Dear Ed,
For too long your numerous emails have begged a response from me. Therefore, this one will be a bit lengthy.
Firstly: I possess an 1840 edition of writings by Benjamin Franklin in 10 volumes, collected by Jared Sparks and published in Boston by Hilliard, Gray, and Company. Attracted by their antique, leather bound look, a friend casually selected a volume and randomly opened it to a page containing a letter from Franklin to a friend in which he made a series of points, consecutively headed “Firstly, Secondly,Thirdly, Fourthly” and so on until “Fourteenthly”. I think that’s pretty neat and it explains the Frankliness format of these responses to you.
Secondly: The New Yorker comes to my iPad every week, but it is in a somewhat reduced version. Only the major articles, the Talk of the Town and film reviews are in the audio version. There are no cartoons or satires such as your guy Borowitz, so I appreciate receiving them. (Flash: Eleanor just told me, McConnell and Boehmer have invited Netanyahu to criticize Obama’s foreign policy decisions in a speech before Congress. (If true, the State Department should refuse him a Visa.)
Thirdly: A multitude of thanks for sending me Barry Levinson’s The Band That Wouldn’t Die. Nostalgia heaven, what a rush. I’m thinking of writing an appreciation to him. I don’t know how you found this, but it made my year!!!!!!. As you may know, I posted it on my web site as an addendum to an earlier posting about the NCAA final, final college football championship of the year. Moving on –
Fourthly: When I hear “Tea baggers” speak about the health of our republic, I have minor metabolic seizures and am tempted to overdose on my daily meds. Ingesting this recipe, I’d be dead within a day or two, but as each new blasphemy occurs, i’m beginning to believe death to be an acceptable alternative to life amongst the idiots now out screaming any reasonable vision of life in their United States.
Fifthly: I chortled while reading about the Alabama politicians who deeded their town to God. Actually, that’s perfect. If a liberal biblical scholar could be found anywhere in the Confederacy, they could shout chapter and verse before or after every new municipal Bylaw, proclaiming it in line with or contradictory to the word of God. Southern Christian seminaries might develop a course called Directing Civic Administrations with God’s Word. Of course, everyone would be expected to know which God was speaking. I don’t think that would pose a problem, at least for now.
Sixthly: Thank you also for Borowitz on the continued accumulation of wealth by the sub atomic number of oligarchs and their complaints about not having enough. You must see the Daily Show from this past Wednesday. It may be on You Tube. His take on the State of the Union speech is priceless. The night before was also classic. John Stewart took on Mike Huckabee, Poor Schmuck.
Seventhly: Thanks also for the documentary about the Guantanamo prisoner. The rational behind political decisions is beyond me. What is it that puts enough fear, and insecurity in them to eradicate any sense of humanity or justice? A while back, during the most intense flare up over Gitmo, a small town in Michigan with an empty prison, offered to take in all the Gitmo prisoners, thus substantially boosting their town’s economy by providing jobs for locals. Obviously, they were not at all afraid of having suspected or confirmed terrorists in their midst, but their casual attitude did nothing to diminish paranoia in the nation’s capital.
Eighthly: Then I heard about the Davos economic summit and the 1,700 private jets the delegates used to avoid travel fatigue to Switzerland. Davos has been a coming out party for the oligarchs. I would never have thought to hear such honest expressions of greed and ego, on camera, from an otherwise secretive clan of monarchists. Perhaps the continuing show of strength from the Tea Party has given them a sense of security. If memory serves, all the televised Republican Party responses to the State of the Union Address were delivered by Tea Party cohorts.
Supporters of unfettered capitalism have managed, without fear of reprisal, a public unveiling of the depth and breadth of their contempt for honest wage earners of the United States.
Perhaps our world no longer requires a middle class. Perhaps it needs only a few oligarchs to manage a global store, employing and discarding people as needs be. In Davos, James (Jamie) Dimon, current chairman, president and chief executive officer of JPMorgan Chase, one of the four largest banks in America, looked benignly into the camera and said, “You need us”. I reject his thesis, but do not doubt his sincerity.
See: Andro Linklater: Owning the Earth: The Transforming History of Land Ownership, Bloomsbury, 2013, 496pp., $20
Ever hopeful, ever older. I remain
Robin
Robin Engelman 
Seiji Ozawa in Toronto
The Japan Foundation of Toronto recently held a celebratory event honouring the 50th anniversary of Seiji Ozawa’s arrival in Toronto as conductor of the Toronto Symphony Orchestra. Toshi Aoyagi, the Foundation’s director of Japanese projects, displayed a large and interesting variety of photos from those early years, including a photograph of Seiji looking astonishingly young, and a giant black and white photo showing all the players, easily identifiable, on the stage of Massey Hall, its performance venue until 1982. Toshi also prepared sushi, sashimi and California rolls for 50 guests. In attendance were members of Toronto’s arts community including the Symphony’s long time manager Walter Homberger who had played an important role in bringing Ozawa to Toronto. Also included among the guests were current and former members of the T.S.O.
