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covid-19 the orchestra world

what I would have been playing this month – march 2021 edition

March is often one of the busiest months of the season for the Oregon Symphony (aside from the run up to the Christmas holiday). This month would have brought three Classical series concerts, with some really great repertoire, the return of a favorite guest conductor, and a look at an interesting the- music director candidate (now moot with the hire of the excellent David Danzmayr).

Classical 10

Carlos Kalmar, conductor
Gabriel Kahane, vocal soloist

Panufnik – Katyn Epitaph
Mendelssohn – Symphony No. 3 “Scottish”
G. Kahane – The Right to be Forgotten

Classical 11

Joana Malwitz, conductor
F. Piemontesi, piano

Nikodijevic – GHB/tanzaggregat
Dvorak – Concerto in G minor for Piano & Orchestra, Op. 33
Schubert – Symphony No. 9 in C major, D. 944 “The Great”

Classical 12

James Gaffigan, conductor
T. Andres, piano

R. Strauss – Don Juan
Andres – The Blind Bannister
Mazzoli – These Worlds in Us
Schumann – Symphony No. 4

Lots to unpack in these concerts. Last for first, Classical 12: James Gaffigan has always been a favorite conductor of mine – I’ve always enjoyed his visits, infrequent though they may have been. He was to have brought composer/pianist Timo Andres with him for the Oregon premiere of his 2015 concerto for piano and chamber orchestra The Blind Bannister. The composer writes some excellent notes about this piece on his website. Missy Mazzoli’s 2006 ode to her father These Worlds in Us is thankfully reprogrammed for next season’s Classical series concerts of Jan 8-10, 2022 with conductor Jun Märkl. Schumann’s Fourth Symphony just isn’t played enough, I actually cannot remember the last time I played it (someone remind me!). And Don Juan is always fun to play when you’re not learning it for an audition!

Classical 11: Conductor Joana Malwitz had some excellent buzz from people who had seen her conduct, and I’m hoping that she’ll get a chance to be re-engaged in subsequent seasons. There are some truly excellent female conductors out there, and they really need to be seen here in Oregon. We had excellent concerts with Eun Sun Kim before our season was canceled this year, and she is returning next season, so there is hope! Anyway, a pretty standard ‘overture-concerto-symphony’ concert was planned for Malwitz’s week, and it would’ve been interesting to have a rare shot at Dvorak’s sole Piano Concerto (it seems to be having a renaissance like his Violin Concerto has done in the past decade), and the intriguing opener by Serbian composer Marko Nikodijevic explores the world of the drug-hazed rave culture. I’m not sure I would have been looking forward to the Schubert ‘Great’ as it’s so tiring to perform (even if it is truly a sublime masterwork).

Classical 10: This concert just squeaks into March, as the last of the three of the series would have taken place on March 1, 2021. Really interesting concert program, conducted by Carlos Kalmar. An opener by Panufnik – a composer I’ve heard a lot about, but that I haven’t actually played much, if at all. This is his centennial year, so it makes sense to have a work on the calendar. It’s another of a series of pieces that Carlos has picked that commemorate tragedy. It echoes the Martinu work Memorial to Lidice in that it commemorates the horror of mass slaughter in a time of war. Mendelssohn’s 3rd Symphony is always a joy to play, not the least because it has wonderful viola parts! And the world premiere of a new work for vocalist and orchestra by Gabriel Kahane on the heels of his triumphant success emergency shelter intake form would have been great to experience – this will be reprogrammed for a future season, with his new piano concerto for his father being presented next season.

So, many works and conductors that I would have loved to have worked with and performed – hopefully these are not lost to time, but simply put off for a later date!

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covid-19 labor issues oregon oregon symphony the orchestra world

smoke (and mirrors)

Smoke as seen from my front yard.
My front yard two days ago.

There’s little chance that you’ve failed to notice that much of the western US is on fire. It’s come close to home for me in a way that it never has before. I live in the very northwestern corner of Clackamas County, which is to the south and east of Portland. The entire county was under a level one evacuation protocol when high winds fanned the flames of some smouldering fires in the Cascade foothills. Since then some areas to our south and east have been put under level two and level three. Level two is ‘be ready to leave at a moment’s notice’, Level three is ‘get out now’. We had our cat carriers out, and had made a mental list of what we’d put in the car if we needed to. Cats, viola, documents, us. That was all that we really needed to have. Everything else was stuff – precious stuff – but still just stuff. Mostly replaceable. Meanwhile, many of our fellow county residents have lost property, possessions, and in more than a few cases, lives of pets and family. The death toll is looking like it will rise significantly once burned areas can be searched. It’s such a sad time for many.

So that’s the smoke alluded to in this post’s title.

my viola on a chair

As this natural calamity occurs, there is another one happening as well. The Oregon Symphony 2020-2021 season was due to begin two days ago. All of our services (rehearsals and concerts) have been canceled through December 2020. We have no hall to play in (at least for live audiences), and any outdoor possibilities (considered or not) have been rendered moot by the unhealthy air in the region. I was supposed to take part in two donor events this past week which were both canceled due to hazardous conditions. There’s no telling if they’ll be able to be rescheduled. A week that was to have had a couple quartet rehearsals and two concerts for small groups of donors turned into a week of trying to figure out what to do, and worrying about what would come (or not come) next.

This is the mirror that I’m forced to look into – a present that I can’t even imagine right now. I’m watching other orchestras starting their seasons to various degrees. The Dallas Symphony has already held several concerts, Houston is about to hold their season opener. The Minnesota Orchestra plays a concert tonight. The Seattle Symphony has started a new streaming service and is presenting concerts on it. Toledo is holding concerts this weekend. Almost all of our peer orchestras (the group collected under the ICSOM organization) are either working or being paid a substantial amount of their wages while out of work. The Oregon Symphony is one of only six orchestras that is fully furloughed. We’re not being paid anything, other than unemployment, at this point*. Health insurance is being paid, for which we are very grateful. But it is frustrating, not knowing what is happening. We don’t know what plans are being made (if any) to begin playing concerts of any sort before January. We do know that our contract (CBA) will be modified due to the COVID-19 situation, but have no idea what will come of that. Even a couple hundred dollars a week of income could make a huge difference to some of us. And unlike some other orchestras, our players’ association does not have a million dollar ‘war chest’ for strikes, lockouts, and other situations where we’re out of work for a long time. I am beginning to fear that I will come out of this time with zero savings – after years of scrimping and gigging to get a cushion to make it through lean times. That means the latter half of my career will be spent worrying about money constantly, and most likely being unable to retire until well into my 70’s. It’s not exactly what I was looking forward to.

Not all of it has been terrible. The orchestra produced several acclaimed video series – Symphony Storytime, a series for children; and Essential Sounds, a chronicle of the crisis over the spring and early summer featuring performances by OS musicians (I was fortunate to be able to take part in the episode embedded below).

I had a lot of hope around the end of last season (the time it was scheduled to end, June, not when it actually ended, March). Hope that my job would remain pretty close to what it was in the first half of March 2020. That hope is fading. It is entirely possible that the last ten years of my time here will have been the best years that the Oregon Symphony will ever see. I hope that that is not the case. But hope is in limited supply these days.

*We will be, at some point, be paid our Premium Pay, which is 2.5 weeks of vacation pay normally paid in our last pay period of the season, and our Electronic Media Guarantee (EMG) payment, which covers the use of previously recorded material for various electronic means of broadcast.