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It is frustrating.....

I'm an audiophile because I'm a music lover. Like most of the people on this site, I try cables, equipment, spikes, etc with one goal : to get the best out of 'canned' music, make it as close to life performance as possible. Knowing that 'perfect' reproduction is impossible, I go to live concerts as much as I can - on the average 10 classical music concerts, 2 ~ 3 operas, some jazz concerts per year.

Than it starts to become frustrating. Third time this year, I have left a concert at the break in Lincoln centre (NYC).

The acoustics : great, individual instruments : very palatable (!), no coloration, yadi yada yada...

Performance : miserable. No soul, no urge, no involvement from the orchestra... No pride in their work ?

Give me my 'miserable' listening room, 'coloring' cables, 'imperfect' equipment ... even a 'mono' CD - but a good, involving performance !

I'm not even talking about 'technical / mechanical' performance of the musicians - for me, technical brilliance is important, but secondary. It is the feel, interpretation, the 'soul' which is more important.

And the audience - horrible (see the thread 'cough vigilante). It is actually worse ... May be someday they will sell popcorn in the concert halls...

I have decided that I can save that $50/$60 per person / per concert, plus the trimmings, to buy 'canned' performances.

No wonder that the industry is complaining about less and less concert goers - they've just lost two.

Sorry for the rumblings.... I had to let some steam out...
ikarus
jnye
12 posts
 
Excellent post! And I would add to that litany the rigidity of programming. Seems to me that either you get the warhorses, or new "difficult" music that I hate.

I once suggested to the conductor he play more material from lesser known but very accessible composers such as Walton, Stenhammar, Alfven, Hanson... He sniffed that he didn't do second rate composers. This after performing a piece of modernist dreck that was a true snooze!

I've been a loyal supporter of the symphony, but these days, I tend to boycott. My response to their arrogance -- I can live without your nonsense. Reiner, Bernstein, Furtwangler, Kleiber, Szell, Karajan, and Boult are good enough for me to do without the latest mediocrities.

I used to boo at some concerts, but my wife was too embarassed by it so now I just cancelled my subscription and hear at most 2 concerts a year.
sugarbrie
3,854 posts
 
If you are referring to the NY Phil, I've watched/listened to the "Live from Lincoln Center" broadcasts on TV & Radio and I've had the impression they are playing on Auto Pilot.

This is not just them. I've had the same impression at times sitting in Symphony Hall in Boston. Ozawa is now gone, so maybe some new blood will help. But it is not just the Music Director. The musicians have to care


I am very lucky to now be down near Baltimore. New music director Yuri Temirkanov is fantastic. I find I can't wait for each concert to take place. They have everything you say your orchestra lacks.
Temirkanov was asked why he decided on Baltimore of all places. He guest conducts all the worlds major orchestras, and with his stature could almost have his pick of where he wanted to go. What he said was informative. He said Baltimore has an excellent orchestra, but they yearn to be even better. Therefore, it is an orchestra he can work with to attain something. They are open to new ideas and taking chances. He also related that some orchestras know they are great, so they are content, "which is very dangerous".

To give you an idea of the musicians in Baltimore, the principal cellist is famous for being offered the principal's chair of the MET orchestra in NYC without even auditioning or applying for the position. A lot of cellist would die just to get an audition. He turned it down; was not interested in being in NY. A lot of the musicians are faculty at the Peabody Conservatory at John's Hopkins.


I can also relate to the coughing. It is so rude. It is possible to cough quietly if you can't help it. They could at least cover their mouth with something.


You should take the train down to Baltimore some evening when Yuri is conducting.

sugarbrie
3,854 posts
 
Another thing the managements are doing is booking all these Teenage wonderkins for $$$ reasons. They play fast with no technical mistakes, but also with no nuance, soul, emotion, etc. But is sell lots of tickets and they are cheaper to contract. The typical person going to the Symphony to be "seen" does not know the difference.

There was a concert conducted by Temirkanov in January with british pianist John Lill who most of you probably have never heard of. They play the Beethoven 5th (Emperor) concerto. Lill was a Tchaikovsky runner-up in the 60s. He does not usually play much outside of europe. Well the concert was fantastic; as good an any Beethoven played by Solomon, Curzon, Perahia, etc. The concert hall was only about 60-65% full at the most. Regular concert goers are not interested in a Bald, middle-aged foreign pianist they have never heard of. The people who did show up probably did so because is was a chance to hear Temirkanov. In the end happily, the ones who did show up gave Lill four rounds of loud well deserved applause.

sugarbrie
3,854 posts
 
For those who live near Boston, I highly recommend the Boston Philharmonic and music director Ben Zander. Not only does the orchestra care, the audience does also, so it is a unique experience. Be sure to go early to Ben's pre-concert lecture, not to be missed.
avguygeorge
2,300 posts
 
I remember reading Riner was almost mean as a snake. Well apparently, that's what it took to get the desired performance.My favorite conductors are mostly the old guys, from the 40s/50s/60s/. Sort of how free agency has changed all of sports. Too much $$$;not enough personal caring for the "whole" Hard to get good team players these days.
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