ALERT 1: The Sunday Afternoon Live performance by the Wisconsin Brass Quintet at the Chazen Museum of Art is NEXT SUNDAY, NOT TODAY. The Ear apologizes for the mistake.
ALERT 2: Tonight’s concert of new music for woodwinds and piano by UW-Madison professor Les Thimmig and pianist Jessica Johnson has been CANCELLED.
By Jacob Stockinger
He is Jaap van Sweden (below, in a photo by Todd Heiser for The New York Times , a 55-year-old Dutchman, acclaimed for his technical prowess, who now is the music director of the Dallas Symphony Orchestra and the Hong Kong Philharmonic.
There are a lot of stories The Ear could link to.
Here is a short summary from NPR (National Public Radio) with audio clips of his conducting:
But he found the coverage by the New York Times quite comprehensive and, on balance, fair.
It featured a main news story with some important feature elements, including the critical acclaim van Sweden received for conducting music by Gustav Mahler and Ludwig van Beethoven. (Below, you can see van Sweden conducting the New York Philharmonic in 2014 in a photo by Hiroyuki Ito for The New York Times).
And it also featured a column or commentary by senior classical music critic Anthony Tommasini, who spoke in Madison on the occasion of the centennial of the Pro Arte Quartet that was held at the University of Wisconsin-Madison School of Music.
Overall, Tommasini’s notebook entry is a fine and insightful piece, even if it gets tiring to hear Tommasini climb up on his high horse and whine yet again about the neglect of new music and contemporary composers – which does not seem fully justified based on the record of this particular conductor.
Tommasini – who himself was trained as a composer — clearly would have preferred former Los Angeles Philharmonic conductor and composer Esa-Pekka Salonen (below) as the new music director and conductor. Hmmm – could they be friends?
For his part, it may sound provincial but The Ear is more concerned that the very same symphony orchestra that made history in American culture for hiring the first American-born and American-trained maestro – Leonard Bernstein (below), who also just happened to put Jaap van Sweden on the path to a conducting career – is once again turning to Europe rather to the many fine conducting talents in this country.
Why was no American conductor chosen. One who comes to mind is Marin Alsop of the Baltimore Symphony Orchestra (below top) and the Sao Paulo State Symphony Orchestra in Brazil who is also a Bernstein protege. And then there is David Robertson of the St. Louis Symphony Orchestra and chief conductor of the Sydney Symphony Orchestra in Australia(below bottom).
Seems odd that Marin Alsop is good enough for Brazil and David Robertson is good enough for Australia — but not for New York?
The Ear wants to ask the Philharmonic’s board of directors: Do you really find all American conductors to be that inferior to Jaap van Sweden?
Maybe there were practical considerations — salary, contracts, availability, refusals — that made hiring an American conductor impossible. But the stories suggest that the choice of van Sweden was made early on and the fix seemed in. Too bad. It still seems like a great opportunity that was lost.
You can decide for yourself.
Here is the news story by Michael Cooper:
And here is Tommasini’s column:
Do you know the work of Jaap van Sweden?
Have you heard him in live or recorded performances?
What do you think?
Here is a sample of Jaap van Sweden conducting Beethoven’s Symphony No. 7 in a YouTube video at the bottom.
Leave your opinion in the COMMENT section.
The Ear wants to hear.