Slipped Disc: Ebola and black holes: My night in Atlanta

October 21, 2014

The cellist Matt Haimovitz has sent us his experiences playing with the locked-out musicians of the Atlanta Symphony Orchestra. read and reflect. 

Hearing that I would be in town for a residency at Emory University, the musicians of the Atlanta Symphony reached out to me with the idea of an impromptu concert together. I have never before taken sides in a labor dispute, but my gut said, “Yes! In tumultuous times we need music more then ever, for the musicians, for the community, for music’s sake.”

Before confirming my participation, I polled some music industry folks whose expertise and opinions I respect. Nearly across the board I received stern warnings against participating in such a concert and “appearing to take sides” in the dispute. I was told “if you do this, you will never again be hired by a major symphony orchestra.”

I have never made life or artistic decisions based on that kind of consideration, so the warnings sounded hollow to me. … I do not profess to have any knowledge of the orchestra’s budget or deficit. Clearly there are issues to work out with the model. Will any symphony orchestra look the same 20 years from now? I doubt it, and I hope not. But I am a musician who is concerned about the priority and state of culture in our society today. If that debate were taking place, in good faith, with the musicians of the Atlanta Symphony, I would not have played. But it is not, and the decision to join them and make music was an easy one.”

I told my fellow musicians before we performed J.S. Bach, Osvaldo Golijov, David Sanford, Billy Strayhorn, Richard Prior, and Joseph Haydn, and I say it here: I am with you. Stand strong and lead us into the future as a role model for orchestras around the country. Stand up for the importance and relevance of music and culture in a time filled with the deafening noise of fear and mediocrity. I heard your voices and so did the audience on this night.

The evening following the performance with the musicians of the Atlanta Symphony, I was rehearsing a new concerto by composer/conductor Richard Prior at Emory University with the Emory Symphony Orchestra. Meters away, Amber Vinson, nurse-turned-Ebola-patient from Texas Health Presbyterian Hospital Dallas, was being escorted to the university hospital, by a surreal display of space-age sterility. On stage were young college faces concentrating on the shifting meters and new melodies of a freshly inked cello concerto, as just outside, a nurse was wrapped up in a cocoon, infected by a plague that could potentially kill millions. The proximity of a natural plague put everything that I had experienced the night before in a whole new light.

We need music more then ever to appeal to the better side of our human nature. We need music to replace fear with hope, silence with harmony, to lift our spirits, to open our minds and hearts to the world around us. Music of all the art forms is where we can hear so many voices simultaneously come together as one whole. The fight being fought by the Atlanta Symphony is not only about the lives and livelihood of 100-or-so musicians. It is about the struggle to lift our culture out of the black hole of bottom lines. This should not be a fight between an accountant and a musician, or a corporation and orchestra. It should be a discussion about what the symphony orchestra can be as an integral part of the community’s consciousness. I am with you Atlanta Symphony.

By: Matt Haimovitz

Read at: Slipped Disc

Arts ATL: Review: Locked-out ASO musicians perform DIY concert with guest cellist Matt Haimovitz

October 16, 2014

 

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On Tuesday evening, the ATL Symphony Musicians presented their most recent concert at the spacious Dunwoody United Methodist Church. The small orchestra was led by Richard Prior, composer and director of orchestral studies at Emory University. They were joined by cellist Matt Haimovitz as featured guest soloist in the evening’s interesting mixed bag of orchestral, chamber and solo works.

The performance was one of several scheduled by the musicians since they were locked out by the Atlanta Symphony Orchestra management on September 7 after the two sides failed to reach a new collective bargaining agreement. The concert was attended by about 400 people, less than a full house.

Haimovitz opened the concert with a pair of unaccompanied cello works: the Prelude from J.S. Bach’s Cello Suite No. 1 and “Seventh Avenue Kaddish” by David Sanford, the latter a remembrance commissioned by Haimovitz after the tragedies of 9/11. The emotionally harrowing work places the cellist near Ground Zero, in the guise of a saxophone-wielding street musician playing “as buildings collapse, debris blinds, dust suffocates” and yet continues to wail because he can do nothing else.

