Archive for December, 2015

Trifonov’s Rach 3 Cocktail

Wednesday, December 30th, 2015

Daniil Trifonov greets concertgoers at a Munich Philharmonic Jugendkonzert

By ANDREW POWELL
Published: December 30, 2015

MUNICH — The first-movement cadenza exploded out of its context in Daniil Trifonov’s novel reading here Dec. 14 of Rachmaninoff’s Third Piano Concerto. This meant, among other compromises, a slight suppression of everything that preceded it, including the 130-measure development. Trifonov understated the folksy first subject and sped without emphasis through the unsettled transition to the second, whose cantabile theme he traced affectionately. Along the way, conductor Valery Gergiev held in check the Munich Philharmonic’s volume of sound, tidily echoing for instance the soloist’s restatement of that cantabile, while Trifonov supported his experiment with astonishing skill in the fast runs and big chords as well as phrasing of graceful expression. But refining down the dynamics, and careening through swaths of material as if the sound picture mattered more than argument, reduced much of the movement’s rhetoric to impotent frenzy. The remainder of the concerto went more conventionally, still with terrific playing. Trifonov burst into the Intermezzo with due drama and, together with Gergiev, expertly pointed the rhythms of the Finale. If anything hampered him, it was a deficit of tension resulting from the slighted statements in his opening movement.

In a brief onstage interview afterwards at this Jugendkonzert in the Gasteig, the somewhat nerdy pianist deflected awkward questions from emcee Andreas Korn — “Can we see your hands? Are they big?” — with smart observations about what Rachmaninoff could achieve as a player, before running dreamily through Alla reminiscenza from Medtner’s Opus 38. For Scriabin’s glittery, glowing Poème de l’extase after the break, the MPhil mustered welcome refinement, not least in its brass. The concert opened with the Act I Prelude from Lohengrin, nicely propelled but without ideal sheen in the strings.

Photo © Christian Beuke for MPhil

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Maestro, 62, Outruns Players
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Modern Treats, and Andsnes
With Viotti, MRO Looks Back

The 2015 Season So Far – Some Comments

Tuesday, December 29th, 2015

By: Frank Cadenhead

You are not likely to find Schoenberg at the center of a regular symphony concert in any season. The concert of December 4th of the Orchestre Philharmonique de Radio France, at the Auditorium at Radio France, with music of Brahms and Schoenberg, would be not high on my list except for one thing: the new Schoenberg opera, Moses und Aron, which just finished at the Bastille was far more engaging than I expected and the critically praised production also attracted a receptive audience. While his associate Alban Berg’s two operas, Wozzeck and Lulu, appear regularly in opera seasons around the world, Moses und Aron is still a rarity.

First, however, was the task of reaching the new Auditorium. With new security measures after the terrorist attack of November 13, the only access to the vast Radio France “Roundhouse” (a pet name for the building) was the main entrance, entirely on the other side of usual auditorium entrance. When the panting audience finally arrived, bags were checked, purses opened and passing through a scanner was part of the entry process. Security also kept the audience inside during the intermission, a surprise for those who anticipate their nicotine fix during the break.

Lise de la Salle, the soloist for the Brahms First Piano Concerto, is now a major star on the international stage and is well appreciated and familiar presence in Paris. Karl-Heinz Steffens, the guest conductor for the evening, was new to me. Steffens was Principal Clarinet of the Berlin Philharmonic until 2007, when he reinvented himself aa a conductor. and his international career has, since then, moved sharply upward. He is Music Director of the Deutsche Staatsphilharmonie Rheinland-Pfalz in Ludwigshafen but has guest conducted major orchestras around Europe and Asia. In the opera pit, he has appeared with Berlin’s Staatsoper, La Scala and the Bolshoi.

First on conductor Steffens’ program was a lively view of Schoenberg’s Chamber Symphony No. 2 composed with forces, except woodwinds and brass, reduced. Steffens’ rapport with the orchestra was palpable. The Brahms concerto which followed found Ms de la Salle in a mystic mood and those tempo variations were a bit of a challenge. Steffens and the orchestra managed, with some effort, to stay on the same path and the performance, rich with emotion, was warmly received.

