http://www.stuartmalina.com/index.htmlStuart Malina Blog Entriesensmalina@comcast.netCopyright 2006 Stuart Malina2008-07-12T23:00:56-04:00 hourly 1 2000-01-01T12:00+00:00 Sat, 12 Jul 2008 23:15:11 -0400Stuart MalinaStuart Malinastuart@stuartmalina.comOrchestra, Conductor, Classical PodcastsDiscussion of the repertoire for Harrisburg Symphony Orchestra performances.smalina@comcast.netBlog and Podcasts2008-07-12T23:00:56-04:00http://www.stuartmalina.com/blog/files/07b82d9bde1f5a1f9b12a663b112639c-65.html#unique-entry-id-65http://www.stuartmalina.com/blog/files/07b82d9bde1f5a1f9b12a663b112639c-65.html#unique-entry-id-65
I must admit, I’m a bit taken aback by how few votes there were, but the consensus is clear: 69% of the voters like the beard, as opposed to only 21% who want me clean-shaven.

My children will be relieved - they were afraid they wouldn’t recognize me.

I am planning on incorporating more polls as I continue with this site. It might give me some valuable information. The new poll deals with who you are. Please proceed to the poll page and click some buttons!]]>smalina@comcast.netBlog and Podcasts2008-07-02T14:38:21-04:00http://www.stuartmalina.com/blog/files/28dd5bcadb3ca6fc9066b01a834a0572-64.html#unique-entry-id-64http://www.stuartmalina.com/blog/files/28dd5bcadb3ca6fc9066b01a834a0572-64.html#unique-entry-id-64
Zac in traditional Chinese garb

Tianjin is a large city of somewhere around 15 million people (no one seemed to know for sure), 3 hours outside of Beijing by car. The city sprawls. Enormous complexes of apartment housing are everywhere. Construction is everywhere, from more apartment buildings, to skyscrapers, to a new subway system. Tianjin is abuzz with excitement right now, as the Olympics will hold events there this summer - soccer and ping pong. A new soccer stadium is up, and roads are being repaved, bridges renovated, and landscaping redone.

Tianjin is clearly not a major tourist city. There are a few museums, which have a decidedly pre-opening-up-to-the-West feeling to them. The biggest tourist attraction is the Ancient Culture Street, a vast market of art, clothing, souvenirs, and chachkees (is that how you spell the word? I don't think I've ever written it before). I made several visits there, as I love the whole bargaining thing. I wrote about it last year, when I went to China with Bob Cheung on the Symphony trip. Everything is negotiable. Zac bought a mah jong set for his wife, Helen, at a seemingly high end depatment store near the hotel. It was sold at the sporting goods department. On a whim, Zac made a counter offer to the listed price, expecting to get a laugh out of the salesman. Instead, he got a third off the price. Simply stunning!

The Tianjin Conservatory of Music has about 2500 students. About half study Western music, the rest traditional Chinese music. I had the pleasure of attending a rehearsal of the traditional Chinese orchestra. The music was very cool and beautiful, played by a sea of erhus of various sizes, zhongs, pipas, gongs, etc. My job this week was to play a chamber music concert with my Pittsburgh colleagues and to rehearse and conduct the (Western) orchestra, culminating in a performance on Saturday night. We performed the Mendelssohn Konzertstück for clarinet and bassoon (originally clarinet and basset horn), the second and thrid movements of the Brahms Double Concerto, and Dvorak's New World Symphony (#9).

The young musicians in the orchestra were of a wide range of ability. Some were quite excellent, others very weak. The most interesting thing about the conservatory orchestra is that the students have virtually no experience playing in ensembles. So things that American youth orchestras take for granted, like listening and sub-dividing beats, had to be taught on a daily basis there. The other surprising thing to me was that the students seemed almost completely unaware of how the music goes. Many of the section leaders in the orchestra were junior faculty members. This was certainly a big plus, particularly in the strings, where the faculty members had all studied in Europe or Israel, so they had a good grounding in Western music, tradition and convention. But the students had very little understanding of how one plays in an orchestra. The thrust of their studies was solo repertoire, with orchestra being almost an afterthought. Strange, given that the bulk of those few that will make successful careers will be playing in orchestras....

Me with String Faculty

I did feel a very nice rapport with the students, and the work was very satisfying. But this was clearly a process-driven week. The concert went very well, given where we started, but I would have been just as happy only rehearsing, as that's where the most work got accomplished.

The conservatory faces many challenges. Music is very expensive, and hard to come by. This might explain the lack in chamber music programs. I was amazed to hear, after our chamber music concert, that we were probably the first performance in Tianjin of the Brahms Horn Trio! The other big challenge is that so much of the curriculum is prescribed by the powers that be, so very little discretion is allowed for designing an effective program for the students. We discussed all these things at length with the faculty members who hosted us.

Outside of the musical experience, which was fascinating, the most lasting impression is of the truly unbelievable hospitality shown us by the conservatory and its representatives. The conservatory is not wealthy, to say the least, and this trip was a very expensive one for them to pay for. But on top of all that, we were treated like kings and queens. Every lunch and dinner (breakfast was an outstanding buffet at the hotel) was a multi-course banquet of the most delicious Chinese food I have ever had. The beer and liquor (a very strong Chinese schnapps) was always flowing. Just when you thought you couldn't eat another morsel, five more courses would come out, and then more. I have fallen in love with Sichuan cuisine. The peppers in Sichuan food are indescribable - they are not really hot, but they awaken and highly stimulate every taste bud on your tongue. It's an amazing feeling.

We were driven around town and shown the few sites. We were always greeted with ebullient affection. Despite the fact that most of those we spent time with could not speak any English (Hong Guang and Adam speak Chinese and the Secretary of the Conservatory, Hu, as well as the trumpet professer, Chen spoke some English), the camaraderie and fellowship was powerful and delightful.

With Chen

Zac, Hu, and Wu

At one of our banquets

There was a steady flow of gifts, too. Gifts from our hosts, from the faculty, even from some of the students. And not junky gifts either. Lovely works of art, and tea, and crafts. Again, generosity is the name of the game. They do hospitality like I've never seen before.

Two particular occasions are worth special mention. The day before we left, Michael, Nancy and I were invited to have lunch with the bassoon professor. We called him "Money", because his name, Yuan, is the same as the Chinese currency. He and his wife share a lovely, if a bit small, two-bedroom apartment a few blocks from the conservatory. Neither speaks any English, so we had an excellent translator with us. He and Nancy have known each other for a few years, and she is clearly a very important friend to him - there are photos all over of the two of them together. What made the visit so special was the incredible warmth we felt from the two of them, as well as the delicious meal Money's wife provided. We found out that she had been cooking for two days in preparation. And of course, they had several lovely gifts for us.


Mike, Nancy, and Moneys

The other occasion came directly afterward. We were picked up at the apartment by Hu, the aforementioned Secretary, Liu, the Director of Orchestral Studies (and oboe professor), and Wu, the Communist Party overseer of the Orchestral Studies Department. (We had laughed all week at the collection of names - Hu, Wu, Liu, and Stu (they actually called me a multi-syllabic version, Suh-too). All three had been at every meal we had eaten all week, and were each lovely people. They were very secretive about where we were going. It turned out that we went fishing. I had never been fishing before. What fun. It was in the middle of the city, at a private pond reserved only for esteemed party members. I caught eight fish. Don't be too impressed, as it was pretty clear they stocked the pond with so many fish that they were seemingly dying to get caught. After fishing, we took the fish to a restaurant specializing in cooking fish, and they used them in preparing our meal. Yum.

Wu, Liu, Nancy and Mike
Catch of the Day

It was a very different kind of trip from the one last year. Last year, I was a tourist, and saw some unbelievable things that I will always remember. This time it was a working and living trip, meeting people who care about the same things I care about, making music together, and forging bonds of friendship that, despite the fact that I was there only a bit more than a week, will remain strong even if it's many years before I see them again.

Nancy and Hu]]>smalina@comcast.netBlog and Podcasts2008-06-28T16:18:09-04:00http://www.stuartmalina.com/blog/files/5c11d14c867999edacd669faa789c9e7-63.html#unique-entry-id-63http://www.stuartmalina.com/blog/files/5c11d14c867999edacd669faa789c9e7-63.html#unique-entry-id-63
So, here I will go on record promising at least to try harder. Now that the summer camp season has begun, there should be more opportunity.

As always, I welcome (nay, request.... nay, beg for) feedback, so I know that someone, somewhere is reading what I have to say. For those who have written, my eternal gratitude.

So keep tuned...]]>smalina@comcast.netBlog and Podcasts2008-06-28T15:56:36-04:00http://www.stuartmalina.com/blog/files/f53b2a593b6006ba506db46605dec89c-62.html#unique-entry-id-62http://www.stuartmalina.com/blog/files/f53b2a593b6006ba506db46605dec89c-62.html#unique-entry-id-62
After a bit of searching, I found a polling plugin (JS Kit Polls), and I was up and running.

So, what do you think? Should it stay or should it go?

For your polling convenience, I have included pictures of me with and without the beard. Remember, the one sans beard is from a few years ago, so there will probably be a bit of wear and tear...



For your polling convenience, here is a link to the polling page. Of course, you can also click on the word "Poll" in the column to your left.]]>smalina@comcast.netBlog and Podcasts2008-05-15T12:51:59-04:00http://www.stuartmalina.com/blog/files/d051a36828138be3d79bb1236e926142-60.html#unique-entry-id-60http://www.stuartmalina.com/blog/files/d051a36828138be3d79bb1236e926142-60.html#unique-entry-id-60
Last weekend was the final Masterworks concert of the HSO 2007-2008 season. It's hard to believe that the year has flown by so fast.

The program was an insane one for an orchestra that does not play together regularly: Copland's Appalachian Spring, Strauss' Till Eulenspiegel's Merry Pranks, and Stravinsky's Rite of Spring.

As usual, the orchestra exceeded my high expectations. They were well-prepared, they worked hard and efficiently in rehearsal, and they performed with incredible abandon and energy. This was my first performance of the Stravinsky, and I was very proud of my efforts on this beast of a piece.

The Sunday performance also taught me a lesson that I have taught many times: mistakes are a part of performance, and generally are unimportant in the large scheme. We had a few big errors in the Stravinsky on Sunday, all simple lapses in concentration, but certainly conspicuous to anyone who knows the piece. One of these errors led to another, much more conspicuous one early on in the piece. No need to mention who the players were. Suffice it to say that they are all some of the most consistent, well-prepared, and talented members of the orchestra, who, other than these few isolated spots, performed magnificently throughout the weekend (and on crazily difficult parts). They simply made mistakes, as we all sometimes do.

