online memorial February 13, 2007
Posted by Charles Noble in : Uncategorized, add a commentI have set up a simple guestbook for remembrances of Kjersten and Angela. It can be found via either of these links:
http://www.remember.oregonviola.org
http://books.dreambook.com/nobleviola/main.html
the cost of drunk driving February 13, 2007
Posted by Charles Noble in : the orchestra world, add a commentBlogger Drew McManus has collected various news links of this senseless tragedy here.
An eloquent comment from the Statesman Journal’s bulletin board:
Angela and Kjersten were my colleagues, my friends. I am still in shock and deeply grieved to learn of their deaths–they were beautiful, brilliant, dedicated and…oh, so deeply loved and appreciated by the many whose lives they touched. I am so grateful that Kelly survived and saddened that she must live with such a nightmare–watching her long-time colleagues and friends die a horrible, needless death.
Needless to say, I AM FURIOUS that their PRECIOUS lives were cut short by the WIM of a SENSELESS, THOUGHTLESS, RECKLESS woman’s choice.
AND I HAVE SOMETHING TO SAY TO ANYONE WHO HAS EVER ALLOWED THEMSELVES TO GET DRUNK, ANYONE WHO HAS WATCHED SOMEONE GET DRUNK AND GET BEHIND THE WHEEL, TO EVERYONE WHO HAS GOTTEN HIGH, AND TO ANYONE WHO IS GUILTY OF RECKLESS DRIVING IN THE FORM OF PLAIN STUPIDITY, IMMATURITY, TALKING, TEXTING, OR FIDDLING WITH THEIR CELL PHONE WHILE DRIVING HANDS-FREE OR OTHERWISE(it is a well-known fact that the simple distraction of a phone conversation is the same as driving while intoxicated):
For the Love of God, have regard for human life other than your own! Would you trade the place of your husband, mother or baby, with Angela or Kjersten?? You wouldn’t want your dog to suffer that kind of death, so why would you continue to choose to do these things when you know what could happen?! Servers should be held accountable for over-serving their drunk customers, friends who let drunk people get behind the wheel are every bit as much a criminal. When you drive, JUST DRIVE and drive defensively.
When you lack the basic kind of self-control that prevents you from harming other people, and I do not exempt the millions of self-important prigs rushing from here to there and rummaging through their car to find and answer that ever-important-ringing-cell-phone while merging onto a busy freeway, you ought to be put behind bars where you will never, EVER again have the opportunity to harm anyone except yourself.
I hope that the deaths of Angela and Kjersten and countless others registers a conviction and a 180 in millions of people that believe their actions have no consequences, that think life revolves around them–because in the end, the only thing that will surround them is death.
fallen colleagues February 12, 2007
Posted by Charles Noble in : the orchestra world, 3commentsBeing a freelance musician anywhere in the country involves one universal common denominator: driving. When I lived in the D.C./Baltimore area my “gig range” was from Roanoake, Virginia in the south to Lehigh, Pennsylvania in the north. I once even did a gig in Kingsport, Tennessee. Every current or former freelancer I know has a close-call story that involves driving long distances late at night. I was a passenger in a sports car that almost hit a herd of migrating deer as they crossed I-81 up the Shenandoah Valley sometime between 11:00 p.m. and 1:00 a.m. It was only luck that we hadn’t come along a few seconds later: there would have been no time to react - we might have been killed.
This morning brought a sobering reminder of the hazards of the late-night travels of the freelance musician. A car with three members of the Eugene Symphony were returning to Portland from an evening rehearsal late Sunday night when they were hit by a car (driven by a 26 year old female drunk driver with a previous DUII conviction) travelling on the wrong side of the freeway. Two of the three musicians were killed nearly instantaneously: Kjersten Oquist, aged 36, Principal violist, and Angela Svendsen, aged 31, Principal second violinist. The third, Principal oboist Kelly Gronli, was injured, most likely saved only by being in the back seat. All were wearing their seatbelts. Here is a link to the story in the Oregonian.
The news came to the hall as we were in the midst of rehearsing for our upcoming classical subscription concerts. It was devastating, as these musicians are and were well-known to almost all of us, both as frequent substitutes with the OSO, and as valued members in the other major ensembles around the Portland area.
Kjersten played a lot with the symphony, less after she won her position in Eugene. She was very intelligent, thoughtful, witty, and was a highly-regarded violist. She also served as librarian of the OBT orchestra and of the Young Artists at the Schnitz concerts - everything was ready well in advance and with impeccable skill, and always with a charming smile, too.
Angela was a shining light in any violin section she played with. A fashionista and wonderful violinist, she made a major impression on tour to Baker City last year as being perfectly coiffed and raring to go for those 8:30 a.m. bus rides for the local school concerts - I don’t ever remember seeing her in a bad mood and without a ready smile, even during those grueling Nutcracker runs at holiday time with the Oregon Ballet Theater Orchestra.
