Sorry to bother you again!
By now, I’ve been in touch with most, if not all of you about the Orchestra of the Swan’s campaign on Indiegogo to fund the fourth and final volume in our series of the symphonies of Hans Gal and Robert Schumann.
Hans Gal (1890-1887) was one of music’s good guys- one of the best and brightest of the generation of Viennese composers who succeed Richard Strauss and Mahler. Had he not been pushed into exile and obscurity by Hitler and the Nazi’s in the 1903′s, I’m sure he’d be a standard repertoire composer. As it is, this project will not only be the first complete cycle of recordings of his symphonies, it is also the first time any orchestra has played all the symphonies in concert. Ever. When we performed his Second Symphony last December, it was the first time that amazing work had been heard live since the early 1950′s. When we finish the cycle in December, with your help, it will be the first live performance of the First Symphony in over forty years.
We’ve made great progress in the campaign so far, and attracted a lot of media attention, but we need to seal the deal.
Orchestral recordings are incredibly expensive- before even launching this campaign, we’d raised more than 3/4 of what we need. If we don’t succeed in raising the approximately £6k we still need, we risk losing the +£30k we’ve already got from other sources, and missing our window to record in December. It would be heartbreaking and a huge setback for the cause of this wonderful music.
Crowdfunding is a very mixed blessing- yes, it can make great projects like this possible, but it also means we all have more worthwhile projects and ideas vying for our attention. I wouldn’t be coming to you if we didn’t need your help.
The hours are slipping past. Just five days remain. Please help.
I’ll end with a collection of recent press so you have some idea about how important this project is.
If everyone who gets this email gives something, whatever you can, and forwards it to a friend, we can finish this campaign in hours rather than days.
Thank you so much, and I promise, after this, I am done with crowdfunding
If you don’t know Gal’s music, you can listen to samples of all the CDs so far here.
An extensive review released yesterday from MusicWeb which talks extensively about the importance of this series of recordings ”Hans Gál is gradually becoming better known. It is quite shameful that a composer as good as he was should have lived amongst us, and taught so many students, for forty years, yet should still have to be brought out from the shadows into the light of recognition.”
A blog post from Jessica Duchen, music critic for The Independent ”Hans Gál is one of music’s most scandalously undersung, underplayed, under-recognised good guys. I first saw his name as a child, as my dad had his admirable books on Schubert and Brahms – yet scarcely heard a note of his music”
Blogger and critic Robert Hugill ”Since then Gál’s name has cropped up periodically, but his music still does not receive the recognition it deserves. Like a number of other Jewish musicians Gál and his family fled to England in the 1930′s but his music never recovered, though he went on to have a career as a distinguished academic at Edinburgh University, his works were not played very much. Now the Stratford-upon-Avon based Orchestra of the Swan are recording all of Gál’s four symphonies conducted by Kenneth Woods. ”
A news item from ClassicalSource ”The first three recordings of Gál’s symphonies have been broadcast in their entirety countless times, reviewed and discussed in outlets as significant as National Public Radio’s All Things Considered, American Public Media’s Performance Today, BBC Radio 3’s CD Review, the Sunday New York Times, the Sunday Washington Post, the Guardian, the Saturday Telegraph and all the major musical journals, review magazines and websites. For the first time in generations, Gál’s symphonies have been reaching a broad international audience.
Recent review from Gramophone Magazine
Recent review from International Record Review
Composer and Guitarist Gerald Garcia lends his voice
Former Gramophone editor James Inverne already has vol 4 pegged as a highlight of 2014 ”…the first recorded cycle of symphonies by the much neglected (though slowly, perhaps, now returning to fashion) composer Hans Gál. Woods, the Orchestra of the Swan and the label, itself, have really done their reputation no end of good with this series, with Gal played alongside Schumann symphonies.”
I finished writing the slow mvt of my new quartet today. Very excited and relieved to reach the double bar.
The restorative power of reconnecting with one’s creativity, however massive or meagre it may be, always astonishes me. It’s sad that too often, we drive people to set aside their creative gifts on the grounds that their are more important things to be done, there’s no market for their work, or there are greater talents about. Everyone has the right to create. Everyone has the right to find space in their life to create.
Fellow Earthlings- go forth and write your poems, paint your pictures, play your blues and work out your fugues! And when you’re done, take a second to check out that which your child, your friend, your spouse or your neighbor has been creating in the meantime. If we all did these things more often, life would be richer, our tread would be lighter and smiles would be easier to come by.