I will not lie and say that the mistakes didn't bother me. Of course they did. In the moment, I felt peeved and a bit frantic (there was some in the moment damage control to be done).

What surprised me was that several audience members who attended both performances said that the Sunday performance had even more energy, and more powerful an overall impact, than the Saturday night performance. Fancy that.... all those things I've said a thousand times about mistakes not being important, turned out to be true.

Mistakes are a part of live performance. I have never done a mistake-free performance of any kind. One of the great benefits of conducting is that the mistakes are inaudible and usually rectified by the musicians. In chamber music I mess up all the time. Sometimes the audience just doesn't know it's happened. More frequently, they just don't care that much. Live performance is about so much more than just all the notes being perfectly played.

But we do come pretty close most of the time.....

Anyway, it's been an amazing season, with some very memorable performances. I'm happy to have some time this summer to recover and regroup, but I give myself only a few weeks before I start getting excited about starting up again in the fall.

I'm off to China this weekend - joining a small group of players from the Pittsburgh Symphony to be in residence at the Conservatory in Tianjin. I'll be conducting the student orchestra and playing some chamber music with my esteemed colleagues. It should be fun, and I'll write about the experience soon.]]>smalina@comcast.netBlog and Podcasts2008-04-10T22:54:53-04:00http://www.stuartmalina.com/blog/files/6112f0ced86a9c8b7cb7b3480d22f41e-59.html#unique-entry-id-59http://www.stuartmalina.com/blog/files/6112f0ced86a9c8b7cb7b3480d22f41e-59.html#unique-entry-id-59Dona nobis pacem and Beethoven's Ninth Symphony. It was a wrenching, emotionally overwhelming weekend for me. To begin with, the music itself is so powerful, particularly the Vaughan-Williams for me (believe it or not), with its crushing anti-war message. To follow this with the Ninth Symphony was a lot of emotion for one concert.

But so much more was going on. One of the HSO's cellists, John Zurfluh, died a week before the concert weekend. I do not want to go into much detail, but his illness had a profound effect on the orchestra, and his death was very difficult. It is always tough to make memorial dedications before concerts - this one was particularly hard.

There were a few other internal issues going on in the orchestra. Again, I don't want to get into them here. But the sum total of this was a highly charged performance. I have to admit, I don't remember much about Saturday night, other than the intensity of the experience. Sunday was much more lucid, and I was very proud of the performance. The reaction from the audience was tremendous. Admittedly, one expects that from Beethoven's Ninth. But the Vaughan Williams was equally well received.

I would be terribly remiss if I did not take this opportunity to praise the chorus - a combination of four choruses, the Susquehanna Chorale, Messiah College Concert Choir, Messiah College Choral Arts Society, under the direction of my friend and frequent collaborator Linda Tedford; and the Alumni Chorale of Lebanon Valley College, directed by Gregg Mauroni. Gregg has just taken the reins of the Alumni Chorale - Pierce Getz, their long-time conductor, died last year. This combination choir was absolutely superb - and on a most demanding program. I am spoiled to have such singers and directors at my disposal. Bravo to them all.

The orchestra, as always, was magnificent. I love making music with them.

All four soloists were terrific.

But for me the heros of the evening were the composers. To write music of such power, that says so much about the human condition, and has such potential to move an audience, is a miracle.]]>smalina@comcast.netBlog and Podcasts2008-03-25T10:49:19-04:00http://www.stuartmalina.com/blog/files/4f3d494d9f8168c10dffdeea458dec1c-58.html#unique-entry-id-58http://www.stuartmalina.com/blog/files/4f3d494d9f8168c10dffdeea458dec1c-58.html#unique-entry-id-58Dona nobis pacem. I've decided, based on my studies, not to do a podcast on the piece.

So what happened to cause this decision?

I started weeping while studying. This doesn't usually happen to me. The process of studying for me is usually fairly cerebral. I do, of course, think a lot about the emotional content of the music, but, again, from an intellectual standpoint. The true emotion generally comes out later, in rehearsal and performance.

But for some reason, this piece got to me today. I don't know if it's Walt Whitman's moving poetry, the heart-wrenching, gorgeous music that Vaughan Williams provides to illumine it, or the sad timeliness of the piece's theme given this week's news (4000 Americans and countless Iraqis dead), but whatever it is, the resulting work of art packs a powerful punch.

Dona nobis pacem was composed in the early 1930's, on the eve of World War II, when Europe would destroy itself. The piece, for chorus, two soloists and orchestra, is on the one hand a prayer for peace, and at the same time, a pondering of the horrors of war.

My guess is that the vast majority of our audience has not heard this work before, and I want them to experience it unencumbered by pre-conception, analysis, or pre-concert musical snippets.

It should be a memorable evening.]]>smalina@comcast.netBlog and Podcasts2008-03-19T16:26:02-04:00http://www.stuartmalina.com/blog/files/9d75c6d585c77c2bc185114ac620c25f-57.html#unique-entry-id-57http://www.stuartmalina.com/blog/files/9d75c6d585c77c2bc185114ac620c25f-57.html#unique-entry-id-57
You think I'm a little proud?

]]>smalina@comcast.netBlog and Podcasts2008-03-14T11:43:52-04:00http://www.stuartmalina.com/blog/files/36734683ebb96c04c9e38aaddd77578d-56.html#unique-entry-id-56http://www.stuartmalina.com/blog/files/36734683ebb96c04c9e38aaddd77578d-56.html#unique-entry-id-56
Odin Rathnam (HSO Concertmaster) and I did a small chamber music program for autistic children at the Capital Area Intermediate Unit. There were about 25 kids, ranging from very high to very low functioning autistic, along with some family members and therapists.

The idea for this concert (as well as sponsorship) came from Marilynn Kanenson, who had sponsored the Stuart & Friends concert earlier in the week. At last years S&F young person's concert, there were a handful of autistic children in the audience, who were noisy in their appreciation of the music. This didn't really affect us on stage, but it certainly was a distraction for the other students there. After the concert, Marilynn and I discussed the prospect of doing a designated program for autistic and other challenged children.

Among the many extreme challenges that parents of autistics face is finding activities with comfortable environments for their children. We wanted to create a thoroughly friendly environment for the kids, one in which they would feel comfortable expressing themselves - physically and even audibly - during the performance, without fear of shushing or curious (or even angry) stares.

Interestingly, the group this morning was extremely engaged, and thoroughly polite. There were one or two spontaneous vocal outbursts from a couple of the lower functioning children, but even they listened attentively.

Two vignettes:

1) There was one boy, I'd guess about 11 years old, who started out the concert with his sweatshirt hood up and his fingers in his ears. As the concert progressed, he became quite engaged (yes, the hood came down), and ended up participating in discussion more than any of the others, asking some very good questions as well.

2) Another boy, a couple of years older, and not nearly as highly functioning, listened intently for the whole show. At the end, he made a beeline to Odin and his violin. Odin is great with kids, and spent a good five minutes with this one child, showing him how to rosin his bow, allowing him to play some sounds on the fiddle, and letting him help put the instrument and music away. The boy then came to the piano and his therapist asked him to tell me what they had learned about in music class that week. He told me "ostinato" and proceeded to play a simple ostinato pattern on the piano's black keys, and in perfect rhythm!

We don't know a lot about the workings of these young minds, or how music can benefit young people on the autism spectrum. But it is absolutely clear to me that the children who heard us play can certainly appreciate the concert experience, possibly in an even greater way than more "mainstream" kids. Our mission as musicians should be to bring great music to the widest range of audience possible, and in environments in which they feel able to enjoy the experience. As such, we should be doing more of what we did today.

]]>smalina@comcast.netBlog and Podcasts2008-03-12T22:19:08-04:00http://www.stuartmalina.com/blog/files/fff90fc3f375ecfce682c66c7a62e2da-55.html#unique-entry-id-55http://www.stuartmalina.com/blog/files/fff90fc3f375ecfce682c66c7a62e2da-55.html#unique-entry-id-55

After a day of almost complete R&R, I am finally recovering from a very tiring week. An exhausting Masterworks weekend, a challenging Stuart & Friends program last night, and for most of last week, my wife Marty was sick with the flu. Thankfully, Marty is feeling a lot better. And the concerts went very well.

Stuart & Friends is a chamber music concert I do each year with members of the orchestra. It gives me a chance to work in a different way with the players and to give our audience members a more intimate and personable concert experience. I strive, as host, to keep the atmosphere relaxed, upbeat, and fun, while playing some beautiful music for them.

One lovely aspect of this concert is that it is sponsored by my friend Marilynn Kanenson in memory of her husband, Bill, who was president of the HSO's Board of Directors for my third and fourth year here. He was my first friend in Harrisburg, and a dear man who I miss very much. Marilynn's support has allowed Stuart & Friends to grow and develop an audience.

We had a very nice crowd at the Whitaker Center last night, and, as usual for me, I programmed a really hard concert for myself. I like to challenge myself in these concerts. This year I played Stravinsky's Suite Italienne with Fiona Thompson, the HSO's Principal Cello, Mozart's fiendish sonata in A Major with HSO concertmaster Odin Rathnam, and the the three of us joined with HSO Principal Viola Julius Wirth for Brahms' 2nd Piano Quartet (also in A). And we basically have a day and a half to put it all together.

I don't know what I was thinking.

It all went very well, but boy are my hands tired today...

Chamber music performances are a bit strange for me. Conducting is essentially a macrocosmic experience. You're concerned with grand gestures, leaving the detail work to the musicians. If your palms get sweaty, or your mind wanders for an instant, generally (not always, but generally) it doesn't affect the performance all that much. When you're playing the piano, on the other hand, it can mean a musical train wreck. Every little detail is evident. This is both terrifying and exhilarating. There was one moment toward the end of the third movement of the Brahms - we'd already navigated (and rather successfully) about 30 minutes of intense wonderful music - when someone started coughing in the audience. Had I been conducting, it would have had absolutely no impact. In this moment of the Brahms, though, I was jumping back and forth from one end of the piano to the other, and that little distraction threw me for an instant. Not disastrous, but I was a bit miffed at myself for that instant of thinking, "Oh... someone's coughing."

The other side of that coin is that actually playing the music is pretty cool. Don't get me wrong. I love conducting, and it's an amazing thrill. But I would not want to ever give up playing. The chamber music repertoire is so rich, and the experience of crafting the music, moment to moment, with colleagues and friends is so indescribably gratifying, that it would feel like an incomplete musical existence without it.