åSome of the veteran players who were asked to speak briefly about their early experiences with Seiji were principal flutist Robert Aittken; principal harpist Judy Loman; myself, principal percussion; cellist Richard Armin and double bassist Ruth Budd. We had not known beforehand we’d be called upon so our comments were a bit skittish, even disjointed, but it was clear to all that Seiji had been a respected and in some cases, a beloved maestro.
in the earliest days of Seiji’s tenure, he had some difficulty with the English language. Though we became rather close, as close as a conductor and player could or should be, he was never able to pronounce my first name Robin, because of the R. So he always called me Engelman. Of course given the Japanese order of names, correctly Ozawa Seiji, he was perfectly correct to call me Engelman, particularly when we were in Japan. Judy Loman told a wonderful story from those days. Seiji introduced her as Mary Loman, harpist and when the orchestra laughed, Seiji turned to someone and said, “She plays harp doesn’t she?”.
I was always impressed by the acuity of Seiji’s ears and told two stories. We were rehearsing one of the Ravel’s Daphnis and Chloe Suites down on the lake under an open tent. There were thousands of seagulls squawking and swooping and dropping bombs, young children laughing, screaming and running around, airplanes taking off and landing at the small nearby airport, tour boats blaring music for parties and the ferryboats back and forth between the mainland and the islands. An impossible acoustic situation with the Ravel beginning so quietly. I couldn’t hear the contra basses to the left of me and the orchestra pianist Patricia Krueger, playing celeste, was only about 20 feet to my right. After less than two bars Seiji stopped and said, “Patty, put the pedal down”.
After Toronto, Seiji conducted in San Francisco and then the Boston Symphony. Karel Ancerl succeeded him in Toronto and when Ancerll died in mid season, Seiji came back to conduct a concert or two to fill in while the Toronto Symphony management scramble to fill their seasons concerts with conductors. Seiji programmed music from his first concert in Toronto in 1965. One of the works was Sergei Prokoffiev’s Fifth Symphony, at times densly orchestrated. Seiji was back among friends and obviously wanted to show us how he had progressed. He leaped onto the podium and after a friendly hello began conducting. After the break Seiji came back to the podium and waved to Johnny Cowell the second trumpet, “Johnny, 3 bars before H, don’t breathe after fourth beat. Take breath after second beat next measure”.
One of the things I always liked about Seiji was the fact that he rarely talked in rehearsal. Some players didn’t like this. They wanted to be told how to play, but Seiji said, “I conduct, you play”. Seiji believed questions of ensemble and string bowings were the provenance if principal players. Another collegial aspect was his willingness to share the act of re-creating music with the players.
After he programmed Ives’ 4th Symphony, Seiji asked me, “How shall we do last movement?” The percussion section must play a quiet, nine bar ostinato, holding a steady tempo during the entire movement while the rest of the orchestra winds its way through a number of tempo changes and dynamics. As the orchestra finishes, the percussion section plays one cycle in diminuendo, ending the movement. Seiji wanted to know if the percussion section wanted him to conduct them or ignore them. No decision had been made by the time Seiji walked on stage. As the audience applauded, he stopped by my side and said, “Well?”. I said. “Conduct the orchestra.” “Okay” Seiji replied. As we had earlier discussed, the percussion section, by Ives’ calculations, would ideally have 9 measures remaining after the orchestra finished. Otherwise, if we concentrated and kept track, the farthest afield we’d drift would probably be in the range of 10 or 12 measures. We were just about dead on.
Seiji conducted the Boston Symphony Orchestra for twenty nine years. He wanted to break Serge Koussevitzkyi’s record of twenty five years. Vic Firth, Seiji’s close friend and timpanist of the B.S.O. told me when Seiji heard he was going to retire, Seiji called and said, “Vic, don’t retire now, stay until you make 50 years!”. Vic made it.
Toronto was Seiji’s first job as conductor and music director. Since then he has become a national treasure in Japan. I’ve always thought that Seiji did his best work with contemporary music. I heard, but cannot confirm that his management dissuaded him from conducting contemporary music. However, a composer friend told me he’d overheard a conversation wherein Seiji was told by his manager not to conduct my friend’s music anymore. And so he seemed to do.
My first year in the orchestra we played Charles Ives Symphony No. 4, the Lutoslawski Concerto for Orchestra, Iannis Xenakis’ Pithoprakta, (conducted byJames Levine, no less) for 46 string instruments, two trombones, xylophone, and woodblock, about a half a dozen works by Takemitsu, a recording of Takemitsu’s music, Gunther Schuller’s 7 Studies on Themes of Paul Klee and a number of other works I cannot now remember. I missed playing Olivier Messiaen’s Turangalila Symphony by one year. The excitement was palpable every time Seiji conducted. I was working with a conductor only two years older than myself – one who genuinely enjoyed new music and made audiences enjoy it as well.
During Seiji’s tenure, I looked forward to rehearsals and performances. He was a conductor I never had to watch. Simply by listening, I knew where the music was going. If a player extended a note a bit longer then usual, Seiji would accept that and the piece would change.
Seijii Ozawa, Toronto, 1969
Seiji Ozawa, 2012.
Posted by robinengelman on January 27, 2015 in Articles, Commentaries & Critiques, Composers, Contemporary Music, History, Unassigned
Tags: Boston Symphony, Daphnis and Chloe suite, Judy Loman, Karel Ancerl, Richard Armin, Robert Aitken, Ruth Budd, San Francisco Symhony, Seiji Ozawa, Serge Koussevitzky, The Japan Foundation, The Toronto Symphony Orchestra, Toru Takemitsu, Toshi Aoyagi, Vic Firth, Walter Homberger