In preparing for this vlog, it’s been really interesting to see just how selective coverage of Amanda Palmer’s “not paying the musicians” coverage has been. First, agree with her or not, she does seem to have a philosophical basis for her original decision to ask people to volunteer, nicely outlined in her famous TED talk (when are they going to let me give one of these talks?:) )
It sounds a lot like her real mistake was not realizing how differently everyone sees you and interprets your actions when they consider you to be rich. I remember when I was about to “come out” as a conductor- a violinist friend of mine wisely warned me that for many people, once they see you as an authority figure, they can’t see you as a human being any more. Anyway, not paying the players when you can (or when people assume you can) is always a bad idea.
What I like about Amanda Palmer is her willingness to speak truth to power while simultaneously channeling the spirit of Tom Lehrer. (Would TL ever have dropped the kimono?)
(Warning- Contains nudity)
Read more from the Guardian here and here. An extended piece in the New Yorker (less positive) is here
Support the Gal/Schumann campaign here:
A lovely article from critic, broadcaster and essayist Jon Jacob has been published on his popular blog,Thoroughly Good.
Jon shares some recollections of his own time as and ESO managerial assistant in the 1990's then moves on to an extended interview with Ken.
A short sample follows. Read the whole thing here.
In a geographically small country like the UK, “regional” orchestras have to be good enough to compete directly with national orchestras. You forget that at your peril. These days, orchestras from the major metropolitan centres are queuing up to play in small and medium sized venues. This means that any professional orchestra has to play like a national orchestra in order to survive, but that’s one of the reasons that this orchestra is called the English Symphony Orchestra and not the Worcestershire Philharmonic. Artistically, we believe the orchestra has been and must again become an institution of national significance.
However, there are also compelling reasons for orchestras not to forget where we come from. When it comes to doing educational and outreach work that has a meaningful and lasting impact on people in our communities, being a regional orchestra is a strength. The recordings we make and the works we commission should have lasting international impact, but our work with children, the elderly and other under-served groups enriches the communities where we work in a way that a concert from an orchestra bussed in from London, however great the concert, never can.
We have a once-in-a-generation chance to put the orchestra back on the national stage as an important artistic force, and we’ve got to deliver on that. That means giving powerful performances of well-rehearsed, thoughtful programmes that show we can engage audiences with unfamiliar repertoire and present core repertoire in thought-provoking contexts. On our next concert, we’re playing two works by Mendelssohn alongside one of Hans Gál. All three works are tuneful and fun to listen to, but there are interesting underlying connections- Mendelssohn was the first Jewish composer to breakthrough into the German mainstream, Gál was one of the last generation of Jews to rise to the top of the musical world in Austria and Germany who were then pushed out or worse by the Nazi’s. There are other, less intense connections, too- both Mendelssohn pieces were inspired by his travels to Scotland, where Gál lived for the last 45 years of his life.
So, first up is doing distinctive programmes really well, but we also have to make sure that the ESO is not just the tree that falls in the forest. You can expect the ESO to start performing again in London and other metropolitan centres. We’re looking to have a media presence that includes traditional radio, audio and video streaming and podcasting. We’ve named a composer-in-association for 2014 and we’ve commissioned a new symphony. We’re also anxious to get a first CD or two under our belts.
Strategically, this means finding new friends, developing partnerships and engaging with a whole new generation of ESO listeners, funders and supporters. We can’t do this alone, and that means we’ve got to make the orchestra a cause that lots of people believe in.
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Whether it was folklore or fact, I’m not in a position to say, but in the latter years of his career, it was reputed that Rostropovich’s fee for a performance of the Dvorak Cello Concerto hovered around $80,000. For any of the 60 or so works written for him, however, he was willing to lower the fee to $8,000, and the discount apparently extended to almost anything off-the-beaten-path-ish. Depressingly and unsurprisingly, he mostly went around the world playing the Dvorak Concerto over and over again.
Rostropovich’s success in getting composer after composer to write works for him means that the list of cello concertos written between 1950 and the present day is staggering. However, of the dozens of concertos written for Rostropovich, it is really only the first Shostakovich concerto and the Prokofiev Symphony-Concerto which have entered the mainstream repertoire. Even Britten’s mighty Cello-Symphony and Shostakovich’s own masterpiece, the Cello Concerto no. 2, hover at the periphery of the repertoire, often misunderstood by critics and feared by audiences.