]]>smalina@comcast.netBlog and Podcasts2008-03-11T14:12:24-04:00http://www.stuartmalina.com/blog/files/52340afe148819fbef7e8a3ea57edbdd-54.html#unique-entry-id-54http://www.stuartmalina.com/blog/files/52340afe148819fbef7e8a3ea57edbdd-54.html#unique-entry-id-54
Percussionists: Adrian Stefanescu, Barry Dove, and Glenn Paulson
Timpanist: Peter Wilson

]]>smalina@comcast.netBlog and Podcasts2008-03-10T19:34:52-04:00http://www.stuartmalina.com/blog/files/a50e6d9f1effbbeab2f5d7f77bfc0701-53.html#unique-entry-id-53http://www.stuartmalina.com/blog/files/a50e6d9f1effbbeab2f5d7f77bfc0701-53.html#unique-entry-id-53
1) Wow, what a terrific piece Jennifer Higdon's percussion concerto is. Gripping from the start, evocative throughout, and a thorough examination of the wide range of expression percussion is capable of. This is not just a big drum jam session - there is as much tenderness as bombast.

2) Wow, what a tremendously talented musician Chris Rose is. I honestly don't know how I can adequately describe the magnitude of his accomplishment. I knew he was good, but I never could have imagined the polish, the unabashed virtuosity, the musicality, and the utter mastery of this incredibly difficult concerto. He rocked the Forum.

3) Wow, what a great percussion section the HSO has. Jennifer's concerto is a virtuosic display for not not only the soloist, but also for the three percussionists and timpanist in the orchestra. They were all simply amazing - which fills me with great pride.

4) Wow, the audience in "conservative" Harrisburg, PA can respond with not just enthusiasm, but with exultation for a great work of new music performed brilliantly. Virtually the entire audience was on its feet instantly following the final downbeat.

5) Wow, the Harrisburg Symphony can play anything, and well. This was no light-weight program. Every piece on the program is a killer, from the intensely difficult Walton Partita for Orchestra to the concerto (Jennifer does not let the orchestra sail through her concertos), to Ravel's La Valse (not only a technical workout, but stylistically tricky as well), to Rimsky-Korsakov's Capriccio Espagnol. We rehearsed very hard, and the orchestra, as always, showed up to play. This orchestra is a conductor's dream.

6) Wow, nice guys (or gals) do not always finish last. When I was at the Curtis Institute of Music (too many years ago), Jennifer Higdon was a composition student. She was a charming, down to earth, sweet person. She is now a superstar composer, and every bit as lovely as she was when we were kids at school. It was wonderful having her in town for the weekend, and she was so generous with her time, attending rehearsal, appearing at WITF for a live "Composing Thoughts" with John Clare, and doing pre-concert lectures and post-concert talkbacks with me. In all of this she was a bastion of energy and joy, forthcoming and good-natured. At the same time, Chris Rose is an equally lovely and unassuming guy, as easy-going and sweet as he is talented. What a pleasure!

This is the kind of concert that leaves me exhilarated and exhausted. They should all feel this good.

]]>smalina@comcast.netBlog and Podcasts2008-02-28T14:44:05-05:00http://www.stuartmalina.com/blog/files/4848c60657f5d311a9f4d7aadd325b93-52.html#unique-entry-id-52http://www.stuartmalina.com/blog/files/4848c60657f5d311a9f4d7aadd325b93-52.html#unique-entry-id-52



Podcast

]]>smalina@comcast.netBlog and Podcasts2008-02-27T11:39:48-05:00http://www.stuartmalina.com/blog/files/1c1248e71ef45de3b03ca7b2d9ee35a8-51.html#unique-entry-id-51http://www.stuartmalina.com/blog/files/1c1248e71ef45de3b03ca7b2d9ee35a8-51.html#unique-entry-id-51the Sound Exchange, where you can hear the instruments demonstrated by the Philharmonia Orchestra (use the menu on the left to navigate).




Podcast

]]>smalina@comcast.netBlog and Podcasts2008-02-26T14:37:05-05:00http://www.stuartmalina.com/blog/files/20eacf8a8b21b584e7894c1ea422b51a-50.html#unique-entry-id-50http://www.stuartmalina.com/blog/files/20eacf8a8b21b584e7894c1ea422b51a-50.html#unique-entry-id-50


Podcast

]]>smalina@comcast.netBlog and Podcasts2008-02-21T13:52:45-05:00http://www.stuartmalina.com/blog/files/88a315deb918d1b98390c3d480543e3f-49.html#unique-entry-id-49http://www.stuartmalina.com/blog/files/88a315deb918d1b98390c3d480543e3f-49.html#unique-entry-id-49Rounds for String Orchestra, Mozart Violin Concerto #5 and Mendelssohn Symphony #3. A few thoughts:

1) I tried using classical seating for the strings this time. I figured that with the slightly smaller string section and the classical/early romantic repertoire (Mozart and Mendelssohn), it would make a good experiment. I for one was very pleased. Particularly in the Mendelssohn Scottish, thre are so many instances where it's absolutely clear that he was writing for this configuration, with frequent stereophonic effects. I also found that the second violins played with more confidence. Interestingly, so did the violas, who are normally on my right. Maybe they needed the comfort of being between the firsts and the cellos. Whatever the reasons, I thought it worked, and I will not hesitate to use this seating when the occasion warrants in the future (probably the next time will be in April for Beethoven's 9th Symphony).

2) Augustin Hadelich, who played the 5th Mozart Violin Concerto, was nothing short of spectacular. One needed only watch the players in the orchestra, and the utter respect they were telegraphing, to know that we were listening to a master. And at the ripe old age of 23! He plays with such unassuming grace, while at the same time with such energy and abandon. It was simply perfect Mozart. I hope Augustin has the kind of brilliant career he deserves. Nice person too.....

3) What a lovely change of pace for the orchestra. We usually perform the big repertoire of the later 19th and 20th centuries - pieces that take you on emotional roller coaster rides. As stormy as the Mendelssohn Scottish Symphony is, it is serene, tuneful, delightful, and relatively light. Not that it is easy - in some ways, the music is even more difficult than the big romantic works because it is so transparent and there is no place to hide. But it is certainly comfort food for our audience's ears. I'm so glad I programmed it, and that we used a smaller ensemble.

4) David Diamond's Rounds for String Orchestra should be played more. It is an exuberant, interesting, and decidedly American piece of music.

5) The orchestra played wonderfully. I know I've said this many times, but what a lucky conductor I am to have such a talented, and nice, group of musicians to work with.

I have a lot on my plate now. Several new pieces for me on the next concert, and then a very quick turn around to Beethoven's 9th, and Vaughan Williams' Dona Nobis Pacem (also a first for me). Add to that another ambitious Stuart & Friends concert (Stravinsky Suite Italienne, Mozart K. 526 Violin Sonata, and Brahms A Major Piano Quartet) in between and you have yourself a busy conductor/pianist.

Back to work!

]]>smalina@comcast.netBlog and Podcasts2008-02-03T22:05:11-05:00http://www.stuartmalina.com/blog/files/a45be3161e4b883dd0610512a15955f8-48.html#unique-entry-id-48http://www.stuartmalina.com/blog/files/a45be3161e4b883dd0610512a15955f8-48.html#unique-entry-id-48
What a great football game. A cliff-hanger to the very finish. They should all be this good.

Congratulations to the Giants. An amazing finish to the season, and denying the Patriots their perfect season at the same time. Great day in sports.

]]>smalina@comcast.netBlog and Podcasts2008-02-03T12:52:41-05:00http://www.stuartmalina.com/blog/files/446079556bbfcdd6f5ed83607253eee4-47.html#unique-entry-id-47http://www.stuartmalina.com/blog/files/446079556bbfcdd6f5ed83607253eee4-47.html#unique-entry-id-47
First, my pick for the Super Bowl. Giants over the Patriots, 23-21. Now, understand, I know very little about handicapping football. I like watching the games, but I'm not a fan, like I am of baseball and the New York Mets (more on them later). But the Giants are from New York (okay, New Jersey, but close enough), and I have an irrational dislike of the Patriots. I generally root for the underdog, thus my prediction.

It's been a very big week for the Mets. They finally landed Johan Santana, one of baseballs best pitchers. After the ignoble and depressing finish to last season, the Mets' faithful needed good news in the off-season. Interestingly, the Mets have gone from the expert's pick for third place in the Eastern Division to the pick to seriously challenge the American League powerhouses in the World Series. I think this is hogwash. But, it's nice heading into the new season with a great deal of optimism.

While we're on sports, how about Tiger Woods? The man is over the top great. He seems to always find a way to win. I said before that I generally root for the underdog. One exception is golf. I always root for Tiger.

On Tuesday, Our friend Marilynn took me and the kids to an open rehearsal of American Ballet Theater's production of Sleeping Beauty at the Kennedy Center. It was beautiful. Gorgeous costumes and sets and wonderful dancing. Unfortunately, in act three, the dancers were almost entirely marking. Not much happens in the third act - the prince has already kissed Princess Aurora - it's mostly just set dances. My son, who was on my lap, leaned over about halfway through, and said, "Dad, this is kinda boring." He was right. Not much excitement in watching the bluebird walk back in forth on the stage and throw up his hands. Next time, we should probably go to a performance.

Two nights later, more dancing. I went to see Movin' Out in York, PA. This is the latest incarnation of the show - the non-Equity production, produced by Troika Entertainment. Twyla Tharp directed it herself, and I, with the invaluable and expert help of David Rosenthal, put the band together. I went a few weeks back to see it in Reading, at a beautiful but accoustically challenged theater. It was a bit discouraging, as the sound was very muffled. In York, I thought it sounded great. It also gave me a chance to see both of the tour's piano men - Matthew Friedman (who I saw in Reading), who's performance was very familiar, as he did the first national tour as well; and Kyle Martin, who I hadn't seen do it since we opened in Atlantic City last summer. At the time he was a bit green, and just getting used to the in-ear monitering system. Lots of potential, but not quite there yet. On Thurday, I thought he was terrific. Totally comfortable, energetic, charismatic - everything we hoped for when we hired him. And the band sounded great. As for the dancing, I was very impressed. They cast is doing a wonderful job of keeping the energy up. The story telling is clear, and the dancing impressive. I'm really proud of this show.

That's it for now. I'm ready for more Advil.

