Michael Tilson Thomas shows Still Dance & # 39; by John Adams


Michael Tilson Thomas' long blessing has begun. When he became a musical director at the San Francisco Symphony, shortly before he reached 50 years of age, he was called as a new man for a new era for an orchestra that seemed to have lost the times and spirit of Baghdad. -the-the-Bay city. As Tilson Thomas enters his late fourth century season, it has been proved that all the cut was necessary.

There are not problems as the city is trying to keep its bohemian character among housing crisis and after the invasion of high-tech industry. But at least the musical director is a leader of the symphony.

Displayed firmly at the Siansa Davies Hall on Thursday evening, Tilson Thomas showed the first “John Still Dance” by John Adams, a “blind” dedicated to the director and his wedding manager, Joshua Robison, one of the largest couples. popular in their adopted city.

The dancer is Robison, a musician and former smoker who met Tilson Thomas when they were both in a junior high school in the San Fernando Valley. But the two men are a young energy, now in the mid-70s, and this is affecting Adams, the composer says in the program note. The piece lasts eight minutes (7 minutes and 55 seconds if necessary). It starts with a blast, and it does not stop.

Adams was speaking in conversation with pianist Sarah Cahill before the premiere that “I Still Dance” is really a topical disco beat. Electric bass plays a significant role, which Adams said should be a formal orchestral instrument. The percussion section is extensive and multicultural, including a large Japanese taiko drum and djembe in Africa.

While New England was attending Harvard's career, Adams' in the Bay Area. The Symphony of San Francisco brought him his first orchestral commission in 1981, and has been closely involved since then, including running a new music series. He and Tilson Thomas return almost to date, when the conductor gave the first version of the Shaker Loops opera in 1983 to the American New York Composers Orchestra.

There will be a full season to reflect on Tilson Thomas' success in San Francisco. Thursday's program included a repeat performance of Rachmaninoff's Piano Concerto Fourth with the outstanding Russian soloist Daniil Trifonov and a majestic account of Schumann's “Rhenish” Symphony.

But can we talk to us about L.A, for a moment? What struck Angeleno under this concert was what Tilson Thomas showed that it was a long time between the San Francisco or Los Angeles Philharmonic Orchestra. This is, of course, a conversation about how he liked a town suggesting that it is a key cultural priority calling him Frisco.

With San Francisco's permanent credit, the L.A. Phil as the orchestra today is not helped by a colleague from the north. The previous president and chief executive, Deborah Borda, and her current chief operating officer, Chad Smith, received their start at the San Francisco Symphony. Late André Previn said that the most important influence on himself as a conductor was studying the legendary Pierre Monteux when he was a musical director in San Francisco.

It is vital, however, to do our own. Tilson Thomas did not make any bone under L. after shaping it as a musician, and whoever is after it: Esa-Pekka Salonen. However, tied to the Bay Area, Adams has been Phil Phil's creative consultant for the past ten years and has written some of his greatest pieces for the orchestra, including his most recent orchestral piece, the piano concerto. Does everyone have to? ”

“I Still Dance” also has good tunes and comes under great pressure. Adams has done this in advance in packing short pieces. The model is his most popular and popular piece, “Short Ride in a Fast Machine,” and it was written for Tilson Thomas, who first performed in 1986 with the Pittsburgh Symphony. The other is “Lollapalooza” seven minutes that Tilson Thomas gave his first season of his first season in San Francisco for America.

“I Still Dance” is more sophisticated than Adams's other short versions. You can only get it in one hearing. The winds lie to prediction. The strings chug and sopop. The brass interferes as it underpins. There are many tubs. I haven't seen many exotic electric dots or percussion instruments, but this may be my seat close to the orchestra or acoustics Davies.

What could not be lost was the wonderful jazz impact or tone of transfer. You do not know where you are going, and you do not expect that you will come in the luminous winter and it seems that it is a dance that will go on in the upper reaches long after anyone has danced.

This means that it is growing. The program notes at all times tell us that jazz in this concerto influenced Rachmaninoff. He was at the premiere of “Rhapsody in Blue.” He was a Ellington fan. But almost always lost in the orchestra part, as it does in recent Trifonov award-winning recording with the Philadelphia Orchestra about Yannick Nézet-Séguin. Previn, a talented jazz musician in his own right, may have been the only exception in his recording with Vladimir Ashkenazy and the London Symphony Orchestra.

As Previn, Tilson Thomas is a great conductor of Gerswhin, and he gave the same attention to his concert as Adams. Finally, Rachmaninoff went into obsolete. Trifonov's approach to the slow movement was negotiable, and during the time he was a boyfriend hitting up.

Tilson Thomas comes home in December when Trifonov meets the first piano controversy with the L .. Phil. Mark your calendars.


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