But what of the music beyond Britten, Prokofiev and Shostakovich? Let’s take a look at the ten greatest cello concertos written over the last 50 years or so, up to Rostropovich’s death in 2007.
What cello concertos have touched you in recent years? What pieces have made you want to shout to the whole world?
10- Stephen Albert- Cello Concerto
American music seems to still be reeling from the premature loss of Stephen Albert in 1992. I’ve never been lucky enough to perform any of his music, but what I find consistent among pretty much all of my friends and colleagues who have learned and lived with his works is that they’ve been deeply touched and profoundly challenged by the experience. He considered his Cello Concerto his most important work. Written for Yo-Yo Ma and recorded by him on Sony.
9- Luciano Berio- Ritorno degli snovidenia | for violoncello and 30 instruments
The presence of any piece by Berio on a numbered list in any position below one or two just goes to show you how silly lists like this are. Written for Rostropovich and Paul Sacher, Berio said of this piece: “The return of the Snovidenia was written for Paul Sacher and his orchestra, which has performed in January 1977 with Mstislav Rostropovich cello. This is why the work is titled The Return of Snovidenia : the dreams (snovidenia in Russian) Russian revolutionaries are the songs. In contrast to Rostropovich I always had a very idealistic attitude towards the Russian revolution, and I therefore included in the composition, for exorcism almost three revolutionary songs. Return of Snovidenia is first and foremost a tribute to a dream betrayed by history, by men, by Stalinism. I do not think that betrayal can be translated musically, but at the unconscious level is an idea that may well have played an important role. “
8- Schnittke- Cello Concerto no. 2.
Five years separate Schnittke’s two Cello Concertos. The Second is a very great work, but much tougher going than the First- it intentionally seems to lack the payoff for the listener of its earlier companion. If the First Concerto is Schnittke’s response to his own return to life after a devastating stroke, the Second seems to be his response to his return to dying when his health problems resurfaced. Bleak, desolate and unforgettable, if you can hang in for the whole work.
Listen on Spotify if you have it (Torleif Theeden and the Malmo Symphony, conducted by Lev Markiz)
7- Bernd Alois Zimmermann. Concerto for cello and orchestra “en forme de “pas de trios””
When I was studying, Zimmermann was considered the ultimate bad-boy of the avant garde, whose struggles with depression and ultimate suicide all seemed part of an aesthetic of hopeless post-War despair. As the years have gone by, I and many others have gradually come to recognize the music as being more communicative and accessible than we might have thought on first encounter- it’s certainly some of the most viscerally and emotionally engaging and direct music of the last 50 years. The life may have been a tragedy, but the life’s work is emerging as a triumph
6- Ligeti- Cello Concerto.
Ligeti is one of the big-beasts of his era, and his concertos are rightly considered among his best works. This is a work that asks a lot of the listener, but somehow, Ligeti makes it worth the effort, and the originality comes through once you get past some of the cliches of the time in which it was written.
5- Tishchenko- Concerto for cello, seventeen wind instruments, percussion and organ
This is a stunning piece- the best piece on this list by a composer you may well never have heard of. It works brilliantly live and gives a good wind ensemble something fantastic to play with a string soloist. Why isn’t it done more often? Because you don’t know who Tischenko is, and you’re enough of a music geek to be reading this blog. Get to know this piece, and get to know this composer- did he write anything else this good? I don’t know…
4- Penderecki- Cello Concerto no. 2
I can’t think of any composer in recent years who brings out the nitwit in critics and fellow composers like Penderecki. Chances are, if you’re reading a review of a work that misses the mark by about a hundred miles, it’s either of a piece by Schumann or Penderecki. The avant garde establishment have never forgiven him for continuing to grow and evolve, either, even though I would think that even %97.5 of professional musicians would not see what in his later music is supposed to be conservative. Anyway, I think there’s a good reason that Rostropovich asked him for so many pieces- Penderecki really understood the cello. The Second Concerto is the most ambitious of his three major concertante works for the instrument.
Listen here on Spotify
3- Lutoslawski- Cello Concerto
Props to the Proms over the last few years when it comes to cello concertos. Roger Wright must have a well-loved copy of Rostropovich’s classic EMI LP of the Lutoslawski and Dutilleux Concertos in his library, because we’ve finally had them both live in recent times. It seems like a foregone conclusion that this 100th Anniversary year will finally cement Lutoslawski’s place in the pantheon forever as one of the most important composers of his or any era.
