"An orchestra that sounds like itself"

I have written in the past of the increasing homogeneity among orchestras worldwide.  Of course, much of this is due to Music Directors on task only 8-10 weeks of a season and a plethora of podium guests each bringing an individual sound ideal and interpretation to the works at hand.  No longer is a Frederick Stock, George Szell, or Eugene Ormandy (among others) on hand for the majority of his orchestra's rehearsals and performances. Mostly, this has resulted in nearly every major orchestra sounding the same, with the Vienna Philharmonic (largely because of the different instruments employed therein) being a possible exception.

I have also lamented the fact that American orchestras seriously ignore the music of their own countrymen, particularly on tour.  In all honesty, what Russian would want to hear the NY Phil play Tchaikovsky or Shostakovich?

Jiri Belohlavek

Another, less heralded orchestra has maintained very close to its roots, as Zachary Wolfe has noted in a recent commentary in the NY Times.  That orchestra is the Czech Philharmonic, once again under the baton of Jiri Belohlavek (the orchestra performs today at Carnegie Hall and commemorates the 25th anniversary of the Velvet Revolution tomorrow at Washington's National Cathedral).  Wolfe is spot on in his assessment of this ensemble:

The tour is an opportunity for audiences here to experience a rarity these days: an orchestra that sounds like itself. The internationalization of classical music over the past few decades has resulted in more versatile ensembles but also more homogeneity.

“The key is in the strings, which are really warm and down to earth,” [concertmaster Josef Spacek] said by phone. “Because we Czechs came from a sort of peasant lifestyle, there is a great sense for folk tunes. Smetana, Dvorak — they really derive their music from simple tunes from the countryside.”

Having heard this wonderful ensemble twice (in Chicago and in Prague itself), I could not agree more.

Wolfe goes on to write:

Part of the reason the orchestra’s sound has endured is its intimate home, Dvorak Hall in the Rudolfinum in Prague, which rewards sonic richness. And part is simple numbers: According to Mr. Spacek, just two out of the 118 players are not Czech. “It’s not because we don’t allow foreign people to apply,” he insisted with a laugh. “But we have a huge overload of musicians coming from the Czech Republic,” a country of 10 million with more than a dozen conservatories.

The Rudolfinum, Prague

Also at home, the orchestra is bucking the trend--musically and financially--that we're seeing on this side of the pond.  Since 2000, musician salaries (while still quite low) have increased 60% and concerts--now offered three times/program instead of two--are playing to 90% houses, compared to around 65% not so long ago.

The Czech Phil's tour schedule appears below (N.B. dates read day/month/year).

4. 11. 2014 / COSTA MESA, California

• L. JANÁČEK: Taras Bulba
• F. LISZT: Piano Concerto No. 2 in A major
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

5. 11. 2014 / NORTHRIDGE, California

• A. DVOŘÁK: Stabat Mater op. 58

6. 11. 2014 / LA JOLLA /SAN DIEGO, California

• L. JANÁČEK: Taras Bulba
• F. LISZT: Piano Concerto No. 2 in A major
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

8. 11. 2014 / DAVIS, California

• B. SMETANA: From Bohemia's woods and fields, Šárka - symphonic poems from "My Country"
• F. LISZT: Piano Concerto No. 2 in A major
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

9. 11. 2014 / BERKELEY, California

• A. DVOŘÁK: Stabat Mater op. 58

10. 11. 2014 / SANTA BARBARA, California

• L. JANÁČEK: Taras Bulba
• F. LISZT: Piano Concerto No. 2 in A major
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

13. 11. 2014 / ANNAPOLIS, Maryland

• B. SMETANA: From Bohemia's woods and fields, Šárka - symphonic poems from "My Country"
• J. SUK: Fantasy for Violin and Orchestra, Op. 24
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

14. 11. 2014 / FAIRFAX, Virginia (Washington D.C.)