]]>smalina@comcast.netBlog and Podcasts2008-01-28T05:34:57-05:00http://www.stuartmalina.com/blog/files/9e7b70198d68d7d4ccf6e1272892b51d-46.html#unique-entry-id-46http://www.stuartmalina.com/blog/files/9e7b70198d68d7d4ccf6e1272892b51d-46.html#unique-entry-id-46
Ah well, it is my cross to bear.

This was a most enjoyable weekend's work. We performed our second Pops series concerts, "An Evening with Rodgers and Hammerstein", aided by three wonderful Broadway stars, Melissa Errico, Gary Mauer and William Michals, and the splendid Susquehanna Chorale, with whom I've developed a lovely working relationship. Both concerts were sold out - we have often come close, but rarely has every seat literally been sold. The ambiance was electric. Of course the orchestra came through with flying colors, on what was actually a rather difficult program.

And the music is gorgeous. Some of the most beautiful music ever written. Admittedly, I am a sucker for classic musical theater, but this is as good as it gets. Not a bad song in the bunch, and many wonderful songs were not included.

There's an honesty about Rodgers and Hammerstein that is almost disarming. The poetry and naive optimism of Hammerstein's lyrics combined with the simple yet effusive joy of Richard Rodgers music leaves the listener (and performer) with a smile and often with goosebumps. This is feel good music at its best. Some might say it's corny, but I'll take that brand of corn any day.

To get to perform this music is extremely satisfying. Even worth losing a few nights' sleep.

]]>smalina@comcast.netBlog and Podcasts2007-11-12T13:46:11-05:00http://www.stuartmalina.com/blog/files/22dd267b9d2d69741fae2d1269b739f3-45.html#unique-entry-id-45http://www.stuartmalina.com/blog/files/22dd267b9d2d69741fae2d1269b739f3-45.html#unique-entry-id-45





Podcast]]>smalina@comcast.netBlog and Podcasts2007-11-05T14:24:21-05:00http://www.stuartmalina.com/blog/files/d25f832b77526e41aa8a7fab854e1fa6-44.html#unique-entry-id-44http://www.stuartmalina.com/blog/files/d25f832b77526e41aa8a7fab854e1fa6-44.html#unique-entry-id-44The Sea Hawk, and Robin Hood). Second, when there is no featured act we are presenting, so much more responsibility falls on the conductor as host and entertainer. For this one, I also played the piano and the accordion, and I sang some of Rawhide. Not that I'm complaining... frankly, I had a blast, and seemingly so did the audience.

The orchestra again exceeded my already high expectations. To put this program together with so little rehearsal time was nothing short of heroic. Add to that the humor and energy they brought to the stage. That is what sells a pops concert. If the orchestra and conductor are having fun and the music is well chosen and well performed, you cannot go wrong.

Nice crowds again for both shows, particularly Sunday's matinee.

My favorite moment: on Sunday, when I played the accordion solo for The Godfather Suite, Odin (our concertmaster) and several other string players got up and put dollars into the accordion case. A few pieces later, when Odin had a schmaltzy solo in The Green Leaves of Summer, I stopped conducting and threw a couple of dollars at him. Classic. ]]>smalina@comcast.netBlog and Podcasts2007-11-05T14:21:19-05:00http://www.stuartmalina.com/blog/files/0aa5b2c45932af213c4d90e4c2c4bed7-43.html#unique-entry-id-43http://www.stuartmalina.com/blog/files/0aa5b2c45932af213c4d90e4c2c4bed7-43.html#unique-entry-id-43

]]>smalina@comcast.netBlog and Podcasts2007-10-30T17:50:34-04:00http://www.stuartmalina.com/blog/files/43743e08ea66543355d6777c5de4b82d-42.html#unique-entry-id-42http://www.stuartmalina.com/blog/files/43743e08ea66543355d6777c5de4b82d-42.html#unique-entry-id-42Swashbucklers and Gunslingers concert this weekend. Our Marketing Director, Kent Wissinger, created this, and it's created quite a sensation in Harrisburg. It seems like a lot of people want to have signed copies to frame and hang in their homes. Figure that....



There are already posters done for the remaining two concerts, but I don't want to scoop Kent. The concerts are An Evening of Rodgers and Hammerstein and Stay Tuned: The Golden Age of Television. Use your imagination and you'll probably come close. I'll post those soon.]]>smalina@comcast.netBlog and Podcasts2007-10-29T17:00:52-04:00http://www.stuartmalina.com/blog/files/2b81e2559611644462ccd4c77e36042e-41.html#unique-entry-id-41http://www.stuartmalina.com/blog/files/2b81e2559611644462ccd4c77e36042e-41.html#unique-entry-id-41Carnegie Hall concert come and gone. Again, it was a thrilling experience, and again, there were a few hundred friends and patrons from Harrisburg at the concert.

Let me start with that. How cool is it that 200 Harrisburg Symphony patrons made the trip to NYC to see me conduct at Carnegie Hall? It certainly give me a fuzzy, warm feeling inside. And people wonder why I like it here....

I took the train to NY on Wednesday afternoon, affording me several uninterrupted hours of work time. I stayed Wednesday night with my dear friends the Azenbergs, who conveniently live a block away from Carnegie Hall. I watched the ball game, couldn't sleep (sadly, par for the course), and went to rehearsal on Wednesday morning, the start of a very long day. The rehearsal was in the auditorium of the Jewish Community Center on 76th Street. Nice facility. Rehearsal was vigorous, focussing mostly on the Korngold violin concerto (with Pip Clarke), and the Enescu Rumanian Rhapsody #1. Neither is your typical pops piece, and there was much to work on. The orchestra and staff was extremely warm and welcoming, a fact I very much appreciated.

After rehearsal, James Johnson, the NY Pops Executive Director, and I met Ruth Henderson, Skitch's widow for lunch. Skitch of course was the founder and only director of the NY Pops up until his death in 2005, at the age of 87. Ruth is younger, and vibrant, intelligent, driven, warm and wonderful. It was great hearing her stories and getting to know this amazing woman (James aptly decribes her as a "force of nature").

From there it was on to the Pops offices, where I was to give a conducting lesson to the winner, at auction, of a chance to conduct the Pops at my concert. he was conducting the "Star Spangled Banner," which as it turns out, is not the easiest piece of music. It has stops and starts. Yikes! Mike Appling, the conducting student, had just the right combination of eagerness, humor, rhythm, and a bit of moxie. We worked for a while and thn it was time to move on.

Off to Michael Feinstein's house on the East Side, to go over his set for the concert. Michael lives in a gorgeous townhouse, which at present is a work in progress. Some rooms are not yet done, but the piano room, where we met, was beautifully decorated, with great art on the wall. One wall was a sort of shrine to George Gershwin, whom Michael clearly holds dear to his heart (he had worked closely with Ira Gershwin in his younger days). When people ask me what Michael Feinstein is like, my response is that he is as warm and charming in person as he is on stage. I really liked him. And I love the way he performs the American songbook. He knows this repertoire like few others anywhere. What fun for me.

After our meeting it was back to the West Side for dinner and a show. My old friend Aaron Sorkin has a new show in previews on Broadway (at the Music Box Theater), so he invited me to come see the show and I suggested we meet for dinner, as we haven't had the chance to visit in an age. He and I went to Scarsdale High School together and did lots of shows when we were younger. We met two other friends - Jeff Gardner, also of Scarsdale, who is currently producing a headed for Broadway production of a musical version of the film Grumpy Old Men, and Rob Jones, a friend of mine from Harvard, who became friends with the rest when we were all living in NYC in the late 80s. So it was a most enjoyable dinner. What I love about this kind of old, dear friend is that time passes, but the friendship doesn't change. It's a beautiful thing. It was doubly nice that we were to see the new show, and Aaron was coming the next night to Carnegie.

The show, The Farnsworth Invention was terrific. Beautifully written (I don't think anyone writes dialogue better than Aaron), beautifully acting and expertly directed and presented. I get very emotional when my friends do cool, great thins, and the show effected me anyway, so I was a bit "verklemmt" at the end.

Jeff walked me back, and I spent another mostly sleepless night.

Friday was spent preparing: In the morning, I spent some time tginking about what I wanted to say at the concert. Certainly the most important part of that was a tribute I was to give for John Griner, the Chairman of the board of the NY Pops, who just died a month ago. John was a special man, and I wanted the words and sentiments to be just right. I also wanted to make sure I had my ideas straight for the rest of the first half of the show. I generally do not like to memorize words - it tends to come out rigid that way. So I fill my head with possibilities and ideas, and speak off the cuff. It's something I think I do pretty well.

My wife Marty arrived in the early afternoon, and we went to the hall together. I went up to the Maestro's suite, a bit less overwhelmed than the last time, but nonetheless very excited. Rehearsal was okay, but I knew that in some ways we could have used more time, and we'd be flying a bit by the seat of our pants. This is par for the course, I think. Certainly I feel most of the time that I could stand another rehearsal, especially with difficult repertoire, but the happy news is that the orchestras generally kick it up a notch (to quote Emiril) and come through in the concerts.

This was no exception. The concert went very well. I felt pleased with my conducting and the orchestra's playing. The audience responded well to my banter, and seemed to have a great time. Michael Feinstein was splendid. I saw a bunch of family and good friends at intermission and after the show was over. It's great having that kind of support.

After the concert, there was a lovely reception where I got a cance to meet some patrons of the Pops. There is nothing like a good schmooze after a long night's work.

Of course, I didn't sleep much....

So what is it with this insomnia? I wish I knew. My mind simply races. It does make things tugh sometimes, being really tired. Ah, well... I've learned how to cope with it.

So now it's back to work here in Harrisburg. No rest for the weary. And it's more movie music. Swashbucklers and Gunslingers. Should be fun.
]]>smalina@comcast.netBlog and Podcasts2007-10-12T13:40:02-04:00http://www.stuartmalina.com/blog/files/bfdfc1363fb18f4c623f03227c082b22-40.html#unique-entry-id-40http://www.stuartmalina.com/blog/files/bfdfc1363fb18f4c623f03227c082b22-40.html#unique-entry-id-40
A few reflections:

1) The orchestra is really good. It's such a pleasure to be reminded of that every time I take the podium. The Harrisburg Symphony Orchestra is a dynamic, exciting, and talented bunch of players, and I am lucky to work with them. We had a fair numbers of substitutes in the orchestra this time. For those new to this concept, the players of the HSO, like most of the orchestras in our region, have a minimum requirement of concerts to play, beyond which they have total flexibility. this allows us to have the caliber of players that we regularly put on the stage. Of course, the only way this can work is if we have subs of the same high level. Luckily, as this opening night proved, we do. The repertoire was difficult, and in the case of Tchaikovsky's 2nd Symphony, somewhat unfamiliar. Rehearsals were upbeat and the results exciting. I will not soon forget the feeling on Sunday afternoon of pushing the accelerando at the end to its furthest limit, and the orchestra seamlessly following. Ah, the pleasure of conducting a responsive group!

