Shostakovich, Stalin, and Jack Nicholson…oh my!
This past week we tried something more than a bit off the beaten path. It would be safe to say that the week 7 Aspen Festival Orchestra concert was definitely a risk. Our guest conductor for the week was Murry Sidlin, currently serving as dean of the school of music at the Catholic University of America and formerly Artistic Director of the Oregon Symphony. While at the Oregon Symphony, Murry took over the “Nerve Endings” concert series. “Nerve Endings,” now called “Illuminations,” is a very unique set of programs designed to attract new audiences by changing the format of the traditional concert. These programs often focus on a single conductor or work and integrate various forms of media including live and recorded music, acting, video, and ensembles of all types and sizes. This past Sunday, Murry brought such a show to Aspen.
Anyone who understands the deep rooted traditions and etiquette of modern classical music can very well see how big of a risk performing these kinds of shows is. The bottom line is that people in this industry, more than almost any other, are afraid of change. Change, however, is necessary for the survival of the art form. After all, how long can a cultural institution stay relevant to society if it does not constantly change and adapt to reflect/lead it? I can say with significant confidence that this past Sunday’s AFO show, “Russian David…Soviet Goliath!,” took on this risk and succeeded.
“Russian David…Soviet Goliath!,” written and conducted by Murry Sidlin, tells the story of the relationship between Stalin and Shostakovich with specific focus on Shostakovich’s 5th symphony. The show consisted of dialogue between two actors playing the parts of Stalin (John Rubinstein, actor and son of famous pianist Arthur Rubinstein) and Shostakovich (Michael York, of popular fame as Basil in the Austin Powers movies). Interspersed before, between, and after the dialogue were various arias sung by vocalists, excerpts from Shostakovich’s 8th String Quartet played by the Jasper Quartet, and excerpts from Bartók’s Concerto for Orchestra as well as Shostakovich’s 5th and 7th Symphonies. The dialogue served the music by giving “live program notes” of sorts that really explained various themes in the music and how they related to the suppressive social climate in Russia at the time. The concert finished with a full performance of Shostakovich’s 5th symphony which, by that time, had been fairly thoroughly explained to the audience by the actors.
Despite the long length of the concert (2hr 30min), the house was quite packed from beginning to end and now, three days after the fact, we continue to hear shining comments from the community regarding this risky endeavor. I predict that in the years to come, these kind of events will increase in number as the survival of classical music demands more risk taking. In fact, as I prepare to become the Executive Director of a symphony over the couse of this year, I plan on taking these and many other risks when the time comes.
On a lighter note, this concert set also helped to expand my celebrity sighting list. In addition to having the opportunity to work directly with John Rubinstein and Michael York, Supreme Court Justice Sandra Day O’Connor was in town and became good friends with Michael York during the week and Jack Nicholson, a personal friend of Michael, was also present at the concert. Jack’s presence at the event drew just about as much attention as the concert itself as musicians and audience members alike lined up during intermission to get their t-shirts and other movie memorabilia autographed. Myself? I was content to people watch as word of his arrival spread like wildfire.
Anyone who understands the deep rooted traditions and etiquette of modern classical music can very well see how big of a risk performing these kinds of shows is. The bottom line is that people in this industry, more than almost any other, are afraid of change. Change, however, is necessary for the survival of the art form. After all, how long can a cultural institution stay relevant to society if it does not constantly change and adapt to reflect/lead it? I can say with significant confidence that this past Sunday’s AFO show, “Russian David…Soviet Goliath!,” took on this risk and succeeded.
“Russian David…Soviet Goliath!,” written and conducted by Murry Sidlin, tells the story of the relationship between Stalin and Shostakovich with specific focus on Shostakovich’s 5th symphony. The show consisted of dialogue between two actors playing the parts of Stalin (John Rubinstein, actor and son of famous pianist Arthur Rubinstein) and Shostakovich (Michael York, of popular fame as Basil in the Austin Powers movies). Interspersed before, between, and after the dialogue were various arias sung by vocalists, excerpts from Shostakovich’s 8th String Quartet played by the Jasper Quartet, and excerpts from Bartók’s Concerto for Orchestra as well as Shostakovich’s 5th and 7th Symphonies. The dialogue served the music by giving “live program notes” of sorts that really explained various themes in the music and how they related to the suppressive social climate in Russia at the time. The concert finished with a full performance of Shostakovich’s 5th symphony which, by that time, had been fairly thoroughly explained to the audience by the actors.
Despite the long length of the concert (2hr 30min), the house was quite packed from beginning to end and now, three days after the fact, we continue to hear shining comments from the community regarding this risky endeavor. I predict that in the years to come, these kind of events will increase in number as the survival of classical music demands more risk taking. In fact, as I prepare to become the Executive Director of a symphony over the couse of this year, I plan on taking these and many other risks when the time comes.
On a lighter note, this concert set also helped to expand my celebrity sighting list. In addition to having the opportunity to work directly with John Rubinstein and Michael York, Supreme Court Justice Sandra Day O’Connor was in town and became good friends with Michael York during the week and Jack Nicholson, a personal friend of Michael, was also present at the concert. Jack’s presence at the event drew just about as much attention as the concert itself as musicians and audience members alike lined up during intermission to get their t-shirts and other movie memorabilia autographed. Myself? I was content to people watch as word of his arrival spread like wildfire.
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