I was not the only person in the hall who had not experienced Schoenberg’s 1937 orchestration of the Quartet No. 1 of Brahms. Premiered by Otto Klemperer and the Los Angeles Philharmonic the next year, it sounded like the young composer had both young Shostakovich and Rimsky-Korsakov looking over his shoulder during the composition. Schoenberg was clearly having brilliant and serious fun here and it is certainly one of his most audience-friendly works.

The experience I will remember is the ample pleasure of the last work. A pleasure for the audience who, according to their expressive applause, found the last work surprisingly vibrant and captivating. A pleasure also for the musicians, playing at a very high level, who you could see were having a good time with the virtuoso orchestration and their conductor. A pleasure for the conductor, whose debut in France made his name suddenly very important.

A real pleasure for the orchestra management too who won credit for taking a chance with new repertory and artist and succeeding beyond their expectations. It is good to know that the “Phil” has continued its profile as a place to hear new conducting talent. With inspired music director Mikko Franck and artistic adventure as the theme, one would hope that their future is assured

 

 

Topnotch Tchaikovsky from Juilliard and Perlman

Thursday, December 17th, 2015

By Sedgwick Clark

Last Monday was one of the best concerts I’ve heard so far this season. Itzhak Perlman led the Juilliard Orchestra in an all-Tchaikovsky program at David Geffen Hall: Romeo and JulietRococo Variations for cello and orchestra, featuring the impressive soloist Edvard Pogossian, and the Sixth Symphony (Pathétique). I love the commitment and brio of student orchestras, and these young musicians were true to form.

The glory of the evening—surprise, surprise!—was the warm and expressive string tone that Perlman elicited from the orchestra, in a hall notoriously unfriendly to such qualities. Vibrato in unison was the watchword of the night, and the sound bloomed from the stage with unerring beauty. Blindfolded, one even might have mistaken them for the Philadelphia Orchestra, with which Perlman recorded the Tchaikovsky concerto under Ormandy. The love music in Romeo and the often-distorted second theme in the first movement of the Pathétique sang as if one were hearing them for the first time. How fortunate that these young musicians were able to play these melodies so simply and eloquently under Perlman, before maestro X commands them to torture the line with “personal” expressiveness.  And yet Perlman was never impersonal—his love of Tchaikovsky shone through vividly in every bar, with no accelerandos where the score didn’t ask for them, just a natural tightening of tempo that any great musician feels in an emotionally heightened passage.

The sound in row V, directly in the middle of the orchestra section, offered ideal balances, admirably clear details, and a welcome absence of glare. Amazingly, the strings were never overwhelmed, even by Tchaikovsky’s brassy double- and triple-forte climaxes at the height of Romeo’s family feuding and the Pathétique’s third-movement March. I was even ready to suggest that Lincoln Center should forget the renovation until I spoke afterwards with friends in a side box who experienced the same old same old.

Perlman turned 70 this year. I first heard him in Chicago’s Orchestra Hall on December 28, 1966, an all-Stravinsky program in which the 21-year-old violinist played the 84-year-old composer’s Violin Concerto, conducted by Robert Craft. I was blown away! Stravinsky, in what was billed as his “final Chicago appearance,” conducted his Fireworks, excerpts from Petrushka, and the 1945 Firebird Suite. Perlman’s birthday was celebrated by Warner Classics on disc by a 77-CD box of his EMI recordings and by a 25-CD Deutsche Grammophon box of DG and Decca recordings. Perhaps his next celebratory release will contain recordings as a conductor.

International Touring: More Tales From The Front Lines

Thursday, December 10th, 2015

By Brian Taylor Goldstein, Esq.   