2) Karen Gomyo, who played the Dvorak violin concerto with us, is a splendid violinist. She is an intensely gifted musician, but her playing is never self-indulgent. She simply makes every phrase gorgeous, and she is a delightful young woman who is easy to collaborate with. I can't wait for the next time.

3) What a difference 550 new subscribers makes! The orchestra ran two promotions: half-price subscriptions for new subscribers to the entire series, and $27 season tickets (in designated seating areas) for students and their families. Needless to say, they have been rather successful (and continue to be). This is not just a good thing for our balance sheet, although it certainly helps. These extra audience members actually make the concert a better experience, both for the players and for the audience. There is a "critical mass" of audience members (at the Forum I'd say it's about 1300) beyond which it feels like a full house. We are finally there, and the entire ambiance of the concerts is better. I certainly felt it. I imagine everyone there did as well.

4) The "talkback" sessions after the concerts are picking up steam. We had fairly large groups staying after both performances to ask questions of me and Karen, and reflect on the concerts. This is our third year doing these, and they are always enjoyable. For me, it's a chance to unwind, and an opportunity to have face to face time with our audience. For the attendees, it's a chance to get some new insight into the musicians and what makes us tick. Those of you who have never attended them should consider giving it a try.

That's all for now. I again ask that you send comments and questions - let me know what you think.]]>smalina@comcast.netBlog and Podcasts2007-09-30T14:25:28-04:00http://www.stuartmalina.com/blog/files/9d1250f8130445539604e54a99e65de0-39.html#unique-entry-id-39http://www.stuartmalina.com/blog/files/9d1250f8130445539604e54a99e65de0-39.html#unique-entry-id-39
Podcast]]>smalina@comcast.netBlog and Podcasts2007-09-28T11:25:07-04:00http://www.stuartmalina.com/blog/files/ff8f00bfd257b223d88d1b1d74212625-38.html#unique-entry-id-38http://www.stuartmalina.com/blog/files/ff8f00bfd257b223d88d1b1d74212625-38.html#unique-entry-id-38
Podcast]]>smalina@comcast.netBlog and Podcasts2007-09-27T11:04:32-04:00http://www.stuartmalina.com/blog/files/66eb697dea8cfabb1df49674da086390-37.html#unique-entry-id-37http://www.stuartmalina.com/blog/files/66eb697dea8cfabb1df49674da086390-37.html#unique-entry-id-37
Podcast]]>smalina@comcast.netBlog and Podcasts2007-07-16T11:23:53-04:00http://www.stuartmalina.com/blog/files/1d35b9a0118b7206ea1ad39d8d4f083b-34.html#unique-entry-id-34http://www.stuartmalina.com/blog/files/1d35b9a0118b7206ea1ad39d8d4f083b-34.html#unique-entry-id-34
The first is my billboard, up this entire past season in various well-traveled locations, and the subject of much teasing from my friends here.



The second is my life-sized cardboard cut-out, made to help advertise the HSO raffle this past year, but kept for other potential uses in the upcoming season. If you think I got a lot of grief from the billboard, it was nothing compared to the flack generated by this:



It can be somewhat odd to be a local celebrity. It must be really strange in the larger markets. I remember when Movin' Out opened in NYC, and there was a building-sized photo of Michael Cavanaugh up in Times Square. That must have been intense and pretty cool for Michael. Then I think of the real mass-market celebrities like the sports, TV and movie stars, who see themselves everywhere, and have no aspects of their lives to themselves. At what point does it cross over the line between fun/cool and horrible/invasive? Tough to say, but I'm certainly glad that most people don't have any desire to know what conductors do when they are out of their tails.

My kids loved the billboard, though...]]>smalina@comcast.netBlog and Podcasts2007-07-11T14:32:38-04:00http://www.stuartmalina.com/blog/files/b3e7e45d8a47d70220b1d5bab3208bdf-33.html#unique-entry-id-33http://www.stuartmalina.com/blog/files/b3e7e45d8a47d70220b1d5bab3208bdf-33.html#unique-entry-id-33
I met Earl Mays in 1991, when I went to Charleston, SC to be the Assistant Conductor of the Charleston Symphony Orchestra. Earl was already a living musical legend in Charleston, having led the band program at the Citadel for many years, and having written several excellent pops arrangements for the CSO. Over the years, I've conducted nearly all of Earl's arrangements, premiered many of them. Earl was a magnificent orchestrator - he really understood how to write for symphony orchestra. I always felt he was particularly good at brass orchestration, and when he had the luxury of a sax section, his "big band sound" was second to none. I remember him telling me that he spent most of his arranging time working out the segues (the way one tune merges into another). They always turned out interesting and seamless. Even after I left Charleston, I continued to play his music - some of his charts, like the "Big Band Blast" and "Hooray for Hollywood", I could probably lead in my sleep. When my brother, Joel, and I created our "Las Vegas Legends" show, I asked Earl to write charts for the second half of the show - all of the Sinatra tunes. This may be the best work I saw Earl do. Tasteful, brash, swinging and fun.... what a great arranger!

As brilliant a musician as he was, he was equally a gentle, avuncular man. We became very close friends. I loved being around Earl, and after I left Charleston, we stayed in very close contact. He was planning to attend my Carnegie Hall debut last winter, but his health prevented him from making the trip. He would have really loved that...

I will miss Earl. Knowing him enhanced my life and contributed to my growth as a musician. I will continue to perform his wonderful music, and I know he will be on my mind whenever I program a pops program or perform big band music.

I've known Marjorie Katzman for only seven years. I first met her husband Ron, who was one of the committee that brought me to Harrisburg, was previously chairman of the HSO's Board of Directors, crafted my initial contract, and continues to serve on the Board and contribute pro bono legal advice to the HSO (the value of his donation of time and expertise has been immeasurable). He is one of a handful of real heroes of my tenure with the HSO.

Marjorie was much more behind the scenes during my time here. She had served her time in the spotlight - chairman of the Board, president of the Symphony Society - and in recent years was the chairperson for several fund-raising events. And that was just her activities for the HSO. She also was a volunteer for several other worthy organizations, and served earlier as a missionary abroad. She was the kind of person who would come through whenever you needed her - generous in every way. She was also an extremely warm, kind and sharply intelligent person.

Marjorie was no pushover. Her mind was always working, and when she had an idea, she would be heard. Luckily, her ideas were usually good, and always at least provocative. More importantly, they always came from a deep love of the Harrisburg Symphony Orchestra. She really liked music, but she loved the HSO, and was one of the people (like Ron) who I knew would never allow the orchestra to fail. Every organization needs those supporters. In fact, if I could clone Ron and Marjorie Katzman and create a symphony board and auxiliary, it would be pretty hard to beat.

Harrisburg is a lesser place for having lost Marjorie. She devoted her life to two things: raising a family and doing good things for others. We need more people like that.

My deepest sympathies go out to Earl's and Marjorie's families.]]>smalina@comcast.netBlog and Podcasts2007-06-28T13:35:42-04:00http://www.stuartmalina.com/blog/files/0f45f840715f45667d2d29255ed9e489-32.html#unique-entry-id-32http://www.stuartmalina.com/blog/files/0f45f840715f45667d2d29255ed9e489-32.html#unique-entry-id-32
I was home from China for a day. It was supposed to be two days, but as I said earlier, we had to spend the night in Chicago because United Airlines would not hold our flight for 10 minutes (!) - and there were 21 of us! Unbelievable. Far be it from me to try to understand the workings of the UA think tank. I will say that the customer service folks at United were very pleasant and helpful. A silver lining on a rather gloomy cloud.

After that one day, I was off to Atlantic City, to serve as Music Supervisor for a fourth production of "Movin' Out", at Harrah's casino at the Marina. The work was hard but very enjoyable. I think the company is very good. This production will be in AC for 10 weeks, and then tour the country and Canada, playing a lot of the smaller venues that the First National tour could not play. The band sounds great, our two piano men, Matthew Friedman (who did it on the first tour) and Kyle Martin (who is new to the show) are both excellent, and it was lots of fun collaborating with David Rosenthal again on the music and of course with Twyla Tharp.

The thing that struck me most about the two weeks or so in AC was the joylessness of the place. You walk through the casino and see hundreds of people at slot machines, and no one is smiling! Very strange.

Great outlet shopping, though.

After my AC adventure, I returned home for "Daddy Camp". My wife Marty is the Director of the Massage Therapy program at Harrisburg Area Community College. She was heading into the last week of her program's first seesion, so it made sense (especially after my virtual absence for the previous month) that I take the kids on a week of adventures. We had a great time. Monday, we drove to New York City to see an open dress rehearsal of the American Ballet Theater's production of Prokofiev's "Romeo and Juliet" with our friend Marilynn Kanenson. I don't know if there is any prettier music out there. And the dancing was beautiful. Tuesday, we went to Baltimore's Port Discovery Children's Museum, a marvelous educational playground for kids. We were met ther by my sister-in-law Nancy and her two children, and spent the next two nights with them in Northern Virginia, while during the day we did the Washington, DC thing, visiting several Smithsonian museums and the main monuments. Friday we capped off the week with a visit to Hershey Park. We had an absolutely perfect day, and had a blast.

I love my family, if you haven't guessed yet.

So now it's back to work. In the next few weeks I have three programs - two with orchestra and one chamber music (see Upcoming Events...). Then I get some real vacation with the family at my parents' Cape Cod house. It should be just in time.

Be back soon.]]>smalina@comcast.netBlog and Podcasts2007-06-28T09:12:22-04:00http://www.stuartmalina.com/blog/files/3bfb313f1df6832e554dfbe1a466c585-31.html#unique-entry-id-31http://www.stuartmalina.com/blog/files/3bfb313f1df6832e554dfbe1a466c585-31.html#unique-entry-id-31
It's summer, and I'm at Barnes and Noble Bookstore with a venti coffee of the day, a spinach and artichoke strata, and my laptop. My daughter Sara is doing a one-week tennis camp about 25 minutes from my house. It starts at 9 and ends at 12, so the issue has been: do I go home in between and work, or stay out near the camp for the three hours. Today I chose the latter, and I am taking advantage of this chunk of time to update my hopelessly lagging blog.