2- Dutilleux- Cello Concerto ”Tout un monde lointain”
I wonder how the guys at EMI felt when they sent the master of the Rostropovich Lutoslawski/Dutilleux LP off to the pressing plant. “What do you think guys? Not bad repertoire for all new stuff, eh?” This is more than a cello concerto- it’s a poem a summation and a revelation. Lynn Harrell, one of its greatest advocates said recently of this piece “ I came gradually to recognize that this work is not only one of the top five greatest works for the cello in the last 100 years but that it simply transcends the cello and is a work as important to the history of the greatest music; right alongside Stravinsky’s Rite of Spring.”
1- Schnittke- Cello Concerto no. 1.
This was the first Schnittke work I got to know (in recording rather than playing or studying it), and I listened to it pretty obsessively for a couple of months at the time I discovered it. Since that early infatuation, I took a break of nearly 15 years until this May, when I put it on again in preparation for Ensemble Epomeo’s return to his String Trio. Forty minutes later, eyes red with tears I sat spent and shaken in silence for a good 20 minutes after the last note. Schnittke himself wrote of the ending “Suddenly I was given this finale from somewhere, and I’ve just written it down.” I don’t know if I have the physical strength or the chops to play it, but if I had just one more chance to play one more concerto in this lifetime, this would be the one.
Listen here on Spotify (if you have it). (Fourth and final movement, Largo, Torleif Theeden-cello)
Rodrigo- Cello concerto.
Let’s face it, this list is not exactly bursting with easy-on-the-ear tune-fests. Still, I’m sure that every piece on this list can be accessed and loved by any listener who gives themselves to the music. Rodrigo’s Cello Concerto, written in the 1980′s for Julian Lloyd Weber, is not a masterpiece, but it has tunes a-plenty and it’s way more bearable to listen to than that horrible guitar concerto….I admit- I quite like it.
UPDATE- I can see I’ve already achieved a bit of infamy on a guitar forum for my description of the Rodrigo. Apologies for any hurt feelings. It’s sometimes hard to see the twinkle the writer’s eye via a mere blog post- mostly only kidding, guys. It’s not my favorite, for all kinds of reasons, but I don’t really think it’s horrible. Not completely horrible, anyway. Check out the Malcolm Arnold Concerto- a much better piece. Or Gerald Garcia’s, which I enjoyed a lot when I conducted it a few years ago.
UPDATE 2- More Honorable mentions beginning with K
There were quite a few works that didn’t quite make the list, plus some which have come along in the comments below. When you’ve finished exploring 1-10, here are some more great pieces to listen to:
I always find myself wishing I liked Khatchaturian’s music just a little more than I do. There’s a melodic spark there, and a sense of sweep, but I’m not sure the structural waters run all that deep. That said, I do like the Concert-Rhapsody, and the existence of this bit of footage of the composer (decked out like a miliatary gangsta with medals on his tail coat) conducting Rostropovich is a treasure. Rostropovich sounds incredible- sometimes I think he’s most impressive when he makes a decent work sound like a masterpiece.
Kabalevsky- Cello Concerto no. 2
Sticking with Soviet composers whose names begin with K, I left the Kabalevsky 2nd off the list because it belongs more on a mid-20th c list with Britten and Shostakovich (it was written in 1964, so technically falls just barely in my 50 year window). The First Concerto is a favorite of young cellists cutting their young artist competition teeth, but the 2nd Concerto is a really stunning work, and fully of pathos and lyricism. Check out Shafran’s playing on the recording below. He’s a true phenomenon
A composite case study, presented here for your edification.
Subject: Sinfonia Suburbia
Dear Maestro Woods-
I do hope it is okay that I am writing to you directly, rather than to your agent. My name is Elizabeth Herzschmertz (please call me Lib), and I am the new manager of the Sinfonia Suburbia. I’m writing to you because our long time music director, Maestro Will Dropschlagen has had to step down in order to devote his full energies to his teaching position at the University of East Suburbia. We’re now having to fill this year’s concert season with guest conductors.
We’ve heard wonderful things about your work from a number of our musicians who have worked for you in the Philharmonia Commutica. I know it’s terribly late notice, but would you by any chance be available on the 1st of October for a concert at Tinnitus Hall? The originally scheduled repertoire would be Messiaen’s Turangalila with Marc-Andre Hamelin and Mahler’s Seventh Symphony.