Kelly has always been the go-to oboist if we have a last-minute sickness in the section, and her brilliant playing (including sight-reading Daphnis last season!) and wry wit are always appreciated - I’m glad that she’s doing ok.
Never does the community of musicians feel so much like a family as in times like this. We all know each other - for good or for ill, and as in a family the old grudges fade away when crisis mode sets in. My heart goes out to the families and friends of those who were killed, and to the extended family of their fellow musicians. The Eugene Symphony musicians and staff must be absolutely devastated, and I’m sure that I speak for all of my colleagues in the Oregon Symphony when I say that our thoughts and prayers are with every one of them this week. They, too, have concerts this coming weekend, and these upcoming rehearsals will surely be some of the most difficult they will ever play.
Next time you attend a performance by one of the other ensembles in town, say a special thank you in your heart for those hard working musicians. They travel long distances after most of us are safe in our beds, and they do it both for the love of their craft and the enjoyment of the audiences, and often for less than adequate pay. No one in music works harder than the freelance musicians. Don’t forget them.
spring recital planned February 10, 2007
Posted by Charles Noble in : Uncategorized, 2commentsMy first major, formal recital in Portland (it only took 11 years!!) will take place on Saturday, April 7th at 7:30 p.m. at the Community Music Center (3350 SE Francis St, Portland, 97202). I’m delighted to be able to invite some of my incredibly talented colleagues to join with me in the music-making for this recital. In addition, the concert will benefit the Community Music Center, which is suffering from decreasing levels of support from the City of Portland, and which is a priceless asset to the entire metropolitan region.
Artists:
David Buck, flute
Shin-young Kwon, violin
Karen Wagner, oboe
Cary Lewis, piano
Repertoire:
Ludwig van Beethoven - Serenade, op. 25 for flute, violin and viola
Henri Vieuxtemps - Capriccio, op. posth. for solo viola
Charles Martin Loeffler - Two Rhapsodies for oboe, viola and piano
Zoltan Kodaly - Adagio for viola and piano
Henri Vieuxtemps - Elegy, op. 30 for viola and piano
showmanship - not just for headliners anymore? February 10, 2007
Posted by Charles Noble in : the orchestra world, add a comment
Johnny Mathis
It was a pleasure once again to see a packed house at Arlene Schnitzer Concert Hall last night. Having the Itzhak Perlman series sell out followed by a special appearance by the legendary Johnny Mathis was a great way to brighten the appearance of the orchestra’s future. I hope that these artists will begin the flood tide of world-class guest artists and conductors that this ensemble (and this community) clearly deserves.
I love watching these great artists do their thing - whether they are classical, crossover or popular music practicioners. There is such an evident dedication to their craft - and they always project a great joy in what they do. I see them all backstage, and I know that they can have their off days - and tempers to prove it! But to a one, regardless of their circumstances, they step out on the stage and give the audience the dedication and enjoyment that they are paying $50 - $150 a seat for. I’ve seen Yo-yo Ma step out of a cab from a late-arriving plane, get out his instrument, and do a spell-binding performance of the Dvorak Cello Concerto in the dress rehearsal, and then several hours later deliver an even more arresting performance that night. Clearly, he was exhausted, frazzled and probably surly, but he betrayed none of this to either the orchestra, backstage staff, or audience. This is the duty of the professional performer.
We in orchestras often consider ourselves above “entertainment”, but really - what does it matter when that is one of the things that an audiences is looking for in our product? We owe them a pleasing and enjoyable visual experience as well as an aural one. I don’t mean apeing and mugging for the audience like one of Yanni’s or John Tesh’s side-performers (shudder) - I mean projecting a real and engaged involvement (and evident enjoyment) in the process of making music. What we’re doing is hard work, and sometimes it’s so hard that we cannot spare the energy or time to do that extra bit of showmanship, but there are times when it’s ok to just let go. The concerts with Perlman, especially, were full of moments like that. It’s a difficult task sometimes, when you’re tired and have had a bad day, or are catching the latest bug that’s making the rounds. But it is an obligation, and one that I aim everyday to do a better job of meeting.
how to be a conductor February 9, 2007
Posted by Charles Noble in : the orchestra world, 2comments
From the lovely, funny and talented Jen Drake of Darkwood Consort fame, enjoy! I must also say that these instructions (and very astute observations they are) can apply to conductors which are faced by orchestras of every level (both budget and artistic).
Hey kids, who wants to be a conductor when they grow up? That’s great! Here is your chance to glean some valuable knowledge!
1) You are allotted 2.5 hours in which to complete your rehearsal! Be sure to use every second of it. Repeat sections unnecessarily to fill time if you have nothing else to say.
2) Let’s say you are rehearsing a 16 measure section, with the letters A and B at either end. A great way to save time is to stop the entire orchestra 8 measures after A and request that they resume at three measures before B. Why play those pesky 4 measures when you don’t have to?
3) Singing an articulation (daaah) is always more effective than using a descriptive term (legato)
4) If a section leader has a question upon stopping, ignore them to give your own thoughts first. It really can’t be that important if you didn’t notice it.