It's been quite a busy stretch since the season ended in May. I should say a word about that last concert first. We premiered a new trombone concerto by Scott McCallister, played brilliantly (and I do not use the term lightly) by our Principal Trombone, Brent Phillips. What thrilled me was not only the piece, an excellent addition to the repertoire - beautifully structured, varied in content, perfectly orchestrated, dazzlingly difficult for the soloist, and audience friendly without dumbing down to anyone - but also the incredible and spontaneous response from our audience. This was no obligatory standing ovation, but rather the sincere expression of elation at the presentation of an exciting, gripping, and visceral new work. (My friend John Clare has an excellent interview of Scott at Composing Thoughts.) This was followed by a performance of Rachmaninoff's 2nd Symphony, in which the orchestra showed once again that it can hold its own with some of the elite orchestra's out there. A great experience, and one that left me optimistic about the future of the HSO, and profoundly grateful to be here at this point in time.

The next day was the wedding of one of my oldest friends, Jeff Gardner, in NYC (I've known Jeff since kindergarten!). A whirlwind trip, but one I would not have wanted to miss.

Jeff and Federica

The next day I left for China. This was a tour, organized by Bob Cheung of Harrisburg, to benefit the Harrisburg Symphony Orchestra. I was the supposed draw, although I think the trip itself was enticing enough on its own. I call it the "It's good to be Stuart Malina China tour." The trip spanned 12 days, including 2 full days of travel (actually, there was an extra night, as we missed our Chicago connection coming home...), and there were 33 of us in the group.

I will not make this a travelogue, but suffice it to say, the trip was amazing. The highlights for me:

1) The Great Wall. What can I say? I went to China expecting the Great Wall to be incredibly cool, and it far exceeded my expectations. It boggles the mind to think of how this structure was actually built. We had to take a gondola to the wall, and then exhausted ourselves walking the relatively short span we covered. How did the workers do it, carrying enormous stones? Even without the Wall, the natural scenery was gorgeous. We had a spectacular clear day at the Wall - apparently very rare, but it was very hot - certainly into the 90s. Amazing.



2) The Terra Cotta Warriors outside the city of Xi-an. I know... predictable. But, again, I was unprepared for the vastness of this archeological discovery. To think that three peasants were trying to dig a well, and they found this.



3) The China Conservatory in Beijing. Not the Beijing conservatory, but the one in Beijing that has a focus on traditional Chinese musical instruments. We were given a private tour, and a performance by eight young virtuosos of instruments like the pipa, the erhu, and the hammer dulcimer. It was unbelievably inspiring, and the music was soulful and stirring.

4) The silk embroidery masters at Suzhou. Again, an amazing thing to see great artists at work. The embroideries were expensive (far beyond my wallet) but so beautiful, and the ladies who were creating them were inspiring.



5) The Chinese garden, also in Suzhou. I want to retire there (I fear that plan A - Charleston, SC - will be too expensive)....



6) The whole shopping experience. It makes you crazy, and you always feel like you're being ripped off, no matter what price you end up with, but I like the bargaining game. By the way, the Chairman Mao watch I bought the first day (35 yuan, down from an initial asking price of 180 yuan - $5, down from $26. I was immediately told I shouldn't have paid more than 20 yuan - $3) still works.

7) The people. It sounds trite, but we are all indeed very much the same. The Chinese people were by and large extremely welcoming, friendly, warm, and generous. I should add that the folks on the trip, most of whom I had never met before the first day, were great travel companions. To a person, I look forward to seeing them again.

I've left out so much. There wasn't much I didn't enjoy. Bob Cheung did a brilliant job of organizing and leading the tour. The local guides were for the most part wonderful, and at the worst very good. The pace was literally blistering, but that allowed us to cover the amount of ground we did in a very short time. And although I did miss my family terribly, I was able to see them and speak to them daily, from the other side of the globe, on my laptop. iChat is absolutely incredible!

I was happy to return at the end of the trip. But I wasn't home for long.

To be continued.....]]>smalina@comcast.netBlog and Podcasts2007-04-15T14:59:23-04:00http://www.stuartmalina.com/blog/files/0a3ad7b2c091c39808310e0fda968238-29.html#unique-entry-id-29http://www.stuartmalina.com/blog/files/0a3ad7b2c091c39808310e0fda968238-29.html#unique-entry-id-29Podcast]]>smalina@comcast.netBlog and Podcasts2007-04-14T17:38:22-04:00http://www.stuartmalina.com/blog/files/c752dbbbaaba8cd1f6d95bbe86548b41-28.html#unique-entry-id-28http://www.stuartmalina.com/blog/files/c752dbbbaaba8cd1f6d95bbe86548b41-28.html#unique-entry-id-28Podcast]]>smalina@comcast.netBlog and Podcasts2007-04-14T15:52:06-04:00http://www.stuartmalina.com/blog/files/b30af8aa0339593a3f0af8c0621f81b7-27.html#unique-entry-id-27http://www.stuartmalina.com/blog/files/b30af8aa0339593a3f0af8c0621f81b7-27.html#unique-entry-id-27I talk about this intimate musical love letter by the great German opera composer.
Podcast]]>smalina@comcast.netBlog and Podcasts2007-04-05T22:19:30-04:00http://www.stuartmalina.com/blog/files/806414697448d098455281113ecd7edb-26.html#unique-entry-id-26http://www.stuartmalina.com/blog/files/806414697448d098455281113ecd7edb-26.html#unique-entry-id-26Dick Strawser, friend, radio personality, and avid blogger (I happily admit, I read "Dr. Dick's Blog" every day) emailed me today. The bulk of the letter was in reference to the passing of our mutual friend Pierce Getz (which I will get to shortly), but he ended by asking if I was ever getting back to blogging. Indeed, it has been two months almost to the day since my last posting, and that was an apology for not having posted the previous three weeks. Ah, the shame of it.

Well, Dick, here I am, back in the saddle. It's 10:30, I just finished a spirited game of Mexican train dominoes with my extended family (all staying at my house this week for Passover), and I'm ready to attempt a condensed version of the last few months of my life.

First, a word about Pierce. Pierce participated in several of the most personally satisfying programs I have conducted in Harrisburg. He was the organist when we performed Saint-Saëns' 3rd Symphony, as well as for every other piece with organ we performed. He also directed the Alumni Chorus of Lebanon Valley College, which participated in every choral work the HSO has presented in its Masterworks series since I have been here, including "Carmina Burana", Mozart's Requiem, Beethoven's 9th Symphony, and a most memorable Mahler's 2nd Symphony. He was a musician of profound talents, who made a significant difference in the musical life of Central Pennsylvania. But what I think about when I remember Pierce is his humanity. He was a deeply generous, highly spiritual, and gently dynamic man, who devoted his life to teaching, inspiring, and sharing his passion for music. I attended his memorial service yesterday, and the message from the overflowing crowd was clear: Pierce was as beloved for being a great human being as he was for being a great musician. I will miss his sense of humor and his warmth. I'm very sad to have lost a friend and colleague, and my deepest sympathies go out to his wife Gene and the rest of his family.

So what have I been doing since mid-January? Well, I guess the best strategy is just to go event by event.

The last weekend of January was the HSO's performance of Gilbert and Sullivan's "HMS Pinafore". This was a particularly fun week for me, as it brought together many friends as well as family for the shows. Of the seven leading actors in that performance, I have known three for over 40 years, and two more for over twenty. We put together a two hour operetta from scratch in two days - a testament to the talents of these performers (and the orchestra). What made it especially great for me was sharing the stage with my brother Joel and my cousin Josh. Joel and I have done over 15 pops shows together since I started as a professional conductor and he has never been anything but extraordinary - he is simply one of the most versatile and charismatic performers I know. Josh (star of television's "West Wing") and I had not performed together since 1987, when he was Moonface Martin in a production of "Anything Goes" that I musically directed at Yale. His family and mine lived 5 minutes from each other when we were growing up, and this was a treat for me to have him here. He is great on stage, and had me laughing out loud several times during the performances. Add to the mix my friend Jeff Gardner, who I have known since kindergarten, and is a veteran of numerous Broadway productions; Jonathan Rabb, who sang with Joel in the Yale Whiffenpoofs, is now a successful novelist, and knows Gilbert and Sullivan as well as anyone I know; Ilana Davidson, who I met at Tanglewood in the late '80s, and sings like an angel; Tracy Bidleman, who had participated in two previous G&S shows here; and Damian Savarino, a Harrisburg resident, with a gorgeous baritone voice; and you get one happy Stuart. What was my plan for throwing the show together? To allow my talented cast free rein to do whatever they could to make the audience enjoy itself. And they did so with great flair. You may see performances of "Pinafore" with fewer rough edges, but I doubt you'll find many that were more fun to watch. The other very satisfying aspect to the weekend was that we had nearly sold-out houses. Maybe it was Josh's star power, but whatever the reason, it makes a big difference, trust me.


Jonathan Rabb, Josh Malina, Ilana Davidson, Joel Malina, Sonja Bontrager, me, Tracy Bidleman, Damian Savarino, and Jeff Gardner

February 9th was my Carnegie Hall debut with the NY Pops. The program was all-Gershwin: the overture from "Girl Crazy", "An American in Paris", and "Rhapsody in Blue" (with me conducting from the piano) on the first half, and Maureen McGovern singing Gershwin songs on the second half. What can I say? It was an unbelievable weekend for me. The concert went very well, and I enjoyed my time with the orchestra very much, but what will stick in my mind for the rest of my life was the feeling of walking onto this august stage and being greeted by an audience largely comprised of friends and family. 275 people came from Harrisburg alone, 40 college friends came from all over the country, almost my entire family (aunts, uncles, nieces, nephews, cousins, and then some) was there, even a large group from Greensboro made the trek. I could go on. I have always considered myself a lucky man. But being blessed with so many people who love me is something I will never take for granted, and having so many of them there to support me and share in my moment is an indescribable feeling. So I won't even try to describe it.



My favorite Carnegie Hall moment? Walking in the stage door, introducing myself to the house manager, and being sent up to the Maestro's suite, where there are pictures up of many of the great conductors who have used that very room and a bust of Toscanini (it looked like marble, but it was fake....). When I used the rest room, I actually was musing over what other greats had shared the facility over the years.



