Tag Archive for 'junichi hirokami'

CSO Concert, March 14

Published on March 14, 2009 in Performances, The Music, columbus symphony orchestra and conductors. 1 Comment Tags: barbara zuck, gunther herbig, jean-marie zeitouni, junichi hirokami, jupiter symphony, mozart, palace theater.

I was able to stay for the second half tonight to hear Mozart’s “Jupiter” Symphony, and after hearing the orchestra play in the Palace Theater, I have to agree with Barbara Zuck in her review of last night’s concert. The Palace doesn’t sound all that bad from the audience. It may even sound a bit better than the Ohio Theater, though that’s not saying much.

I sat about half way up the upper balcony on the right side. I could hear every section of the Columbus Symphony more vividly than in the Ohio. (I think I heard this same symphony with Alessandro Siciliani conducting it in the Ohio) The woodwinds could have been a bit more present (I am a woodwind player, after all) but individual players could be heard clearly nonetheless. The upper strings were clear and present, and the lower strings did not suffer the dampening effect of the Ohio’s acoustics.

The overall sound lacked some blend and sparkle, which would be greatly improved with a shell, and minus the heavy black curtains surrounding the orchestra and it’s sound. (There were plans drawn up a few years ago to renovate the Palace: widen the proscenium and bring the stage out, create a shell, and shrink the back of the hall by 1000 seats. Until the Columbus Symphony gets its own deserved hall, this is still the best and most practical option to give the orchestra a sonically resonant performance space and to give the audience a better show)

I felt involved with the sonic availability of the performance from where I sat, a stark contract to the Ohio, where the orchestra’s sound is far, far away, no matter where you sit.

Tonight’s first half went even better than last night. Jean-Marie Zeitouni seemed more relaxed from the start, and the Rossini showed it.

Rachel Barton Pine was stunning again in the Wieniawski, creating slightly different nuances and style in many spots. She played a different encore tonight, the gypsy music from the movie The Red Violin, which she said she learned last week. Her playing was incredible. One of the joys of being a musician is that I get a front row seat of sorts to hear amazing players like Rachel, who make such difficult music sound so effortless. Not many violin soloists play double stops so in tune. And in extremely fast passages, many violinists tighten up and sound a bit scratchy. Not Rachel. I am awed by her playing.

It’s back to the grindstone for me tomorrow.

The CSO’s performance of the Jupiter was top notch. The spirit of the music was conveyed with aplomb by Maestro Zeitouni, who never tensed to show excitement, but instilled bounce and vigor into the players with an impressive array of gestures which seemed to come naturally, as if from the music itself.

This kind of conducting flair is rare. Many conductors work very hard to choreograph their gestures. Our last music director, however, did not need such artificial mapping. Junichi Hirokami was able to convey the music with similar natural flamboyance to Zeitouni, though Maestro Junichi had been doing it a lot longer, and to Zeitouni’s credit, it seems to be inborn for him. Other conductors, such as Maestro Gunther Herbig, practice the old school technique, using sparse and studied gestures with remarkable focus to convey the music with reliable efficiency.

What a joy to hear my orchestra bringing to life such a masterpiece right before me. Mozart’s “modernness” never fails to amaze me. Every movement of this 41st symphony of his, written at age 33, contains “twisted” and “gnarly” harmonic sections, way out for the time and tradition he was living and composing in.

Too bad there are no clarinet parts in the Jupiter. Perhaps I could “unearth” some “lost” clarinet parts to be able to join in with my colleagues to recreate Mozart’s genius as it happens. Or maybe not. It’s one of the few “big” pieces I get to hear from the audience once in awhil

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CSO is a Great Orchestra

Published on January 17, 2009 in Behind the Scenes, Columbus Cultural Politics, Musician's Life and columbus symphony orchestra. 5 Comments Tags: acoustics, columbus, columbus symphony, cso, david lockington, guest conductor, holst, junichi hirokami, music director, musicians, Ohio Theater, orchestral sound, rehearsal, rehearsals.

