I'm a few days late with this. Father's Day was June 20. The sentiment expressed here, however, is enduring. Does this violin have a gorgeous varnish or what? It was made some time around the year 1900 in Germany. It belonged to my violin teacher, who lent it to me when I was in high school. It had and still has a beautiful, warm sound. My family didn’t have enough money to buy a good violin like this. After I had played it for a few years, I told my father that I would be very unhappy when I had to give it back to my teacher. “You don’t have to give it back,” my father told me. “It’s yours now.” He had been paying my teacher a small amount of money every week for years. This violin is, in more ways than one, the greatest gift I’ve ever received.
I'm a few days late with this. Father's Day was June 20. The sentiment expressed here, however, is enduring.
Does this violin have a gorgeous varnish or what? It was made some time around the year 1900 in Germany. It belonged to my violin teacher, who lent it to me when I was in high school. It had and still has a beautiful, warm sound. My family didn’t have enough money to buy a good violin like this. After I had played it for a few years, I told my father that I would be very unhappy when I had to give it back to my teacher. “You don’t have to give it back,” my father told me. “It’s yours now.” He had been paying my teacher a small amount of money every week for years. This violin is, in more ways than one, the greatest gift I’ve ever received.
|From My violin|
Reprinted from another blog with the permission of the author.
Everything good I've heard about Dudamel is true. I learned this when I heard him and the Los Angeles Philharmonic play to a sold out audience at the Kennedy Center in Washington DC. Dudamel is known for his energetic conducting style, his youth (29 years old), his inexperience (this is his first job as conductor of a major symphony orchestra), and the fantastic music he makes with his orchestra.
The first piece on the program was Leonard Bernstein's "Age of Anxiety," which I had never heard before. The performance was interesting even before it began because of the sight of an unusually large orchestra. I counted four percussionists, each with a complete set of timps, etc., and there may have been more that I couldn't see. The cellists, likewise, were numerous. There were not one, but two, harps, which I saw but did not hear. The first violins were on the conductor's left. The cello section started behind the first violins and spilled over to face the audience. The second violinists were on the conductor's right, and the violists were behind them. There was a grand piano in front of the conductor in a place where the pianist could lead the orchestra. The composition was a cross between a symphony and a concerto for jazz piano. Bernstein loved to play jazz piano, and he played the piano at the premier performance of this composition. I really liked the piece. It had lyricism, the feel of jazz, and lots of changes in coloring. The latter is probably due in part to Dudamel. I liked the piece so much that I felt sad when it ended.
The other piece on the program was Tchaikovsky's Symphony Pathetique, an old friend to music lovers like me. It was born again, as all music is each time it is played, with the infusion of the personalities of the music makers. Here Dudamel shone. He put so many subtle but very effective changes into the coloring of the piece. The performance was fun to watch, making it more engaging and endearing than a recorded version. The string sections were configured the same way as they were for the Bernstein piece. I loved watching the themes bounce from one section of instruments to another, and I loved watching the conversations or volleys among the instruments. I especially loved all the little surprises that Dudamel and the orchestra put in to a piece I knew and loved.
The concert ended with tumultuous applause and something I've never seen before: an encore for the orchestra. Actually, it was only a small group of the instruments. They played an excerpt from Massenet's opera "Manon Lescaut." The audience loved it
After the concert, as I was waiting in line for the shuttle bus that took people to the nearest Metro station, I got into a conversation with the woman standing next to me. She was a member of the second violin section of the L.A. Philharmonic, going to visit a friend rather than staying with the other musicians. What an opportunity I had to ask her questions and learn from her! I started with enthusiastic, heartfelt praise for the orchestra. She said, somewhat apologetically, that the orchestra would sound much better in a year or two because it takes that long for an orchestra and a conductor to get to know each other really well. (I thought of the reviews by music critics that I've read. They have a mixture of praise, sharp criticism, and wonder about the future.) I had read that this was Dudamel's first job as a conductor of a major symphony orchestra, and I asked her about that. She said that, technically, that's correct, but Dudamel had been associated with the LA Phil for two years, conducting the orchestra from time to time. I know from personal experience how important it is for the orchestra members to have a good relationship with the conductor, so I asked her how Dudamel was to work with. She gave me a big smile and said, "He's so nice." I was especially interested in the Tchaikovsky symphony. I've played violin parts by Tchaik that were not in violin-friendly keys, notoriously D flat major. I asked her whether the Tchaik symphony was difficult to play, and she said, "Technically no, but artistically yes. Dudamel makes so many subtle changes in tempo, for example, that the players really have to be sensitive to the conductor."
Soon she and I parted ways. On my way home, I kept thinking about the concert and feeling excited. Even now, whenever I think about the concert, I feel excited.
More entries: May 2010