I realize there are other equally important issues out there than visas and international touring. However, in the wake of the recent terrorist attack in California, and as U.S. politicians and political candidates roll out a “Keep the Hate Alive” campaign, we are constantly receiving alarming updates from clients as well as from the American Immigration Lawyers Association of artists encountering new obstacles and challenges. Here are the latest changes and challenges you need to be aware of:

1.  A Visa Cannot Be Valid Beyond The Dates In The Approved Visa Petition

When a visa petition is approved by USCIS, it is approved for a specific classification period. When an artist then goes to a U.S. Consulate to apply for her or her visa, the visa issued is supposed to reflect the classification period of the approved petition. For example, if a violinist is approved for an O-1 classification period of August 1, 2015 to July 31, 2016, then the O-1 visa stamped into her passport should reflect an expiration date of July 31, 2016. If you examine an O or P visa, you will most often see the letters “PED” followed by a date. “PED” refers to the “Petition Expiration Date.” The PED date “should” coincide with the expiration date of the visa itself.

Unfortunately, some U.S. Consulates have erroneously been issuing O-1 visas that expire beyond the classification period of the approved petition—in some cases, O-1 visas have been issued for with a validity period of up to five years in the future! If this happens, your artist has not won the immigration jackpot! Under U.S. law, the maximum validity period of an O-1 visa for an artist cannot exceed three years. Moreover, it cannot exceed the classification period of the approved petition.

Recently, a prominent artist was turned away because she attempted to enter the U.S. under just such circumstances. A visa petition had been filed for her in 2014 and the petition was approved for an O-1 classification period of 8 months. However, the U.S. Consulate issued her an O-1 visa that did not expire until 2019. She and her management reasonably presumed that this meant she was free to use her O-1 visa until 2019 and no further visa petitions were required. Indeed, until recently, she had been entering the U.S. on the visa ever since 2014 without any trouble. Her past entries were the result of luck and inadvertence on the part of U.S. Immigration Officers at the port of entry. This will no longer be the case. All U.S. Immigration Officers will be scrutinizing all visas far more closely.

When USCIS approves a visa petition, it issues an I-797 Approval Notice with the specific dates of the approved visa classification period. If you or your artist ever receives a visa from a U.S. Consulate that expires beyond the dates of the classification period or beyond the PED date on the visa, ignore all dates beyond the PED date! Assume the visa expires on the PED date and do not use it for any work or travel beyond that date.

(For those of you who are actually interested in legal minutiae, there ARE, in fact, legitimate categories of 5 year O and P visas—they just don’t apply to artist categories. This is why the consulates can get easily confused.)

2.  All Artists Should Travel With A Copy of Their I-797 Petition Approval Notice

Another artist was recently detained at a U.S. airport for attempting to enter the U.S. on an erroneous “5-year O-1 visa.” Ultimately, he was permitted to enter only because he happened to have a copy of his I-797 O-1 Petition Approval Notice indicating that his upcoming U.S. engagement was within the approved classification period. However, he was reminded not to travel on his O-1 visa after the expiration date of the classification period.

Earlier this week, an artist was actually refused entry on his P visa because a U.S. Immigration Officer claimed that he needed to have a copy of his I-797 approval notice. The U.S. Immigration Officer was wrong. The artist had to fly home and be booked on a return flight to the U.S. the next day. Aggravatingly, but not surprisingly, when the artist flew back to the U.S. the next day with a copy of his approval notice, the U.S. Immigration Officer on that occasion didn’t even ask for a copy of the approval notice and the artist was admitted without any questions.

Also this week, a Canadian artist arrived in the U.S. with a copy of her I-797 approval notice (which is all that is required for Canadians) and was refused entry because the U.S. Immigration Officer claimed that she needed to have the original I-797 approval notice. The U.S. Immigration Officer was wrong on this occasion as well. Fortunately, a supervising officer was able to step in and resolve the matter so that the artist was ultimately able to enter.

Except for Canadians, artists and others are not required to travel with a copy of their I-797 petition approval notices—much less the original I-797 approval notice itself. Nonetheless, given that U.S. Immigration Officers have been placed on high alert (without always knowing exactly what they are looking for), we are recommending that all artists travel with a copy of their I-797 approval notice. Should any artist be asked for an “original” approval notice, he or she should calmly and politely ask to speak with a supervising immigration officer. More often than not, the supervising officers are better trained than the officers assigned to the inspection desks.

