Classical Music Forum
Tim Page
Post Classical Music Critic
Wednesday, October 29, 2003; 3:00 p.m ET
Tim Page is the chief classical music critic for The Washington Post and the author or editor of a dozen books, including "Dawn Powell: A Biography," "The Glenn Gould Reader," "The Unknown Sigrid Undset," "William Kapell: A Documentary Life History of the American Pianist" and the forthcoming "Tim Page on Music" (Amadeus Press). He won the Pulitzer Prize for criticism in 1997 for his writings about music for The Post.
He has also worked as an artistic adviser (the St. Louis Symphony Orchestra), a radio host (WNYC-FM in New York), a record producer (BMG Catalyst) and, in his younger days, a rock musician and cocktail pianist. A graduate of Columbia University, he lives in Washington with his wife, Julieta Stack.
A transcript follows.
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Tim Page: Good afternoon. I am just back in town from a visit to Los Angeles, where I heard the opening concert at Walt Disney Hall. It's a marvelous place -- impressive to both the eye and ear. The sound is very live -- you can practically hear the heartbeats of the people seated around you -- but the performance takes on a breathtaking immediacy. True, the sound is somewhat clinical -- and I wonder how well it will project romantic music, which sometimes sounds better with a little sheen on it. But there is no doubt that the Los Angeles Philharmonic has a terrific new home.
Today marks a sad anniversary: it is the 50th anniversary of the death of William Kapell, still probably our greatest American pianist, who was killed in a plane crash coming into San Francisco on October 29, 1953. His performances endure -- RCA Victor released a complete set of his approved commercial recordings about five years ago -- but what he could have given us, had he lived! Kapell would only be 81 years old now -- we might have had another half-century of his work.
Please consider sending in questions as the hour progresses -- we have only a few in the bank today, and I might actually be able to answer.
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Washington, DC:
Hi Tim: Over the weekend I pulled out some home video programming that I had taped off of MPT(Maryland Public Television) in the mid 90s...?1994. In between programs on the tape MPT was showcasing upcoming events...you know how PBS promos future programming while waiting for the next show to start. Any how MPT got to promoing a concert with German pianist Andreas Klein. I did not know anything about him. Have you heard him live and what can you tell about him?
Tim Page: Here's what I just picked off Andreas Klein's website (www.andreasklein.com). I'll let the press release speak for itself:
Andreas Klein's career as soloist has taken him to numerous of the world's most prestigious venues: London's Wigmore Hall, Berlin's Philharmonic Hall, New York's Alice Tully and Carnegie Hall, and Washington, DC's Kennedy Center and the National Gallery. He has toured throughout the U.S., Middle East, and Europe, including his native country Germany, performing in major concert series in Berlin, Leipzig, Rome, Milan, Bern, Los Angeles, San Diego, Cleveland, San Francisco, Seattle, Houston, and Chicago ("Dame Myra Hess Series").
"A fascinating artist with all the indispensable qualities: temperament, taste, touch, tone, the four T's of pianism" and "A pianist who makes silences sound like music," the critics of the NEW YORK TIMES hailed his performances. In Berlin, the TAGESSPIEGEL wrote: "humorous flamboyancy and impeccable technique, grace, melodious sound and plenty of brilliance."
A "Musician's Portrait," filmed in conjunction with a concert at the Neuhardenberg Castle near Berlin, and his recital with the late Beethoven Sonatas at the National Gallery in Dresden, were aired on national radio. Andreas Klein has been frequently heard on NPR's "Performance Today" and on numerous live broadcasts across the country, from Los Angeles to Chicago, and Minneapolis to Houston. PBS produced and aired a series of short works called "Intermezzo with Andreas Klein." In Germany, Liszt's "Dance Macabre" and Frank's "Symphonic Variations" with the Halle Symphony Orchestra were broadcast on MDR Radio.
Highlights of the more recent seasons include the debut at the Kennedy Center:
"...elaborate display of technical prowess…Klein resembled a sketch artist bringing a scene to life with quick virtuoso strokes and shading," (WASHINGTON POST), followed by a second appearance at the Kennedy Center, National Gallery, Phillips Collection, and the German Embassy. He gave his third live performance and interview at WGBH Radio in Boston, and gave recitals at Rockefeller University in New York, in Portland, Oregon, at Cal Tech in Los Angeles, and in Damascus, Syria.
In the summer of 1999, Andreas Klein gave recitals in Prague and at the Piano Festival in Bechyne in the Czech Republic. He performed in Dresden and the Distinguished Master Series in the Castles Moritzburg and Rammenau, and opened the Connoisseur Artist Series in San Diego.