He was then joined by ASO principal percussionist Tom Sherwood for a deeply moving performance of Osvaldo Golijov’s “Mariel” for cello and marimba, in which the composer “attempted to capture that short instant before grief, in which one learns of the sudden death of a friend who was full of life.”

Three ASO cellists — principal Christopher Rex, Brad Ritchie and Dona Klein then joined Haimovitz for Sanford’s four-cello arrangement of “Blood Count” by jazz composer and pianist Billy Strayhorn, his last finished composition for Duke Ellington before dying of esophageal cancer in 1967. This version captured well the bittersweet beauty of Ellington’s rendition, with solo part by Haimovitz echoing the spirit of saxophonist Johnny Hodges, who died only a few years after Strayhorn.

While Haimovitz took a break, the orchestra assembled and Prior conducted one of his own compositions, “elegy for aurora,” a poignant work written for the Aurora High School in Colorado in response to the tragic movie theater shooting that occurred in that city in 2012.

Aside from the Bach Prelude, the concert’s centerpiece, Haydn’s Cello Concerto in C — which closed the concert — was the only respite from what seemed the program’s relentless themes of tragedy and death. With the Haydn work, Haimovitz and the orchestra succeeded in bringing the evening to an energized, sunny and, most importantly, hopeful close.

Haimovitz had already been scheduled to be an artist-in-residence at Emory University this week, but agreed to arrive a day early to perform with the ATL Symphony Musicians, a move that some warned him was a professional risk. Haimovitz provided the following statement to ArtsATL about his decision to play:

I have never before taken sides in a labor dispute, but my gut said, “Yes!” In tumultuous times we need music more then ever, for the musicians, for the community, for music’s sake. 

Before confirming my participation, I polled some music industry folks whose expertise and opinion I respect. Nearly across the board I received stern warnings against participating in such a concert and “appearing to take sides” in the dispute. I was told “if you do this, you will never again be hired by a major symphony orchestra.” I have never made life or artistic decisions based on that, so the warnings sounded hollow to me.

I do not profess to have any knowledge of the orchestra’s budget or deficit. Clearly there are issues to work out with the model. Will any symphony orchestra look the same 20 years from now? I doubt it, and I hope not. But I am a musician who is concerned about the priority and state of culture in our society today. If that debate were taking place, in good faith, with the musicians of the Atlanta Symphony, I would not have played. But it is not, and the decision to join them and make music was an easy one. 

Haimovitz will premiere Prior’s Concerto this Saturday with the composer conducting the Emory University Symphony Orchestra in a free concert at the Schwartz Center for Performing Arts. Just so there is no public confusion: that concert is unrelated to the ATL Symphony Musicians, who will themselves present a chamber music concert on Friday, the night before, in Kellett Chapel at Peachtree Presbyterian Church.

By: Mark Gresham

Read at: Arts ATL

Arts and Culture Blog, Atlanta: Locked-out Atlanta Symphony musicians to perform 3 concerts Friday and Tuesday

October 10, 2014

The locked-out players of the Atlanta Symphony Orchestra, billing themselves as ATL Symphony Musicians, will be presenting concerts on Friday and next Tuesday.

  • Friday’s performances will be at Oglethorpe University‘s Conant Performing Arts Center at 7 and 9 p.m., with an audience reception with the musicians open to both audiences on the Conant’s picnic grounds at 8 p.m.

Prior is the Emory University Department of Music conducting chair as well as conductor of the Rome (Ga.) Symphony Orchestra.Richard Prior will conduct approximately 35 musicians in programs of Mozart’s Requiem — with the Atlanta Mozart Choir, a.k.a. some 75 members of the Atlanta Symphony Orchestra Chorus — and Barber’s Adagio for Strings.