It’s hard to believe how good the CSO sounds, considering the beating we’ve taken the past year.

Tonight we had our first concert back in the Ohio Theater since last May, and we sounded incredible.

Last week we played Holst’s The Planets in Vets Memorial Auditorium, a cavernous hall with no stage shell, and we sounded darn good there.

During rehearsals at Vets, without the audience, we could hear just enough acoustical feedback from the hall to taper releases of chords together, something we have not been able to do, or had the acoustical security to accomplish to such high degree, in the Ohio Theater.

I was impressed how the orchestra brought together details of performance after so many months apart. With a near full capacity audience during the concert in Vets, the acoustics were drier, and a bit more difficult to hear across the stage, especially with no shell. But many of the rehearsal details stuck.

Tonight’s concert went even better, despite Ohio Theater’s overly booming stage acoustics. (think of trying to whisper an intimate poem to a lover in a crowded subway station)

The Ohio Theater stage is a literal “box”, since the proscenium of the historical 1920s movie theater is much too narrow to allow complex orchestral sounds to blossom from the stage to the audience. This causes two problems. First, the musicians must constantly filter the roar of all the excess sound on stage in order to play with depth and beauty, rather than “shouting” to be heard over each other. Secondly, since much of the sound remains on stage, bouncing around, the audience receives only a reduced portion of the music making from the stage.

But the orchestra sounded as good in the Ohio Theater as it has in years, even better!

At first I thought is was our guest conductor, David Lockington, who holds his own with a crisp ear and heartfelt, intuitive phrasing. But the reason we sounded good was due to more than Mr. Lockington’s care.

It wasn’t until after the concert that I realized the inspiration behind the orchestra’s crisp and unified style.

After only two years of conducting us as Music Director, our beloved Junichi Hirokami has left his mark. The Columbus Symphony is several notches better than before his appointment as our musical leader.

We now play with more stable internal rhythm, better blending of colors and with more intimate phrasing because of Junich Hirokami’s influence.

Junichi Hirokami may not have spoken English very well. He may not have met the ego and image demands of the city’s elite. He may not have satisfied the masochistic tendencies of some musicians who feel that orchestra musicians need a tyrant to whip them into playing their best.

Junichi’s strategy was different from the start. He invited us, in a fun, lighthearted way, to believe in ourselves, to trust our musical instincts and our natural desire to improve, to play better and to enjoy what we do, no matter what political poison seeps into the well water.

Just think of where we could have gone if he had been invited to continue here! (If only all parties had been able to overcome the petty desire for revenge over unfortunate words, events which now appear tragically selfish compared to the music we could have made!)

The great paradox of making music is that it is, on the one hand, a critically difficult task, yet one which requires an optimistic and eager spirt in order to be accomplished to the highest level.

Not to worry, the musicians will carry forward the torch of high quality music making. Hopefully we won’t quickly forget the inspiration behind our step up in quality as an orchestra.

Tonight, the musicians of the Columbus Symphony showed that we have chosen to move to the next level of orchestral quality.

We don’t need anyone to understand what we do and what it’s worth, because we know as much, and much more.

And it shows.

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David Lundberg’s Wisdom, Urging Passion

Published on July 16, 2008 in Behind the Scenes, Clarinet, Columbus Cultural Politics, Mastery, Off the Record, Our Supporters, Personal, The Music, columbus symphony orchestra, symphony board and symphony management. 1 Comment Tags: american conservatory of music, chicago symphony, conservatory of music, dallas opera, dallas symphony, david lundberg, fortune 500 companies, guest conductors, junichi hirokami, lyric opera.

David Lundberg was educated as a musician at the American Conservatory of Music in Chicago. In business in Dallas, he founded the Charter Group, a property and casualty insurance conglomerate whose customer friendly and principle-rather-than-policy driven practices were significant in changing the face of the industry for the better.

Mr. Lundberg’s deep love for people and his passion for music punctuated another long career, volunteering in the support functions of music – as board member with the Dallas Symphony and Dallas Opera, as board chair for Lyric Opera of Dallas, Arkansas Opera Theater, Hot Springs Music Festival, and others too many to list. He has seen orchestras and other arts organizations dip near death, then rise to world renown. In his recent move to Columbus, David has brought a wealth of experience, perspective, and wisdom to share, as you will read in this letter.