• L. JANÁČEK: Taras Bulba
• F. LISZT: Piano Concerto No. 2 in A major
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

15. 11. 2014 / PURCHASE, New York

• L. JANÁČEK: Taras Bulba
• F. LISZT: Piano Concerto No. 2 in A major
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

16. 11. 2014 / NEW YORK, New York / Carnegie Hall

• L. JANÁČEK: Taras Bulba
• F. LISZT: Piano Concerto No. 2 in A major
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

17. 11. 2014 / WASHINGTON, Washington D.C. / National Cathedral

- Concert commemorating 25th anniversary of the Velvet revolution

• B. SMETANA: Vltava, symphonic poem from "My Country"
• A. DVOŘÁK: Symphony No. 9 in E minor, Op. 95 "From the New World"

Hmmm. No apologies here:  everything is Czech except for that Liszt concerto. They're playing what they know best, and why not?  While I'd rather hear Dvorak's Seventh any day, it's interesting that the Ninth is being performed. The manuscript of the same pays a five day visit to New York's Czech Center, the first time it has returned to the "New World" since the composer took it "home" in 1895.

Postponed until?

Still an empty hall in Atlanta...

A cursory glance at the Atlanta Symphony website indicates that concerts are "postponed through November 8."  Since there has been little to no public announcement of movement between management and the Player's Association, one is left to assume that another notice is in order (especially since November 8 is this Saturday).

As my previous post posited the view that management was more or less dragging its feet (to save even more cash?) when the parties seemed so close to an agreement.  With a continuation of that tactic, it's painfully obvious that the management at the WAC has any idea of the mechanics of orchestra operation.  Does Ms. Hepner (chief of the Woodruff Arts Center) think that the orchestra can just show up and play a gig with little to no notice?

For the uninformed, this is Virginia Hepner.  She's a banker.  (Surprise!)

So many variables some into play:

• The availability of the (meager) 77 musicians left on the roster.  How many have other commitments due to lack of movement on the lockout?

• For that matter, the availability of soloists who may have accepted other guaranteed dates, given that the ASO has been in such turmoil.

• And what of those fussy rehearsals?  It takes an ensemble some time to jell even after a summer hiatus; it could be weeks now, given the fact that the members of the ASO have had so much unexpected time away from each other.

The time has come for Hepner and Co. to step up (and at least update the website).  Even if an agreement--undoubtedly to the detriment of the players--were signed at this precise moment, one cannot predict when the ASO can be reassembled and become concert-ready.  One thing is certain:  the remaining players will work harder toward that goal than management has demonstrated during the disastrous past few months.

So....what the hell is up with the WAC?

Folding the tents....

Things have been relatively quiet on the Atlanta front, although there has been some news, and--as always--it's not good.  Management "negotiators" walked away from the table just as it seemed that the impasse was near its conclusion.  The federal mediators (in disgust, I am sure) have left town, and the players of the Atlanta Symphony are left twisting in the wind.

From all that outside observers can surmise, the Player's Association has caved on their last (and many deem most significant) sticking point.  The complement of players--once at 95--is now a mere 77, although the 2012 contract guarantees 88.  WAC and the ASO management have simply decided not to fill the vacancies that have occurred since the lockout, be it due to attrition or players simply looking elsewhere for work.  A number of other orchestras, including Dallas and Chicago, have benefitted.

The future Atlanta Symphony?

But now the players have given up on their insistence that they field a full orchestra.  Simply put, one cannot perform a Mahler symphony with 77 players.  In certain works, 95 is a stretch and often requires additional substitute personnel.  But given in they have.  And the reaction from Virginia Hepner and her management cronies at the WAC?  Silence....that same deafening silence that has accompanied this debacle since the beginning.

Here's what the players have given up:

• Any salary guarantees whatsoever.  Their modest proposal would have increased levels (which were slashed 15.4% in 2012) something a bit over five percent (total!) through 2018.  As it sits now, the orchestra will spend millions less in 2018 than it did in 2012.
• Health care:  the players accepted a higher deductible plan, again saving management a figure attuned to $500,000 annually.
• Work rules:  management will put forth its "best effort" to raise the orchestra complement to 88 by the close of the 2018 season.  Of course, anyone close to this lockout has to doubt the veracity coming out of the mouths of anyone having to do with the WAC or ASO management.

So.....since the players have folded the tents and given in on every negotiating point, what the hell is management waiting for?  These players have been without paychecks since early September and without healthcare (unless out of their own pockets) since October 1.  Players who won auditions since the last season ended have yet to play a note.

Ms. Hepner and friends:  the world is waiting for the sunrise and for the return of the Atlanta Symphony.  What's taking so long?