If you’re not available on the 1st of October, perhaps you could suggest another date out of the seven alternates on the attached spreadsheet?
In addition to whatever your standard fee is, we’d pay for one first class round trip plane ticket and four nights in the West Suburbia Hilton.
We would be so excited to have you conduct our little orchestra!
Subject: RE: Sinfonia Suburbia
Dear Maestro Woods
Thank you for coming back to us so quickly. I’m sorry to hear you can’t do the October 1st date, but we understand that your debut at Convent Garden must be a very important event for you. I’ve never heard opera outdoors before- it must be really nice to play music in a garden setting. Is the convent still active? I went to Catholic School for 3 years when my family lived in Alabama. I hope it’s not too cold in October in London- my husband tells me that Tristen and Isabel is a very long piece.
It’s great you can do all of the other seven dates. We’ve got an artistic planning committee meeting next week, so I’ll get back to you with a confirmed date by next Wednesday at the very, very latest.
Hugs from West Suburbia
PS- I’m really embarrassed about this, but I guess I didn’t realize that Cardiff isn’t in America. My board chair asked me to ask you if you would be okay to fly coach when you come? I wouldn’t even ask, but we hadn’t budgeted for any travel for conductors next year since Maestro Dropschlagen lives in East Suburbia. Thx.
Subect: RE RE Sinfonia Suburbia
I’m sorry not to have written sooner- I can’t believe it’s been three weeks since our artistic committee meeting!
Are you still available for our February 29th concert? The program would be
Shostakovich- Symphony no. 9
Rachmaninoff- Piano Concerto no. 2 with Evgeny Kissin
Stravinsky- Rite of Spring
Also- I hate to bother you with this, but could you send along a CV I can pass around to members of our board?
One last thing! Please feel free to say no, but would you be willing to do a home stay while you’re in town?
All best wishes
Subect: RE RE RE Sinfonia Suburbia
Thanks for checking in. I can’t believe it’s been six weeks since you confirmed your availability for Feb 29th.
I’m afraid I have to let you in on an embarrassing problem- our board chair invited Ka Ching, the new assistant conductor at the Philharmonica Metropolitana , to conduct the February 29 concert without realizing I’d already invited you. I know we asked you first and you’ve been holding the date for us for six weeks now, but Ka Ching’s agent also represents a couple of our soloists and we’re concerned they might withdraw if we withdrew the engagement from him.
Did I ask you if you can do October 1st? I’ve got you listed as available for the other seven dates this year, but those have all been filled since we last spoke.
PS- A number of musicians in the orchestra have popped in the offices this week to ask if you’d be interested in the Music Director position. We’d certainly like to avoid a public search if we can avoid it. Can you look at the attached draft job description and let me know if you would be interested. With the players so excited to work with you, maybe we could simply make October 1st a celebration of your appointment? Let me know if there’s any thing I can do to make the position appealing!
Subect: RE RE RE RE Sinfonia Suburbia
Whoops- I forgot about your opera in the monastery thing in October. Good idea to swap dates with Ka Ching. His agent tells me he is free on October 1st.
Subect: RE RE RE RE RE Sinfonia Suburbia
Thanks for getting in touch. I can’t believe it’s been five weeks since your email! We’ve all been very busy getting the brochure together for this year. I’m very sorry to inform you that Maestro Ka Ching is unable to swap to October 1st with you. Although his agent had told us he was free that day, Ka Ching feels that there is not enough time for him to learn the Messiaen before October 1, especially as he has never conducted any Mahler before.
I’m really sorry it’s not going to work for this year, but all the other subscription dates have been filled. We could offer you the March repeat of our Lollipops program we’re doing with our student conducting assistant in February because he’s taking midterms that week, but I’m afraid it only pays $500.
We all feel very bad about the mix up with dates, so we’d like to offer you first choice of dates next season. I’ve attached a list of provisional dates at Tinnitus Hall. Please let me know your preferred date and an alternate- not that you’ll need it! You’ve earned first dibs!
Elizabeth J Herzschmertz
Subect: RE RE RE RE RE RE Sinfonia Suburbia
Wow- I can’t believe it’s already January. Thank you for your message back in August confirming your availability for Sept 25 and March 1st next season. We’re really excited to work with you. Can you hold Sept 25th for us, please? We don’t want to wait any longer than absolutely necessary for you to work with our great musicians.