That, and when my parents, wife and kids came back after my performance. My dad has said for a long time that every time he and Mom attend operas and concerts in the great venues of New York City (and he attends quite a few), he pictures me coming out for a bow. That night it was me.



The February Masterworks concerts featured Mozart and Beethoven. The treat of the weekend was working with Markus Groh, a German pianist of great talent. His performance of the Emperor Concerto, on the old Baldwin at the Forum (he had deemed the Steinway we rented unfit - and I had to agree with him), was really special. Again we had wonderful crowds, and the comments I got in the days following were glowing. One patron said it was the best concert he had ever been to, another said that her one complaint was that the concert ended. Obviously, we cannot perform only Mozart and Beethoven, but equally clear is the undeniable fact that their music still speaks to our audience and sells tickets as well.

At the end of February, I went to NY for auditions for a new production of "Movin' Out". The first national tour had closed in January, and I thought that the marvelous journey had ended. Not so fast, Malina. A second national tour will go out in June, starting in Atlantic City. The show will be pared down a bit, but Twyla Tharp is directing the dancers, the lighting, set and costume designers are the same as the original production, and of course, I will be overseeing the music. So my hunch is it will be pretty darn good. So here we go again! (By the way, the auditions were pretty much a bust.)

The March Masterworks in Harrisburg featured the First Symphony of Sibelius, as well as the Four Sea Interludes from "Peter Grimes" by Britten and Saint-Saëns' 2nd Piano Concerto with the incredible Pascal Rogé. Two things about this concert. First, the Steinway was completely overhauled before the first rehearsal, only to have the sustain pedal break after the first movement during the first performance. A lot was made of my getting down under the piano in a vain attempt to fix it, but truly, what was I going to do, just stand there helplessly and let our stage crew (wonderful guys, but piano technicians? I don't think so) handle it? Anyway, the Steinway was rolled off, and our old friend the Forum Baldwin was rolled on. Pascal was not just patient, he was absolutely delightful. After the five minute pause, he came back out and played the second and third movements on this fairly out-of-tune piano that he had never played on before. What a testament to this man's character. Although the Sunday performance was certainly more refined, I will forever remember that Saturday night, and Rogé's grace.

The second aspect of the weekend that was noteworthy for me was the reaffirmation of Sibelius' greatness. The First Symphony is a terrific piece, and many of the orchestra players had never performed it. Several of them thanked me for programming it. I have to admit that I was disappointed with the audience size. I thought that surely bringing a pianist of Pascal Rogé's stature to Harrisburg would bring people in. Sadly, it did not seem to be the case. Not empty houses but certainly on the smaller side, especially given the successes of the previous few concerts. What particularly irked me was hearing of a bunch of audience members who left at intermission. Were they afraid of Sibelius? Did they know how passionate and mushy-gushy a piece it is? Ah well, in the end, they purchased the ticket, but in the end it was their loss.

The end of March was our last pops concert of the year - Bravo Broadway, featuring Doug LaBrecque and Cristianne Noll. They had sung with us two seasons ago, and were a huge sensation, and they certainly did not disappoint in their return (back by popular demand!). Again, the houses were nearly sold out - I think it might have been completely sold out on Sunday. Of all the successes here in Harrisburg, the pops series might be my greatest. A few years back, the board of the symphony was on the brink of canceling this series. I made an impassioned plea, and we turned it around. A lot of thanks needs to go to Capitol Blue Cross (particularly Jim Mead and Anita Smith) for their vote of confidence and financial support. I will certainly accept much of the credit. But I must also mention how amazing this orchestra is. We have little rehearsal time for these concerts, and the music is generally very demanding. They have never let me down - not even one sub-par performance - and they do it with a smile. I've always believed that if the performers are having a good time, the audience cannot help but have a good time as well. This orchestra bears that up.

Well, that brings us pretty much up to date. I know I glossed over quite a lot, but, hey, I'm back.

See you next week with some podcasts on Wagner and Prokofiev!]]>smalina@comcast.netBlog and Podcasts2007-02-06T09:28:11-05:00http://www.stuartmalina.com/blog/files/ae2a2fd808748c49da88f8a64a2eec68-25.html#unique-entry-id-25http://www.stuartmalina.com/blog/files/ae2a2fd808748c49da88f8a64a2eec68-25.html#unique-entry-id-25Just a short posting to say I'm sorry I've been so lax in my blogging. It's been a busy time, between preparations for HMS Pinafore (which, if I may say so myself, was a tremendous success) and preparations for my Carnegie concert this Friday.

I will be back soon - hopefully with some podcasts for next week's Masterworks program. If I cannot get those done in time, then certainly soon thereafter!
]]>smalina@comcast.netBlog and Podcasts2007-01-17T14:21:18-05:00http://www.stuartmalina.com/blog/files/693e72edc4eeed66c3c68ac82a6cb579-24.html#unique-entry-id-24http://www.stuartmalina.com/blog/files/693e72edc4eeed66c3c68ac82a6cb579-24.html#unique-entry-id-24How and when do you decide what pieces are going to be played for the performances?"

Well, when is a lot easier to answer, so I'll do that first. We generally begin planning our seasons in earnest in August of the previous year (ie 14 months before the season opener). Ideally, I have a rough draft by mid-September and a final draft by early January.

How I decide is a bit more complicated. I'll try to give a general overview, but keep in mind that every rule has exceptions.

I start by making a list of all the pieces that I'd like to do. This is akin to the "kid in a candy shop" phenomenon - "ill have three of these, one of those....." Sometimes I'll even page through Daniels' "Orchestral Music" for ideas. Daniels is the essential reference guide for orchestral repertoire - a vast, if certainly incomplete, list of pieces, listed by composer, with timings and orchestrations (what collection of instruments are required by the composer). A typical Daniels listing looks like this:

Ravel - Daphnis et Chloé: Suite No. 1 12'
optional chorus
4[1.2/pic2.3/pic1.afl] 3[1.2.Eh] 4[1.2.Ebcl.bcl] 4[1.2.3.sarr] - 4 4 3 1 - tmp+6 - 2hp cel str perc: bd, cym, sd, tri, tambn, tamtam, glock, crot, windmachine
Contents - Nocturne; Interlude; Danse guerrière
mvt durations: 5' 3' 4'
Durand Kalmus

What does this mean? The first line in the piece's title and duration. The second states that you can do the piece with or without a chorus. The third line is the orchestration, divided in orchestral groups - first the woodwinds, then the brass, percussion, and the strings. So, to translate the listing above, "Daphnis" requires: 4 flutes, 2 doubling on piccolo (meaning they play both instruments in the piece) and one playing alto flute; 3 oboes, the third of which plays english horn; 4 clarinets, one playing Eb clarinet (the high, shrieky member of the family) and one playing bass clarinet; 4 bassoons, with one playing sarrousophone (similar to a contrabassoon); 4 french horns; 4 trumpets; 3 trombones; 1 tuba; 1 timpani player; 6 percussionists; 2 harps; celesta (the bell-like keyboard instrument used in the Dance of the Sugarplum Fairy and Mr. Rodgers' Neighborhood); and a string section. The fourth line says which percussion instruments are used: bass drum, cymbals, snare drum, triangle, tambourine, gong, glockenspiel (bells), crotales (pitched mini-cymbals), and wind machine. The next two lines state the names of the movements and their respective durations. The last line list the publishers.

Anyway....Daniels sometimes gives me ideas for programming, as well as pieces that I might want to listen to, particularly more contemporary works. I listen to unfamiliar music quite a lot. Our Executive Director, Jeff Woodruff often will recommend pieces for me to listen to, and lend me the CDs. I also get suggestions from orchestra players and some patrons.

So I make my long wish list. Then I generally pick seven "centerpiece" works around which I will build my programs. These are generally symphonies or longer orchestral works, but sometimes concertos. I look over the history of Harrisburg Symphony performances. If the piece has been played within the past few years, I discard it for now. If it's been many years (or decades) since last performed, I will prioritize the piece.

Then I try to match the large pieces with other works to make programs. I keep in mind what artists I have promised appearances to or which ones I would like to work with, as well as concerto repertoire that I think will suit them. I try to balance old with new, realizing that the period from, say, 1800-1915 will get the bulk of the season. I try to balance nationalities, so the season isn't too American heavy (rarely a problem) or German heavy (often a problem). I try to keep the choices interesting and exciting for the orchestra. And last but not least, I try to make each concert marketable, so generally at least one of the pieces is a big-selling perennial audience favorite.

How do I match pieces? Well, I must admit, I do it much more based on my gut feeling of what will work well together than on theme programming or motivic similarities. I do think about key relationships, ie you wouldn't want to do three pieces in C Major. I also think about pacing - a slow opener should probably not be followed by a ponderous concerto; emotional content - an intense symphony, should not follow an equally intense first half; and old/new relationships - a very avant garde piece probably should go with something a bit more traditional.

This seeming arbitrariness is why I am so often surprised and tickled by relationships between the pieces I program together, like the falling thirds in this last week's concerts. Maybe there is a sort of instinctual genius lurking deep below the surface, after all!

So now I have a seven concert season. Now comes the painful part. It must fit within the orchestra's budget. So I go back to Daniels and figure the orchestra size for each concert, adding up personnel, and comparing the totals with the current season's. Inevitably, the numbers are way too high (generally too much Mahler, Stravinsky and Strauss). So it's back to the drawing board for the second cycle.... then the third and fourth, and so on.

When I have a season that I feel is at least pretty close, I get together with Jeff Woodruff and Bill Schmieding, our operations manager. We discuss my plans in depth, look for weaknesses in the programming, find that the season is too expensive for our budget (if there is one certainty in all this, it is that the season will be too expensive) and make many changes. Then I go off and further refine. We meet several more times. Then I get together with the Artistic Advisory committee of the Board of Directors of the HSO, made up of board members, staff, and musicians from the orchestra. The committee meets twice a year, once to go over proposed programming, and once to assess the past season and propose ideas for the artistic future of the HSO (including, but not only, programming suggestions). I do not need their approval - they are simply there to advise - but the input is invaluable, and it's rare that I leave a meeting without some new, terrific ideas.

Jeff, Bill and I meet some more, and eventually we declare ourselves done, and the brochures are made.

The process for pops is a bit different and I'll discuss that in my next blog.

]]>smalina@comcast.netBlog and Podcasts2007-01-15T12:22:55-05:00http://www.stuartmalina.com/blog/files/44ad6ada14148db61c12aec47e9a7d97-23.html#unique-entry-id-23http://www.stuartmalina.com/blog/files/44ad6ada14148db61c12aec47e9a7d97-23.html#unique-entry-id-23
I am so pleased to be receiving comments on the concert and on the podcasts. I thought it might be nice to address some of the issues, and answer some of the questions I have been posed.

