

photo: Music Center of Los Angeles County