Just one thing- the board have decided on having a search season of music director candidates next year. It’s just a formality, because so many of our musicians are so keen to work with you, but could you send an updated CV and a letter of interest so we can officially designate you an applicant for the position?
Elizabeth J Herzschmerz
Executive and Artistic Director
Subject: MUSIC DIRECTOR APPLICATION INCOMPLETE
Thank you for your interest in the position of Music Director at the Sinfonia Suburbia. We are delighted at the level of interest in this position- to date we have received over 300 applications from all over the world.
Our records show your application is incomplete. Please review the application checklist below and submit the outstanding materials within 72 hours
Materials should be uploaded via ftps to the secure file transfer link at sinfoniasuburbia.org.
Please do not respond to this email or phone the office, as we cannot address individual applicant questions.
Subject: Application Complete
Thank you for your interest in Sinfonia Suburbia. Our search committee is now vetting applications and will choose the candidates who best meet the needs of the Sinfonia, it’s audience, patrons and community
Please do not respond to this email.
Subject: RE September 25
Thanks for your messages. I know you’ve been holding September 25th for 9 months now- I’m sorry it is taking so long to confirm the date.
I know you’ve had other offers for that date, and I feel like I owe you an answer, but because of this whole “search” thing, I’m not in a position to “officially” confirm, but I’m sure it won’t be a problem. I really hope you can hold the date just a little longer. September 25th is the 100th anniversary of the incorporation of West Suburbia, and we would like this to be a celebration concert featuring Mahler’s Symphony of 1000.
If you can hold the date just a little longer, that would be great!
Subject: MUSIC DIRECTOR APPLICATION STATUS
Dear Mr Woods
The members of the committee are pleased to inform you that you have been selected as one of ten semi-finalists for the position of Music Director of Sinfonia Suburbia.
In order to assess your interest and qualifications further, the committee would like you to answer the following questions:
1- What are your strengths and weaknesses?
2- How do you feel about using local soloists?
3- Would you be willing to relocate to West Suburbia?
4- How would you feel about Sinfonia Suburbia offering a season dedicated entirely to film scores?
Please upload your answers to our server by this Friday at 5 PM
Pending receipt of your answers, members of the search committee will be calling your references on Tuesday the 7th between 6 and 7 PM EST.
Applicants are advised that we are unable to respond to messages sent to this email address.
Subject: Application complete
Your application for the position of Music Director is now complete. Your references will be called on Tuesday the 7th between 6 and 7 PM on the numbers you provided in your application. Please advise referees to be available during this time- it is not possible to reschedule reference calls.
Subject: Music Director Application Status
The Sinfonia Suburbia has narrowed its field of candidate for our music directorship from ten to five. Your application is no longer under consideration. The members of the committee have worked meticulously to identify the candidates who are best qualified to lead the Sinfonia going forward, and it was determined that you were not among the best qualified.
We are sorry, but because of the large number of applications, we are unable to provide feedback on the reasons for our decision. Please do not respond to this email or call the office.
Sinfonia Suburbia Search Committee
Subject- Reference Calls
Dear Mr Wood
I received your email asking why your references were not called at the scheduled time on Tuesday the 7th. I’m sorry it’s taken over six months to write back. Apparently at the committee meeting the night before the calls were to be made, someone on the committee flagged up that you were based in the UK part of the year, and we felt that this meant you would not be a good fit for our orchestra.
I’m sorry if any of your referees were inconvenienced. Please feel free to pass on our regrets to Mr Saltking for making him miss his son’s little league tournament, and to Mr Haltink for driving into the office from home to wait for our call. It was very considerate of him to allow an extra two hours in case something had gone wrong.
Elizabeth J Herzschmertz MMc DPD LPDc
Senior Managing and Executive Artistic and Administrative Director
Subject: Support a Super Season with the SS!
Dear Music Lover
2011-12 is shaping up to be a real Super Season for the Sinfonia Suburbia under the baton of our new Music Director David Dazzle-Herzschmertz. David is just 23 years old and has just come back from a great summer studying at Aspen. This is going to be the best season ever for the SS- a Super Season! Support the SS today and get a a one year membership to Club SS, including a subscription to our Friends of the SS Newsletter.
We’ll see you in Tinnitus Hall on September 25th!
Donate today and show your love for the SS!