General admission tickets are $25; $75 for “special onstage seating.” The Conant is at 4484 Peachtree Road N.E., Atlanta.

  • Tuesday’s concert will be in the Dunwoody Methodist Church sanctuary and will feature cellist Matt Haimovitz, with Prior again conducting. The program will feature Haydn’s Cello Concerto in C Major, Prior’s “Elegy for Aurora” and a selection of Baroque and contemporary works.

7:30 p.m. General admission tickets (available at the door only) are $25; $15 seniors; $5 students. 1548 Mt. Vernon Road, Dunwoody. www.dunwoodyumc.org.

Prior also will conduct the season-opening Emory Symphony Orchestra program at 8 p.m. Oct. 18 at Emory. The program includes a world premiere of Prior’s  Concerto for Cello and Orchestra that will feature artist-in-residence Haimovitz.

Free. Emerson Concert Hall of the Schwartz Center for Performing Arts, 1700 N. Decatur Road, Atlanta. (Free parking in the Fishburne deck next to the Schwartz Center.)

By: Howard Pousner

Read at: Arts and Culture Blog, Atlanta

Everything That Rises: Our Kind of Spirituals, No. 50: Matt Haimovitz, “The Star-Spangled Banner”

September 14, 2014

Two hundred years ago – September 14, 2014 — Francis Scott Key composed “The Defense of Fort McHenry,” the song we now know as “The Star-Spangled Banner.”

Eighty-three years ago, “The Star-Spangled Banner” was declared the national anthem.

Forty-five years ago, Jimi Hendrix played “The Star-Spangled Banner” with a Stratocaster and a wall of Marshall amplifiers during the Festival of Peace & Music near Woodstock, New York.

Twelve years ago, the cellist Matt Haimovitz played “The Star-Spangled Banner” – Jimi Hendrix’s version – live at CBGB.  The story is told in Reinventing Bach. Haimovitz studied with Yo-Yo Ma, enrolled at Harvard, and then dropped out of college and the classical-music recital circuit at once. The gig at CBGB – in October 2002 – was just one gig in a tour of nightclubs, cafes and restaurants in support of a self-financed CD. He played three of Bach’s cello suites, a recent piece by a living composer, and a four-string acoustic reduction of the Hendrix anthem from Woodstock — rendering feedback, string bends, dive-bomb runs, and discordura, and interpolating a few bars of “Taps.”  TheWall Street Journal‘s critic griped that he couldn’t hear the cello over the clinking bottles.

Three years ago, Haimovitz played the Hendrixian “Star-Spangled Banner” at Zuccotti Park during Occupy Wall Street.

O say, can you hear …

By: Paul Elie

Read at: Everything That Rises

 

The Montreal Gazette: Review: OSM’s Classical Spree a great way to discover music

August 17, 2014

MONTREAL — When a weekend leaves you shaking at the doctor’s with bloodshot eyes and dehydration, it’s not usually because of classical music. This one was an exception. The Orchestre Symphonique de Montréal’s Classical Spree filled Place des Arts with 25,000 people for a musical triantathalon of concerts, and us obsessives, the ones who tried to hear all of them, came to recognize each other by sight and smell.

The programming was excellent despite some unavoidable padding by mouldy or well-connected soloists. Friday’s highlight was a concert version of Leonard Bernstein’s A Quiet Place, his sequel to Trouble in Tahiti that jumps thirty years to see how the family ends up. It’s a dark work, a montage of dysfunction whose hopeful notes of reconciliation are overshadowed — literally, in this minimally-staged production, by her coffin above the stage — because it is suicide that brings the family together.