Most recently, he has appeared with the Poznan Philharmonic in Poland, the Oregon Mozart Players (Andrew Massey, conductor), the Virginia Symphony, the Springfield Symphony, the Carl Philip Emanuel Bach Chamber Orchestra, and the Norddeutsche Philharmonie, performing concerti by Mozart, Beethoven and Schumann.
His three CD releases of the Beethoven/Berg Sonatas, Works by Chopin and Liszt and "Dancing Through Time" received praise by critics, conductors, presenters and audiences alike. The later was featured in a two-hour special edition of "the Piano Bench" at KUHF Radio in Houston.
After studying and winning many awards in Germany, Andreas Klein was invited to New York where he later graduated from Juilliard School. He studied with the legendary Claudio Arrau, Nikita Magaloff, and John Perry, where he received his DMA degree at Rice University in Houston.
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Tim here again:
Discounting a little bit of hype here and there in this press bio (which is, after all, designed to entice concert presenters to book him) Klein sounds like a distinguished pianist. Again, you can find more at www.andreasklein.com.
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Washington, D.C.:
Why are the (french) horns of the NSO so timid? Gosh I miss living in Chicago.
Tim Page: Yes, Chicago really could take down the walls of Jericho, couldn't it?
Slatkin has never favored a big sound from the brass -- even in Mahler, he keeps them somewhat in abeyance. Still, the quality of the NSO horn section has improved quite a lot in the past few years. As for timidity -- this is, after all, a tremendously difficult instrument to play and I think a certain level of anxiety comes with the turf. And almost any horn section will sound timid after Chicago.
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Washington, DC:
Any advice on how one could make a transition into the non-profit arts field (as a staff member, not a performer) from the for-profit sector?
Tim Page: I wish I could give you proper advice. Most jobs in non-profit organizations just present themselves, and one takes them or leaves them.
This is not to say that you shouldn't do your best to make contacts at any organization that appeals to you. There may also be lists -- on the web or on paper -- that let you know of upcoming openings. I know there is a list of music jobs available (although the subscription is costly...)
Any help, readers?
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Columbia, SC:
Mr. Page -
What is your prescription for developing an awareness and love of classical music among our youth and young adults? What tactics should we avoid in working toward that worthy goal?
Tim Page: I believe in exposing young people to as much music as possible -- there is a list of 25 recordings that provide a respectable introduction to the classical repertory at the top of this chat.
A visit to a concert hall or opera house can be inspirational. My oldest son just attended the Metropolitan Opera's production of "La Boheme" with three friends this weekend. They bought standing room and loved it.
You may also wish to play music that tends to have a visceral and immediate appeal. Many classical music aficionados look down on wildly popular works such as Ravel's "Bolero" or Orff's "Carmina Burana." My own attitude is less censorious: if you play a newcomer Hindemith's "Ludus Tonalis" or Webern's cantatas, you run the risk of losing any chance to make a convert. (This is not to put down Hindemith or Webern -- only to suggest that some works are more immediately seductive than others.)
I can't think of any tactics I'd necessarily avoid, except shameless dumbing down. People are usually drawn to classical music because they want something a little elevating -- not exactly "self-improvement," but certainly something that doesn't seem merely another exercise in debasement. That said, once the music is playing, let it speak for itself.
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Downtown Washington, DC:
Tim,
I really need your help...
I am a big orchestral music fan-- played violin for like 12 years-- and just moved to the area. I'm a poor non-profit worker, though, and having trouble finding cheap enough tickets to see the shows I want to see. Are there any deals around for opera/ballet/symphony, say, 1/2 price rush tickets, student discounts (still have my student ID!), etc? Thanks!
Tim Page: The best advice I can give you is to keep your eyes open. There are some rush seats available every now and then at the Kennedy Center, but not as a general rule. But there are inexpensive concerts by some of our local orchestras -- the Arlington Symphony, the Alexandria Symphony, Eclipse, and several others. (Alexandria actually had Peter Serkin as a guest artist last year!)
Look into the various concerts at churches and at universities. And look for occasional free concerts in the D.C. area.
Does anybody have any other suggestions?
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Fairfax, Va.:
A few years ago, I attended an Alfred Brendle recital in which he performed the Beethoven Diabelli variations. I could not relate and was jumping out of my seat by the end of the 45 or so minutes.
I would like to try to see what all the fuss is about this piece. What do you think of it? Can you recommed a recording or recordings?