KENNETH WOODS UPS TO PRINCIPAL CONDUCTOR OF
ENGLISH SYMPHONY ORCHESTRA
Kenneth Woods, who was appointed Artistic Director of the English Symphony Orchestra‘s new Malvern-based subscription series in December 2012, has been promoted by the Worcestershire-based orchestra to the post of Principal Conductor. The American-born, Cardiff-based Woods becomes the orchestra’s first principal conductor since the passing of Vernon Handley in 2008.
“We started exploring possibilities with Ken towards the end of last year, asking him to curate the Malvern concert series during 2013, at the end of which we planned to take stock,” comments the ESO’s CEO Peter Sheeran. ”In the event, his involvement with the different elements that make up the ESO has been a shot in the arm for us and we see every reason to bring forward his appointment. We are announcing our new season next month and want to have Ken at the forefront of it.”
Woods comes to the ESO following a highly successful tenure as Principal Guest Conductor of the Orchestra of the Swan, with whom he has made an acclaimed series of recordings of the symphonies of Hans Gál and Robert Schumann, earning the orchestra its first “Gramophone Editor’s Choice.” Numerous other plaudits have brought OOTS to the attention of a new global audience, with coverage from The New York Times, Washington Post, National Public Radio in the United States and BBC Radio 3 and Radio 4 in the UK, among others.
Ken’s passion for taking music to all kinds of listeners and venues is very much in line with the ESO’s motto of “Music for Everyone.” He embraces the future of both the ESO’s concert and community projects with equal enthusiasm. “My colleagues in the ESO do the work they do in schools, care homes, hospices and on youth orchestra courses because they believe in it. The musicians have stayed loyal to the orchestra through the years because, as many of them have told me, it’s the orchestra they want to play in” said Woods. “What could be more exciting for a conductor than to work with colleagues who want to be there, who believe in everything the orchestra is doing?”
Ken’s admirable work in bringing classical music to rural and under-served communities began in his native America through the National Endowment for the Arts Rural Residency Program, where as cellist of the Taliesin Trio he set up a dynamic chamber music program in Mississippi County, Arkansas, part of the poorest congressional district in the United States. He previously served as Music Director of the Oregon East Symphony in the small rodeo town of Pendleton, Oregon, an orchestra once described as “the most remotely situated full symphony orchestra on the planet.” With the OES Ken not only developed the orchestra’s concert activities through a highly-praised “Redneck” Mahler cycle, numerous premieres, commissions, regional tours and composer residencies, but also co-founded a multifaceted educational program called “Playing for Keeps,” comprising two training orchestras, a children’s chorus, a summer music camp, regular youth concerts and support for private instrumental lessons and instrument rental.
Ken’s resume includes guest conducting with the BBC National Orchestra of Wales, State of Mexico Symphony and National Symphony Orchestra (Washington D.C.), and appearances at the Aspen, Scotia and Round Top music festivals. He has recorded with Northern Sinfonia and the Royal Philharmonic Orchestra, and in August makes his first recording with the English Chamber Orchestra. An eloquent communicator, Ken has been heard frequently on the BBC, most recently taking part in the BBC Proms Literary Festival discussing A Mahler Anthology, a selection of readings about the composer, including letters, reviews and biographies. His widely read and respected blog A View from the Podium, is one of the 25 most read classical music blogs.
Details of the English Symphony Orchestra’s 2013-14 season will be announced in early September, and will include a number of exciting initiatives, including debut performances in new venues and the appointment of a composer-in-association. The English Symphony Orchestra’s autumn season opens on September 27th at Christ Church in Malvern, with Woods conducting a programme featuring the music of Mendelssohn and the Concerto for Cello and Strings by Hans Gál.
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All media enquiries, interview and image requests: Melanne Mueller,email@example.com, +44 (0) 20 8698 6933 or +1 917 907 2785
To learn more about Kenneth Woods visit http://kennethwoods.net.
To learn more about the English Symphony Orchestra visit www.eso.co.uk
September 27, 2013
Mendelssohn “Hebrides” Overture
Gal Concertino for Cello and Strings
Matthew Sharp cello
Mendelssohn Symphony No. 3, “Scottish”
Tchaikovsky Andante Cantabile (arr. from String Quartet No. 1)
Shostakovich Chamber Symphony, Op. 83a (arr. from String Quartet No. 4)
Tchaikovsky Violin Concerto
Tamsin Waley-Cohen violin
A new review from the August 2013 edition of Gramophone Magazine of the Orchestra of the Swan recording of Gal’s 2nd Symphony and Schumann’s D minor Symphony.
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