First, as far as sound quality is concerned, I plead "guilty as charged". I basically use the built-in microphone on my iMac G5, and play on the Yamaha upright piano in my office at home. I have just today downloaded some freeware software, called "The Levelator", which supposedly will help even out the levels of my voice and the piano. I will also look into purchasing a higher quality mike to record into. The podcasts are very much a work in progress, and I promise to continue to try improving the sound quality, and the content.

A glossary of terms is an interesting idea, but I think others have already done it better than I could. What probably would make more sense is an accompanying list of applicable terms that could be looked up using either one of the online music dictionaries or a book of musical terms. I will list some suggestion below, with links to the web pages:

Online:
Virginia Tech Multimedia Music Dictionary: http://www.music.vt.edu/musicdictionary/ (special thanks to Sean Schultz!)
Music Dictionary: http://library.thinkquest.org/2791/MDOPNSCR.htm
Dolmetsch Online: http://www.dolmetsch.com/musictheorydefs.htm (this one also includes many links to other more specific music dictionary websites)

Books:
The Harvard Concise Dictionary of Music (the best small volume)
Belwin Pocket Dictionary of Music (there are actually many such volumes, any of which will give you very short definitions of common music terms)

The last thing regarding the podcasts is that I am now accessible through the iTunes store, so those of you who listen on ipods can subscribe to my podcasts by doing an iTunes store podcast search for "Stuart Malina" and pressing the subscribe button.

I'll be back soon with another posting to address some of the questions you have posed.]]>smalina@comcast.netBlog and Podcasts2007-01-09T13:58:58-05:00http://www.stuartmalina.com/blog/files/1a9a10b3c34b31a9e1d3dc039736bb23-22.html#unique-entry-id-22http://www.stuartmalina.com/blog/files/1a9a10b3c34b31a9e1d3dc039736bb23-22.html#unique-entry-id-22
Which brings me to the next point...

I very much want your feedback. If you prefer, leave it anonymously. This is the only way I can continue improving the page. Do you like the content? Is the recording quality too poor? Is the piano clangy? Am I too professorial? All responses are good responses.

Many thanks!

Stuart]]>smalina@comcast.netBlog and Podcasts2007-01-09T13:31:52-05:00http://www.stuartmalina.com/blog/files/c504070cce738001416f2ae458861c67-21.html#unique-entry-id-21http://www.stuartmalina.com/blog/files/c504070cce738001416f2ae458861c67-21.html#unique-entry-id-21Podcast]]>smalina@comcast.netBlog and Podcasts2007-01-09T11:12:11-05:00http://www.stuartmalina.com/blog/files/bdf6adfaf873fbe8d61d93aa30f05d65-20.html#unique-entry-id-20http://www.stuartmalina.com/blog/files/bdf6adfaf873fbe8d61d93aa30f05d65-20.html#unique-entry-id-20Podcast]]>smalina@comcast.netBlog and Podcasts2007-01-04T11:22:18-05:00http://www.stuartmalina.com/blog/files/41574e637f4d699b808b21a3b2e1d1a0-19.html#unique-entry-id-19http://www.stuartmalina.com/blog/files/41574e637f4d699b808b21a3b2e1d1a0-19.html#unique-entry-id-19Podcast]]>smalina@comcast.netBlog and Podcasts2006-11-20T09:18:26-05:00http://www.stuartmalina.com/blog/files/ba9aeb487d873f81c19ff5091fbaee90-18.html#unique-entry-id-18http://www.stuartmalina.com/blog/files/ba9aeb487d873f81c19ff5091fbaee90-18.html#unique-entry-id-18
It was quite an honor. The list of alumni from SHS is long and distinguished. My co-honorees were amazing and impressive. I couldn't help but feel that my award was premature - I am proud of my accomplishments, but I am a work in progress, and I hope the next 40 years brings greater achievement and accomplishment. This is the third year the Scarsdale High alumni group has been selecting distinguished alums, and the thought that I am in the first 36 blows my mind.

The weekend was lovely. On Friday, I had an opportunity to meet with some students, and observe what they are doing in the classroom. Walking through the school - up and down the stairwell, in the music tower, around the grounds - brought back very distinct memories of being younger. I don't have memories of high school often, so this was pretty cool. The music faculty at the high school is clearly doing a fabulous job. The students speak of them with reverence and admiration, and the creativity of method in teaching kids music is very impressive.

Saturday was the big event. We were each introduced and given a chance to say something to the fairly large gathering of parents, teachers and friends. All but two of us were able to attend (the two absentees were Carolyn Strauss, the President of programming at HBO, and Eve Ensler, who wrote "The Vagina Monologues" - they had good excuses!). Some of the themes were shared by many of us - the support of teachers and parents, the encouragement to pursue our dreams, the high quality of our education (I still feel that I got a better overall education at Scarsdale High than at Harvard College). But the variety of personal stories and journeys, from the STEP student from Mississippi, who now teaches in Arizona, and serves as advisor to the Gates Foundation; to the near high school flunk-out who is now a distinguished playwright and one of the world's preeminent scholars on Shakespeare; to a man who has devoted a lifetime to helping at-risk kids through his own charity, Jimmy's Boys; to one of America's pioneers in forensic medicine; artists, journalists, historians, philanthropists.....what an august group to be a part of!

One of the themes of my short talk was how grateful I am to the teachers who have invested themselves in me - completely, and selflessly. Many of them are well-aware of my gratitude. Some are no longer with us, and I regret never telling them. Shame on me.

So... to Mrs. Brenneman, Ms. Fahey, Mr. Minard, Mrs. Spiegelman, Mrs. Spillman, Charity Bailey, Mrs. Goodman, Mr. Ladensack, Mr. Kaye, Mr. Baron, Mr. Maloney, Ms. Silver, Mr. Haseltine, Mrs. Cantor, Mr. Husted, Mr. Lokietz, Mr. Feig, Ms. Oksner, Dr. Mantz, Msgnr. Reid, Mr. Ehret, Dr. Albright, Ms. Simon;

...Reuven Grodner, Benjamin Yablock, Avi Schwartzmer;

...Tison Street, Lewis Lockwood;

...and of course, Baruch and Drora Arnon, Otto-Werner Mueller, Keiko Sato, Michael Friedman, and Edward Aldwell;

...and to the many others whom I have sorrowfully omitted due to nothing other than my own dotage:

Thank you.]]>smalina@comcast.netBlog and Podcasts2006-11-12T23:41:42-05:00http://www.stuartmalina.com/blog/files/1e246432b237f68fb88083f106ea65ed-17.html#unique-entry-id-17http://www.stuartmalina.com/blog/files/1e246432b237f68fb88083f106ea65ed-17.html#unique-entry-id-17
I came into the weekend with some nervousness. Nielsen's 4th Symphony - "Inextinguishable" - is a very difficult piece, to play and to conduct. It was my first go at it, and I knew that the same would be true for most of the orchestra. Add to that that the piece is a challenging one to listen to, not because it is not a great work (it is undeniably), but because long sections of it are dark and intentionally unpleasant. Of course, the work is ultimately about the triumph of the human spirit over the greatest adversity, so it ends in unbelievably majestic fashion, but the journey is often rough. Furthermore, it takes an excellent performance to get the piece across. How would the orchestra play, and how would our audience respond? And how would I do? (Yes, even conductors face self-doubt at times...)

Well, I will leave assessment of my own performance to others, but I can with all honesty say that the orchestra played gloriously. The rehearsals were especially hard work. The first run-through of the symphony on Thursday was a mess, and even Friday night we were all still at sixes and sevens with one another. But Saturday morning suddenly things began to click, and by Saturday night, the orchestra seemed to really get the piece. And this orchestra played (as they always do) with total commitment and passion. The piece flew by for me, which is usually a good sign. And the audience response was very strong and sustained (although I know that the length of the ovation was perpetrated by less than everyone present). Today's (Sunday's) performance was at least as good, and I feel probably even better than the night before.

I knew the first half of the program would be a big hit. Poulenc's "Suite française" opened, with its quirky yet tender neo-Renaissance flavors. The winds and brass were wonderful both in individual playing and in ensemble. And "The Four Seasons" is money in the bank as far as audience reaction, even with a mediocre performance, and Odin Rathnam and the strings gave a beautiful reading. The Harrisburg audience loves Odin, and the response to the Vivaldi was deservedly thunderous.

The success of the Nielsen, I believe, speaks to the universality of his theme and also the similarity of the world we live in to the world he lived in. Like Nielsen in 1914, we are in a very volatile world capable of great violence and inhumanity. Indeed, there is a constant specter of the possibility of the world annihilating itself. The inextinguishable human spirit is a very powerful image in times like these.

In the end, though, it is the brilliance of the work itself that carried the day. I have truly enjoyed getting to know this work in my studies of it. I'm very glad to have it in my repertoire, and I'm honored to have been able to conduct it.

Especially with an extraordinary group of musicians like the Harrisburg Symphony Orchestra.

On a side note, we had a group from the Harrisburg Young Professionals at the concert today. I had a chance to socialize with some of them after the concert. I was pleased at their reaction to the program - again, overwhelmingly positive. So much energy is devoted in the professional orchestra world to attracting younger audiences. My interaction with the members of HYP only reaffirmed what I have always believed. The way to build the audience of the future for orchestral music is to get young people in to the performance hall once and give them something to be excited about. And what could be more exciting than beautiful, stirring and thought-provoking music performed passionately. These are intelligent, sophisticated people, some of whom have simply not come to orchestral concerts before. I grant you that some will not like it. But many undoubtedly will, and they will return. And some of those might just get hooked.

]]>smalina@comcast.netBlog and Podcasts2006-11-06T15:17:23-05:00http://www.stuartmalina.com/blog/files/c348eb2fcf745c31d968b457b132f8eb-16.html#unique-entry-id-16http://www.stuartmalina.com/blog/files/c348eb2fcf745c31d968b457b132f8eb-16.html#unique-entry-id-16Podcast]]>smalina@comcast.netBlog and Podcasts2006-11-06T14:10:54-05:00http://www.stuartmalina.com/blog/files/3ebcdebff512223d79fb97e8c6c41b33-15.html#unique-entry-id-15http://www.stuartmalina.com/blog/files/3ebcdebff512223d79fb97e8c6c41b33-15.html#unique-entry-id-15Podcast]]>