The Well-Tempered Ear
Superstar maestro Gustavo Dudamel to leave LA for the New York Philharmonic
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By Jacob Stockinger
It will probably be the biggest music news story of the year, perhaps even the decade.
Gustavo Dudamel (below), the Venezuelan-born maestro of the Los Angeles Philharmonic, will become the music director of the New York Philharmonic starting in 2026.
The news was announced late yesterday afternoon on both coasts. The New York Philharmonic post is probably the most prestigious music post in the United States, a podium once occupied by Gustav Mahler, Arturo Toscanini, Leonard Bernstein, Zubin Mehta and Kurt Masur.
In what one imagines is a very, very expensive coup — the financial terms were not disclosed — the New York Philharmonic recruited the 42-year-old superstar maestro who is known for giving passionate and fiery performances and for innovating music education programs, both of which have brought in bigger and younger audiences.
He also built a reputation for championing new music, Latin music and musicians of color. (In the YouTube video at the bottom, you can hear Dudamel conducting Mexican composer Arturo Márquez’s Danzón No. 2, a Latin American piece he made famous and which is now often used by other orchestras on full programs or as an encore. In the video, he is conducting the Simón Bolivar Youth Orchestra, the senior orchestra of “El Sistema” and the post that Dudamel held before heading to Los Angeles.)
Dudamel has guest conducted the New York Philharmonic more than two dozen times. The musicians there have greeted him warmly and enviously, especially since their CEO Deborah Borda originally signed Dudamel to the Los Angeles post in 2009 when he was 26.
Born into a musical family, Dudamel himself became a professional musician by rising through the ranks of “El Sistema,” the national youth music organization in his native country. He studied violin and composition before turning to conducting with global success and fame.
In Los Angeles he has been nominated for and won many Grammys for his many recordings. He also been the music director of the Paris Opera.
It is worth noting: New York will soon have two of the most charismatic and recognizable conductors in the world: Dudamel; and Yannick Nézet-Séguin, who is the music director of the Metropolitan Opera as well as the music director of the Philadelphia Orchestra and Metropolitan Orchestra of Montreal.
Here are stories from both sides now: from the West Coast he is leaving and the East Coast he will be going to.
Here is the story by The New York Times:
And here is the story from The Los Angeles Times:
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This Saturday afternoon, the Wisconsin Chamber Choir presents a free online parking lot concert of “Car Carols” with an emphasis on African-American composers
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By Jacob Stockinger
The Ear has received the following announcement to post:
Join the Wisconsin Chamber Choir (below) this Saturday afternoon, Dec. 12, at 2 p.m. for Car Carols, a unique holiday concert featuring live, socially-distanced performances of music by African-American composers and seasonal favorites.
Choir members will sing from their individual cars using wireless microphones (below), listening to the sound of the whole choir via their car radios. The audience is invited to join our Facebook event or listen in live on YouTube.
There is no charge to view the live-stream, but donations would be welcome.
You can find the concert on this Saturday, Dec. 12, a 2 p.m. via the following links: live on YouTube at https://youtu.be/ZonVn1cvgb8, or on Facebook at: https://www.facebook.com/events/1561155960751974/
This unusual concert format was necessitated by the Covid-19 pandemic, but the WCC is grateful for the opportunity to continue singing together in safe ways.
Since September, the choir has been rehearsing as a Parking Lot Choir, generating local media coverage from WKOW-TV at https://wkow.com/2020/10/13/wisconsin-chamber-choir-making-adjustments-to-prepare-for-performance/ and Madison Magazine, whose story was headlined “Forget tailgates, parking lots are for choir practice: https://www.channel3000.com/forget-tailgates-parking-lots-are-for-choir-practice/
This past September and October, smaller groups from the WCC assembled on Saturday mornings at the Warner Park Pavilion to rehearse in widely spaced formations.
They wore specially designed singers masks, and occasionally harmonized with nearby sandhill cranes that seemed unsure what to make of the a cappella music floating through their habitat.
Recordings by five distinct small ensembles — minus the cranes — will be aired during the Dec. 12 Car Carols broadcast, in addition to live singing by the Parking Lot choristers.
The Car Carols repertoire highlights music by African-American composers spanning nearly a century. Idiomatic pieces in the style of spirituals and contemporary gospel alternate with “non-idiomatic” motets and anthems by Nathaniel Dett (below top), William Dawson, Undine Smith Moore (below middle) and Carlos Simon (below bottom, with an oral self-portrait in the YouTube video at the bottom).
The remainder of the Parking Lot Choir selections consists of carol arrangements by WCC favorites — the late Stephen Paulus (below) and Peter Blotch — and feature virtual harp and violin accompaniment.
Live and virtual performers will also unite to sing Craig Hella Johnson’s moving arrangement of the songs I Love You and What a Wonderful World.
Interspersed between the live Car Carols will be a wide variety of pre-recorded selections, including the world premiere of WCC member Linda Palmer’s arrangement of Sussex Carol, plus music by Johannes Brahms, John Rutter, 17th-century female composer Chiara Cozzolani (below), and Tleycantimo choquilia, a carol from colonial-era Mexico, sung in Spanish and Nahuatl.
Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms; a cappella works from various centuries; and world-premieres.
Artistic director Robert Gehrenbeck (below), who heads the choral program at the University of Wisconsin-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks. WCC members have acknowledged Gehrenbeck for his intrepid conducting in freezing temperatures during Parking Lot Choir rehearsals.
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Classical music: Today is May 5 — Cinco de Mayo. And here is a work by Mexican composer Gustavo Campa to celebrate the holiday
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By Jacob Stockinger
Today is May 5 – the colorful Mexican holiday Cinco de Mayo.
If you don’t know the origins of the holiday and what events sparked it, here is a link to the Wikipedia entry:
https://en.wikipedia.org/wiki/Cinco_de_Mayo
Usually the music that celebrates the holiday is popular music or folk music – including mariachi bands and guitar music.
But there is also a good amount of classical music by Mexican composers that can mark the occasion.
In past years, this blog has featured Mexican performing artists such as the terrific pianist Jorge Federico Osorio and the most famous Mexican composer, Carlos Chavez (below, in a photo by Paul Strand).
But there are many others.
Perhaps programming and performing more Mexican and Latin American composers and music would help attract Latinx listeners to concert halls once they reopen.
In any case, here is a link to a sampler or compilation of Mexican music found on Spotify:
https://www.classicalmusicindy.org/cinco-de-mayo-playlist/
And here, in the YouTube video at the bottom, is a lovely “Melody” for violin and orchestra, with a photo essay, by the Mexican composer Gustavo Campa (below) along with a link to his biography:
https://en.wikipedia.org/wiki/Gustavo_Campa
Happy Cinco de Mayo!
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