There are a few versions of the opera, which premiered in 1983. Bernstein reworked it in 1986 to include many parts of Trouble in Tahiti as flashbacks, but there’s no time for any of that on a spree, so we heard the North American premiere of Garth Edwin Sunderland’s edit, commissioned by Nagano last year in Berlin. It zips by at 90 minutes and brings out the contrast between the musically adventurous first act, which takes place between a sardonic wash of half-intelligible commentary from a group of mourners and the tense arrivals of the family — an isolated, angry father, Sam, and his two estranged kids, now adults, who live in a bisexual marriage triangle — and the clearer, more dramatic second and third acts. Baritone Gordon Bintner was electric as troubled Junior — though his character’s connection of mental illness and homosexuality is troubling — and bass baritone Nathan Berg was superb as the desperate and furious Sam. There were no duds in a cast of 14 — not bad — and the OSM winds and brass had a particularly fine outing.

Saturday put the Orford Academy Orchestra with tenor Marc Hervieux, who sounds better in recital than running around an opera, for four of Mahler’s break-up cycle, Songs of a Wayfarer, in a very full Maison. Hervieux’s German has a softness that suited the tender songs best, and conductor Jean-François Rivest’s attentiveness brought out their most delicate textures with the talented ensemble of young musicians, who were brought together only three weeks before the performance. They finished with a totally appropriate whipping of Stravinsky’s Firebird; explosions and stops like a trap door blowing open and slamming shut. Great stuff.

After that we ran to hear a rare concert of Bartok’s exhaustingly youthful Quintet. Special events like the Spree can take programmatic chances, like this one, because they have an unusual flexibility in rooms — there were empty seats even in the Cinquième Salle — and a fantastic selection of musicians. Violinists Vadim Repin and Andrew Wan, violist Neal Gripp, cellist Matt Haimovitz and pianist Andreï Korobeinikov produced a jewel, murky in a few facets, but one of those performances that lodge in your head for years. A strong case for this forgotten piece.

The Spree is a great time whatever my doctor says. It’s a pleasure to jostle through Place des Arts past grandparents and families gathering to see how instruments work up close. We need more of this friendliness in our concerts.

By: Antoine Saito

Read at: The Montreal Gazette

Oxingale Music Announces New Composition Competition for Cello and Voice

May 29, 2014

Oxingale Music, publisher of a range of contemporary sheet music from award-winning composers, announces the first in a series of composition competitions aimed at building the repertoire for cello and unusual ensembles. The nucleus of Oxingale Music is a catalogue of works written for, premiered by, and recorded by Grammy-nominated cellist Matt Haimovitz.

For the 2014 Composition Competition Oxingale Music and Matt Haimovitz join UK vocal trio Voice in inviting composers of all ages and nationalities to submit a work for cello and three voices, using text from Shakespeare’s Sonnet 8, 30, or 60. Works should be under ten minutes in duration. There is no fee to submit. For additional details, please see below.

Prizes:

- The winning composition will be premiered by Matt Haimovitz and Voice in February, 2015 in New York State with the possibility of further performances in 2016.
– Oxingale Music will provide the composer a stipend of up to $500 towards travel and accommodation to attend rehearsals and the concert.
– The composer will be provided an archive recording of the performance, if available.
– The winning composition will be considered for publication on Oxingale Music.
Guidelines:

- Submission deadline: October 15, 2014
– Composers of any age or nationality may submit one original work.
– Duration: up to 10 minutes
– Text must be taken from Shakespeare’s Sonnet 8, 30, or 60. Sonnets may be used in whole or in part, individually or combined, at the composer’s discretion.
– Work must be for acoustic cello and un-amplified voices. (No electronics please)
– Works must be submitted electronically via dropbox or other file-transfer method. Please see required submission package contents below. Please do not submit materials via email or postal mail.
Vocal ranges:

Victoria = A3 to C6. Happy to sing in a folky chest register up to D5.
Emily = G3 to B6.
Clemmie = E3 to G6. She is most comfortable A3 to E6.
Please visit Voice’s website where you can listen to recordings and get an idea of the three singers’ blend on different tracks. If you have specific questions regarding the vocalists, please direct your inquiries to Victoria at voicetrio@gmail.com.
Submission package must include:

- Complete submission form (below)
– PDF of full score
– XML or .sib file of full score
– Biography/CV of composer
– Photo of composer
For more information on the artists and Oxingale Music please visit:

http://www.matthaimovitz.com
http://www.voicetrio.co.uk
http://www.oxingalemusic.com
The fine print:

- The competition organizers reserve the right not to select a winner.
– By submitting a work to this competition you certify that the composition is original and does not rely on the copyrighted material of any other person.
– Payment of stipend will be made in the form of reimbursement of expenses. Documentation of expenses must be received no later than 30 days after the premiere.
– Archive recording may be used for promotional purposes only. Any commercial use or public broadcast must be approved separately.
– By submitting a work to this competition you certify that there is no legal impediment to Oxingale Music acting as publisher for this work. If any conflict exists, please disclose it on the submission form. Oxingale Music reserves the right not to publish the winning composition.

General inquiries can be sent to info@oxingale.com Please do not email submissions.

Application

 

All Things Strings: Montreal Chamber Music Festival: Bravo Beethoven

May 23, 2014

Montreal Chamber Music Festival: Bravo Beethoven

Thursday, May 22, 2014, St. George’s Anglican Church

It was billed as “Bravo Beethoven,” but it might just as well have been called “Bravo Denis Brott.” For even though the distinguished cellist, who founded the Montreal Chamber Music Festival 19 years ago and has since served as its heart and artistic director, was laid up at home with a bad cold, the music that was made at St. George’s Anglican Church on Thursday night was the ideal that Brott had envisaged: teamwork and technique, all combined into a series of performances that illuminated Beethoven with eloquent poetry and stunning beauty.

Throughout the evening, the phrasing was linked to a compelling musical flow in which violinist Giora Schmidt, violist Marcus Thompson, cellist Matt Haimovitz (subbing for Brott as if he had been the intended cellist all along), and pianist Angela Cheng explored the dimensions of the music with the kind of ensemble playing.           Continue reading

The New York Times: Classical Playlist: Beethoven, Shostakovich, Tigran Mansurian and More

May 15, 2014

Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

‘AKOKA: REFRAMING OLIVIER MESSIAEN’S QUARTET FOR THE END OF TIME’
David Krakauer, clarinetist; Matt Haimovitz, cellist; Jonathan Crow, violinist; Geoffrey Burleson, pianist; Socalled, electronics
(Oxingale)
This brilliantly inventive recording pays tribute to Henri Akoka, the Algerian-born clarinetist who egged on Messiaen to compose when both were prisoners of war in a German camp during World War II. Framing a vivid rendition of the “Quartet for the End of Time” are two musical flights of fancy, an improvisation by the extraordinary clarinetist David Krakauer, and an electronic remix of the quartet by Socalled. (Fonseca-Wollheim)

Read at: The New York Times

JohnMontanari.com: Album du jour: David Krakauer, Matt Haimovitz, et al., “Akoka”

May 11, 2014
Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

On the cold and rainy night of January 15, 1941, in the unheated Barrack 27 of Stalag VIIIA in Görlitz, Germany, an audience of some 400 prisoners-of-war and guards listened in rapt silence as four musicians, performing on ramshackle instruments, gave the first performance of one of the great chamber works of the 20th century.  While it is doubtful that even the most devoted practitioner of historically-informed performance would want to recreate the premiere of Olivier Messiaen’s “Quatuor pour le fin du temps” (“Quartet for the End of Time”), this amazing backstory adds even further resonance to a work of stunning originality, power and spirit.  (For the full story, Rebecca Rischin’s “For the End of Time: The Story of the Messiaen Quartet” is highly recommended.)