3.  Changes To The ESTA/Visa Waiver Program

Congress is in the process of adding additional restrictions to the Visa Waiver Program—the program which permits citizens of 38 countries to travel to the United States for business or tourism for stays of up to 90 days without a visa. This is often erroneously referred to as an “ESTA visa.” The term “ESTA” stands for “Electronic System For Travel Authorization” and is merely the registration process through which an individual indicates their intent to enter the U.S. without a visa. It is not a visa. This is important because artists are required to have a visa whenever they enter the U.S. to perform—even if they perform for free; even if no tickets are sold; even if they are performing for a non-profit; even if they are performing for a festival; or even if they are performing for a college or university. In short, performers can never enter the U.S. to “perform” under the Visa Waiver Program.

While most of the propose changes to the Visa Waiver Program should not have any impact on artists (unless the artist is from or has ever travelled to certain counties in the past 5 years), United States Customs and Border Patrol has already begun significantly seeking out artists who may be registering for ESTA and attempting to enter the U.S. on the visa waiver program with the intention of performing. We are getting almost daily reports of artists being stopped, refused entry, and having their ESTA/Visa Waiver privileges revoked for life!

I cannot emphasize this enough: any artist who attempts to enter the U.S. under the Visa Waiver Program for any purposes that involves actually performing does so at his or her own peril!

The only limited exceptions—and they are very narrowly construed—are competitions, auditions (including non-public showcases at arts conferences) and speaking (but not performing) at a college or university.

4.  There Continue To Be Significant Delays In Processing Visa Petitions  

USCIS is presently taking a minimum of 8 – 10 weeks to process visa petitions at both the Vermont and California Service Centers and there appears to be no end in sight to these delays. This means that, as of today, if you need to have an artist enter the U.S. any earlier than March 2016, you need to pay the additional $1225 for premium processing. (The official visa processing times that USCIS posts on its website have always been purely propaganda and should always be disregarded as such.)

On the bright side, dealing with international touring at the moment makes all those other topics we write about–cancellations, copyright infringement, taxes, commission disputes–a little less daunting.

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For additional information and resources on this and otherGG_logo_for-facebook legal, project management, and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.com

All questions on any topic related to legal, management, and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously and/or posthumously.

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THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

 

 

 

 

 

 

 

 

Nico Muhly: How can composers become big?

Wednesday, December 9th, 2015

***Watch the entire interview with Nico at Noted Endeavors’ website: WATCH HERE.

Star composer Nico Muhly discusses with Noted Endeavors founders Eugenia Zukerman and Emily Ondracek-Peterson some ways in which young composers can get their music into the hands of performers, and how that will help to progress one’s career.

Noted_Endeavors_LogoNico Muhly (b. 1981) is a composer of chamber music, orchestral music, sacred music, opera, ballet, and music for collaborators across a variety of fields. He has been commissioned by St. Paul’s Cathedral and Carnegie Hall, and has written choral music for the Tallis Scholars and the Hilliard Ensemble, songs for Anne Sofie von Otter and Iestyn Davies, an encore for violinist Hilary Hahn, and a viola concerto for Nadia Sirota. The Metropolitan Opera recently commissioned him to compose Marnie for its 2019-2020 season, based on Winston Graham’s 1961 novel that was adapted into an Alfred Hitchcock movie.

Muhly has scored ballets for choreographer Benjamin Millepied, including the most recent work for Paris Opera Ballet, and films including The Reader, Kill Your Darlings, and Me, Earl And The Dying Girl, in addition to arranging music by Antony & the Johnsons and the National. His debut CD Speak Volumes (2007) was the first of many collaborations with the artists of Reykjavik’s Bedroom Community label, and with singer/songwriter Thomas Bartlett (Doveman), he is half of the gamelan-inspired song project Peter Pears. He lives in New York City.

Nico’s website:
nicomuhly.com

Noted Endeavors:
notedendeavors.com