5) Be sure to only address some members of the orchestra by name. Calling the principal trumpet by his first name, but the principal clarinet by ‘clarinet’ ensures that your hierarchy is well established in the minds of the entire orchestra.
6) When in doubt of your own rhythmic integrity, let everyone know that they need to be more on top of the beat.
7) Say something really specific before letting which group of instruments you are speaking to know it’s for them. “OK. On the second beat, the tenutos and slur passages of three before B with the percussive G# resolution? Make sure that you are just a smidgen later on that offbeat. Got it cellos?”
Count OUT LOUD before starting. This way no one will have to follow you.
9) Repeat sections if you have nothing else to say.
So, there you go! Remember these handy techniques for your future in conducting!
Concerts with Perlman February 5, 2007
Posted by Charles Noble in : the orchestra world, 1 comment so far
photo credit: sophie yao - the oregonian
First of all, here is the nicely written review by James McQuillen of the Oregonian.
I’d say McQuillen hit the nail pretty much on the head. It would have been nice to hear more of Perlman’s playing - it really was the draw for much of the crowd. His orchestral appearances with this orchestra are rarer than hen’s teeth (he hasn’t appeared since I joined the orchestra 11 years ago), and though the Beethoven Romances are wonderful little gems, there was little for the audience to sink their teeth into (aside from music-making as only Perlman could deliver, that is).
Perlman as a conductor is an interesting animal. He is full of great ideas that he is able to convey fairly well. He’s not a virtuoso with the baton like he is with the violin - but that’s not necessarily a bad thing. He gives the orchestra a chance to breathe - to shape phrases with a common voice, but without a straightjacket.
The concerts were a measure of how much the orchestra has grown artistically over the last five years. We could never have sustained the level of rhythmic discipline with minimal direction in years past, and even when the sound was full-out in the Tchaikowsky, there was always a suppleness, depth and lack of hardness that wouldn’t have been present before.
It would be a coup if we were able to establish a continuing relationship with the maestro for future seasons - he would, I hazard a guess on behalf of the rest of the orchestra, be a welcomed presence on the podium, both from the stage and the hall. Rumor has it that he might return in the 08-09 season - this would depend upon many variables including his availability - but it is a good rumor to think about!
P.S. - as for the photo - you can see the author in the lower left-hand corner.
to clap or not to clap February 5, 2007
Posted by Charles Noble in : the orchestra world, add a commentHere’s another article about clapping between movements. I’ll give you this OSO musician’s take on it - you can clap whenever you want, just buy tickets and come to our concerts whenever you can (the full-houses for Itzhak Perlman have been wonderful for us to see, and the energy from the patrons has been awesome!).
almost the short list… February 5, 2007
Posted by Charles Noble in : the orchestra world, add a commentAn excellent article appeared in the Dallas News [here] which tells of the short list of candidates who were passed over in favor of Jaap van Zweden for Music Director of the Dallas Symphony. In the list of honorable mentions there were two that are very familiar to Portland audiences:
Et al: Among other guest conductors who might have been considered music director material, Yakov Kreizberg and Yan Pascal Tortelier conducted well-proportioned and finely finished performances, but DSO musicians complained they were hard to follow. On two different occasions, Carlos Kalmar got playing of great precision but zero sex appeal.
new appointments February 2, 2007
Posted by Charles Noble in : the orchestra world, add a commentDallas Symphony Appoints Zweden
Jaap van Zweden, a 46 year old Dutch conductor (who was the youngest concertmaster in the history of the famed Concertgebouw Orchestra in Amsterdam) has been named as the next music director for the Dallas Symphony. Read the details here. It was widely rumored that OSO music director Carlos Kalmar was in the running for this position, so it’s good news for Portland audiences that someone else was awarded the position.
Pittsburgh Appoints Honeck
After a three-year experiment with a trio of part-time “artistic advisers” and guest conductors, the Pittsburgh Symphony Orchestra has selected a music director. Manfred Honeck, a 48-year-old Austrian conductor with a fast-rising reputation in Europe and stacks of glowing reviews from both sides of the Atlantic, begins a three-year term with the PSO in September 2008.
Honeck and the orchestra’s board announced the appointment at a press conference this morning. Terms of the agreement were not disclosed, other than that he will conduct eight weeks in Pittsburgh his first season and 10 weeks in subsequent seasons, with additional weeks for touring. Also, according to The New York Times, Honeck will definitely take on the fundraising, administrative and public relations duties which are part of a music director’s job in the U.S. but which make some European maestros uncomfortable.
Honeck conducted the PSO for the first time only last season. But the chemistry between maestro and musicians was evidently extraordinary from the start. “It is no exaggeration to say that the orchestra and I got on like a house on fire,” Honeck said in a statement; PSO board chairman Dick Simmons told the Pittsburgh Post-Gazette, “In the 16 years I have been associated with this orchestra, I have never heard the overwhelming endorsement of a conductor by the musicians [like the one they gave to Honeck], and that includes some pretty high-level conductors.”