What’s that?  You’ve never heard Messiaen’s Quartet?  Well then, you’re in for an extraordinary musical experience, one which will grow with each hearing.  In eight movements, variously scored for one, two, three or all four instruments, Messiaen combines his favorite preoccupations, such as birdsong, rhythmic and melodic symmetry, synesthesia (e.g., musical rainbows) and fervent, sentimental Catholicism into perhaps this incredibly original composer’s most accessible large-scale work.  Not for nothing has the Quartet appealed over the years to audiences steeped in psychedelia, mysticism, minimalism, new age philosophy, eastern religion and just about every other alternative life- or musical style associated with adventurous youth.

On their splendid, just-released 2008 live concert recording (with violinist Jonathan Crow and pianist Geoffrey Burleson), clarinetist David Krakauer and cellist Matt Haimovitz have framed the Quartet with a works that pay tribute to the remarkable clarinetist of its premiere, an Algerian Jew named Henri Akoka.  As prologue, the four musicians collaborate on a mostly-improvised, electronically-enhanced piece (credited to Krakauer) called “Akoka,” transforming elements of the Messiaen into a Klezmer-ish lament and dance filled with clarinet smears, cello scrapes (much like those Matt Haimovitz employed in his celebrated version of Jimi Hendrix’s “Anthem”), scratchy violin off-beats and strummed piano strings.

For the epilogue, Canadian producer Socalled (Josh Dolgin) “merges live samples of the musicians with old radio broadcasts, hiphop, cantorial singing and markers of time…” into a piece called “MEANWHILE…”  Of all the album’s ten tracks, this will probably age least well, especially its rapped passages.  For the present, it’s a stimulating modern commentary on a great musical work.

But it’s the performance of the Quartet that commends and rewards most of our attention here.  Not that there aren’t excellent alternative versions in the current discography, but this one can take its place with the best of them for both individual and ensemble excellence.  To cite just a few examples:  The quiet central passage of the 2nd movement, “Vocalise, for the Angel Who Announces the End of Time” has rarely been as mesmerizing.  David Krakauer’s superb rendition of the 3rd movement clarinet solo, “Abyss of the Birds,” is filled with personality, subtly reminding us that for all its mellow mellifluousness, the clarinet was also the instrument par excellence of the red light district, the shtetl and the Roma encampment.  And Matt Haimovitz’s modulation of both tone color and vibrato in the sublime 5th movement duo, “Praise to the Eternity of Jesus” are wondrous to hear — artistry of the highest order.

Messiaen’s Quartet for the End of Time is best experienced live — what great work isn’t?  In the meantime, and for keeps, this fine, imaginative CD is highly recommended, and will fit right into your shelf next to your Mahler, your Moby, your Moondog and your Mozart.  At least that’s where it is on my shelf.

By: John Montanari

Read at: JohnMontanari.com

Tages Woche: Das Sinfonieorchester Basel erhält begeisterte Kritiken

April 29, 2014

Vier von fünf Sternen verlieh der Kritiker des «Guardian» dem ersten Konzert des Sinfonieorchester Basels – eine Note, die in diesem Sektor Seltenheitswert geniesst.  Andrew Clements titelt enthusiastisch «minimalist works maximise power and excitement» und betont Dennis Russell Davies Fähigkeit, «to showcase the strengths of his orchestra, the depth of its string tone, liveliness of its woodwind and security of its brass.»

Jenes Konzert wurde vorab von der BBC beworben – etwa mit einem kleinen Intermezzo für Klavier zu vier Händen von Dennis Russell Davies und Pianistin Maki Namekawa – und anschliessend live übertragen (es kann online nachgehört werden). Dies generierte sogar zusätzliche Konzertbesucher. Zwei Tage später nämlich verriet beim Konzert inBasingstoke eine britische Dame den Basler Tourbegleitern am CD-Verkaufstisch, sie habe das Konzert am Radio gehört und sofort entschieden, dass sie dies unbedingt live hören müsse. Deshalb sei sie extra nach Basingstoke gekommen.