Thanks for the input.
Tim Page: Brendel is an austere and deeply meditative pianist: some listeners find him pedantic.
The "Diabelli" Variations are very difficult music indeed -- written when Beethoven was completely deaf as well as more and more inclined to cosmic experimentation. I'm not surprised the concert was difficult for you -- and I'm sure that a lot of your fellow listeners felt the same way.
That said, the "Diabelli" Variations really are worth the effort. You might prepare for them by getting to know Beethoven's earlier piano works -- the marvelous sonatas in Opus 10 (especially the last of these), the "named" sonatas ("Moonlight," "Appassionata," "Waldstein," and even on to the "Hammerklavier") and then the last three sonatas (Ops. 109, 110, and 111). I think the quirky and unremittingly intense language Beethoven used in the "Diabelli" may seem more natural to you then.
There's no doubt that this is a hard piece, though -- and some listeners never take to it.
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Washington, DC:
The Choral Arts Society of Washington is just starting a search for a new Chorus Manager to replace the current CHorus Manager who is being promoted to Director of Artistic Operations.
Tim Page: Here's a tip for our non-profit searcher!
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Alexandria, Va.:
For the funds-challenged orchestral music lover.
Check out the Library of Congress music programs. These aren't orchestras, but a lot of first-rate chamber musicians perform for FREE. Tickets can be acquired in advance for a small Tickeplace fee, but if you go to the show early, you can get in line, and it would very unsual not to get a seat.
Buy the Washington Post every Friday and check out the Weekend section listings. There are tons, and a lot are cheap or free. (No, I don't work for the Post.)
Also, check out Tickeplace, which has plenty of same-day and sometimes advance purchase half-price tickets.
http://www.cultural-alliance.org/tickets/today.html
I just checked it, and it has advance purchase on tickets for the Vienna Symphony on November 4.
Tim Page: And here is some advice for our orchestra buff!
I have no idea how I would be able to hear most of what I hear, if I didn't get my own tickets for free! Concerts are expensive -- and they rarely even break even.
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re Arts Jobs:
The Cultural Alliance of Greater Washington maintains a very good database of local arts openings that's updated daily:
http://www.cultural-alliance.org/programs/jobanknew.shtml
The New York Foundation for the Arts (NYFA) offers an interesting assortment of arts jobs too -- primarily in NY, but also in DC, CA etc. Worth checking:
http://www.nyfa.org/
Tim Page: Some more thoughts...
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Somewhere, USA:
Occasional free concerts in the D.C. area? You've got to be kidding me. Check out the free concerts at the Library of Congress and the National Gallery of Art (which featured the Kafavian sisters in an excellent, free dual violin program last Sunday night at 7 PM).
Tim Page: Of course there are a lot of free concerts in D.C., including the excellent Library of Congress events. As I understood the question, my reader was asking about free orchestral concerts, which are much more rare.
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More cheap tickets:
Also, there is often inexpensive standing room available for many the Kennedy Center performances. sold on Saturuday mornings for the following week's shows.
And Millenium Stage daily at the Kennedy Center, and lots of free concerts at the KC around the Christmas season.
Tim Page: Some more thoughts.
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Somewhere, USA:
Comment. Your reader should consult with the Washington area's Cultural Alliance which mantains an extensive job bank for the non-profit arts sector. I also liked your advice ealier this fall about trying to have lunch (or coffee) with people already in arts administration (or on BOD's) to get insider views of what to expect, and how your skills might fit in.
Tim Page: Another possiblity for our non-profit arts person...
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Central PA:
The Post's review of the Baltimore production of Il Trovatore was fairly favorable regarding the baritone. We saw the October 18th peformance and found him flat and unspired except for one or two scenes towards the end. The rest of the Post review was spot on.
Did you see this production? If so, what did you think about the baritone?
p.s. The pre-performance talk by a Baltimore Sun critic produced a memorable quip along the lines of "...opera may be defined as a vocal form in which the baritone tells the soprano that she may not make love with the tenor..."
Tim Page: I did not hear the opera, so I'm afraid I can't comment on the review. A lot can change from one night to another.
That's a nice quip -- I'll have to remember it.
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Washington, DC:
I heard the European Union Chamber Orchestra Sunday afternoon at Lisner auditorium. I was disappointed--and surprised--to find they used amplification. The auditorium isn't that big, it's accoustics are pretty good, and it was a fifteen-member ensemble, after all, not a soloist trying to project their lone voice to the back of the hall.