Beeindruckte Besucherinnen und Besucher

Selbst die «Freunde des Sinfonieorchesters Basel» sind für einige Tage nach London gereist. Suzanne Pollak-Daicker (71), seit ihrem zwanzigsten Lebensjahr Exilbaslerin, hält sogar von ihrem Wohnort Liechtenstein aus Kontakt zum Orchester. Nach dem Konzert in der Cadogan Hall erzählt sie, dass ihr John Adams’ «Harmonielehre» zwar ein wenig zu laut, ein wenig zu aggressiv erschien. Doch sie sei grosser Fan von Arvo Pärt; und dass sie bei dessen Klavierkonzert «Lamentate» auch noch Dennis Russell Davies Frau, Maki Namekawa, am Klavier erleben durfte, «ihr edles Spiel, und wie sie mit dem Orchester gekämpft hat», das habe sie sehr beeindruckt.

Es ist ein freundliches, offenherziges Publikum, das hier den Baslern begegnet. Ob in den riesigen Mehrzweckhallen von Coventry und Basingstoke, ob in der edlen Londoner Cadogan Hall oder in der urchigen ehemaligen Lagerhalle «Corn Exchange» in Cambridge (die atmosphärisch der Basler Kaserne sehr nahe kommt); überall erntet das Orchester jubelnden Applaus. Nicht selten sprechen Konzertbesucher die Orchestermitglieder direkt nach den Konzerten an, um ihnen ihre Begeisterung und ihren Dank mitzuteilen.

Schöne Ansprache des Chefs

Dies hat nicht nur mit der Musik zu tun, die auf dem Programm steht: Minimalmusic ist zwar beliebt, weil sie tonal komponiert ist und schöne Atmosphären schafft, aber sie ist längst nicht so ein Zugpferd wie etwa eine Beethoven-Sinfonie.

Der Erfolg hat vor allem auch mit dem Orchester und seinem Chefdirigenten zu tun. «Harmonielehre war eine richtige Bombe», lobte Davies sein Orchester nach dem ersten Konzert.

Und nach dem dritten Konzert gab er gleich einen ganzen Apéro aus. In seiner Ansprache sagte er seinen Musikern: «Wir haben hier ein Publikum, das gekommen ist, um diese Musik zu hören. Und was sie hören ist weit über dem, was sie erwartet haben. Und das hat damit zu tun, wie das Sinfonieorchester Basel mit der Musik umgeht: Mit Leidenschaft, mit Können, mit Geduld, wenn Geduld gefragt ist, und Disziplin. Ich bewundere das, und ich bedanke mich sehr.»

All das motiviert nachhaltig. Selbst nach einer staubedingten, unfreiwillig langen Busfahrt von drei Stunden, nach der es ohne Abendessen direkt auf die Bühne von «The Anvil» in Basingstoke geht, spielen die Basler ein hervorragendes Konzert voller Energie – und steigen anschliessend ohne Murren direkt wieder in den Bus, um die Rückfahrt ins Hotel anzutreten – schmerzende Rücken und steife Beine ob des langen Sitzens ungeachtet.

Schrecksekunde beim Saitenriss

Sogar eine gerissene Cellosaite bringt die Basler nicht aus der Ruhe: Als beim gestrigen Konzert in der Cambridge Corn Exchange  dem Solisten Matt Haimovitz bei Philip Glass’ 2. Cellokonzert «Naqoyqatsi» die tiefste Saite riss, die er zuvor noch intensiv bearbeitet hatte, um seinem Cello ein gefährlich drohendes Grummeln zu entlocken, da zückte Stimmführer David Delacroix vorbildlich eine passende Ersatzsaite aus dem Jackett. Noch auf der Bühne wechselte Haimovitz die Saite, und binnen weniger Minuten konnte das Konzert weitergehen, als wäre nichts gewesen.