Granted, I don't hear as much live classical music as I'd like--ticket prices are so high, and the free concerts usually involve standing an hour on hard marble floors while waiting to get a seat--but is this a new trend? It seemed unneccessary, and the amplification was pretty obvious, especially during the first part of the program.
Tim Page: I wasn't at the concert, and so know nothing about the amplification. I'm often baffled by the decision to go with artificial sound. Lisner's acoustics are not the best, but I've heard unamplified concerts there that carried well enough.
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Fairfax, Va.:
I was recently in San Francisco and Reno, NV and attended concerts by the respective cites symphonies. In both cases the had pre-preformance seminars as well as extensive info on their Web sites.
As far as I know, the NSO does not do this. I think they are missing a good opportunity to educate and advocate. Any idea why the NSO does not do this?
Tim Page: Orchestras decide to allocate their resources in different ways. In fairness to the NSO, the orchestra does regularly offer post-concert discussions with composers and performers. But certainly more could be done.
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Washington, DC:
My nine-year-old niece takes piano lessons, has just started the viola in her school orchestra, and plays the recorder for the fun of it. She goes around humming "The Four Seasons" and obviously likes classical music. That said, she's no savant and though she's very talented, it's pretty obvious she's never going to be a concert musician: Music is fun for her, but not so much fun she wants to give up sports to practice six hours a day. I'd like to give her something related to classical music for a Christmas present, but I'm not sure what. Her school sent her class to the National Symphony's children's concert
last year, and I expect they'll do so again, so I don't need to buy tickets to that. I've been burning cds of the "grown-up" versions of the music she's been learning through her piano lessons, so those have
lost their thrill. Do you have any other suggestions?
Tim Page: It sounds to me like you're doing your part to get your niece interested. Forget about six-hour practice sessions but if you could get her to practice for an hour or two a day for a few months, she might become hooked (and that's really what happens -- practicing becomes an obsession, and not to be missed). You might want to take her to a "real" concert, too -- I have great admiration for children's concerts but they really aren't the same thing.
Maybe you could have her meet with one of the NSO musicians, who would probably be delighted to talk with her about the art they love so much. CDs and DVDs can be inspirational.
I'm glad you are taking this so seriously. If you can kindle a love for music in a young person, it will continue to reward them.
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Oak Ridge, Tennessee:
Cecelia Bartoli is giving several concerts in the U.S. in February. Given the qualities of her voice and your knowledge of particular concert halls, where do you think it would be best to try and hear her sing. She'll sing at Carnegie Hall, the Kennedy Center, Orchestra Hall in Chicago, Boston Symphony Hall, Zellerbach Auditorium in Berkeley. Thanks for your advice!
Tim Page: Given unlimited resources, I'd go for Carnegie or Symphony Hall (Boston) for sheer sonic lustre, although they are rather too big for solo vocal recitals. I hear good things about Zellerbach, and I believe it is a much smaller hall, so you might have a chance at some real intimacy there. The Kennedy Center and Orchestra Hall will do.
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Re: Cheap tickets:
The Kennedy Center seems to regularly offer half-price student tickets. The National Gallery of Art has an excellent free Sunday evening concert series, with some big name performers in the upcoming season. You can find the schedule on their website.
Tim Page: My only objection to the National Gallery concerts is the damp acoustics. Some superb musicians play there, but their sounds are lost in muddle.
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re free and orchestral:
The Friday Morning Music Club (community, semi-professional) presents full orchestral programs, all free:
http://fmmc.org/
Tim Page: Yes -- a very valuable and long-standing organization.
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re KenCen discounted tix:
Here's a link to the Kennedy Center's info on specially priced tickets -- half-price for students, seniors and others. This can be hard to find on their site if you don't know it's there:
http://www.kennedy-center.org/text/tickets/spts.html
Tim Page: Thanks for cutting through the red tape.
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Bethesda, Md:
Where can you take children to hear live classical music? I want to expose my young daughter to the music (and hear it myself!) wihout getting angry glances from the audience.
Tim Page: Start with programs designed especially for children. Once you know that your daughter can be quiet for a long period of time, you can start taking her along to evening concerts.
I appreciate your thoughtfulness on this matter. I attended a performance of "Fidelio" at Constitution Hall last year that was marred by a two-or-three year old's whine right at the beginning of the first act Quartet. I'm afraid I gave a few angry glances at the parents myself that night!
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Tim Page: Well we almost got to everybody today. I'm sorry to those few readers I missed and would hope that they would write in again during our next chat, which will take place two weeks from today.
Thanks again for tuning in.
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