Dear Fellow Community Members,

It was my privilege as a student at the American Conservatory of Music in Chicago in the 50’s to watch Fritz Reiner bring discipline and inspiration to an orchestra that had become complacent and lethargic. At that same time Chicago had an arts critic who was convinced that nothing excellent could possibly happen outside of New York, Boston, or Philadelphia and her reviews of the Chicago Symphony (CSO) reflected this belief.

During that period, the CSO also had an extended tour of Europe. The reviews came flooding back to the States and the reviewers were ecstatic. Chicago was filled with pride and excitement for their orchestra. That pride continues to this day as the CSO remains in the Top Five in the Country, with many in the know feeling that the CSO ranks Number One.

In Dallas, as a singer in the Dallas Symphony (DSO) Chorus for 25 years and as a member of the DSO Board for several terms, I saw a very similar phenomenon happen. The DSO emerged from bankruptcy in 1974, at full strength, thanks to some farsighted people including Stanley Marcus (Neiman Marcus). During the 70’ s, the DSO had a series of short-term and guest conductors, who allowed the Orchestra to become uninspired and sloppy. Enter Maestro Eduardo Mata, a masterful technician like Reiner, who awakened the musicians’ desire to perform at a higher level. Same script - sour critic, European tour, great reviews, and wonderful community response. The whole situation in Dallas remains positive to this day – pride in and of the musicians, fiscal stability, great arts community, good endowment, a great new $130 Million venue and no debt.

In the ensuing years, many Fortune 500 companies relocated their headquarters to the Dallas area. Ones that quickly come to mind are American Airlines, JC Penney, Exxon Mobil, Kimberly Clark, Co—America Bank, Fluor, and Ericsson Telecommunications (North America). Is there a connection here? You bet there is. When major companies decide to relocate, they establish a profile of the qualities that they are seeking at the new location. Common to these profiles is the absolute requirement of a superb, vigorous cultural community (led most naturally by the symphony and opera). While this is not the only criterion, the importance of a vital classical art landscape is undeniable.

My wife Katherine and I moved to Columbus two years ago and, Eureka! what did we find but Junichi Hirokami and the Columbus Symphony, and a strong feeling of déjà vu from Dallas and Chicago. Hirokami, whom I had seen guest conduct several times in Dallas, has the same technical skills as Reiner and Mata. And the bonus is that he is highly respected and liked by the musicians. Junichi brings such infectious joy and love of the music to the podium that audiences and musicians alike are exhilarated and enchanted.

Sadly, we began to hear from some in the community that, “the CSO and the Opera don’t pull their own weight financially.” Most are unaware that American symphonies and operas earn considerably less than half of their budgets from ticket sales. The critical mass of support must come from farsighted and benevolent corporations, foundations and individuals who have a keen understanding of the tax benefits, the good will, and public relations benefits they derive from their generosity. Also, we hear questions such as, “Can Columbus support a major symphony orchestra?” Columbus - 15th largest city – state capital – home to the largest university – home to six Fortune 500 companies and fifteen Fortune 1,000 companies? The question is absurd on the face of it. If we fail to save the symphony, Columbus will be the largest city in America without one.

Traditionally, it has been the large corporations that the Symphony has turned to for regular, long-term support. Unfortunately, that is how a small group of corporate funders and board members have come to assume the power to speak for the entire community regarding the future of this rare community treasure. And amazingly, power that seems entirely disproportionate to their monetary contributions.

If given the support, Hirokami will bring fame to Columbus and challenge the Cleveland Orchestra as the best symphony in the state. This vision certainly does not appear to be shared by the Board and the current corporate funders. They are looking to the bare minimum level of funding rather than the challenging, exciting “quest for the best.” Will the community settle for mediocrity or will they step forward and fight for the very best.

Our symphony was on the cusp of a giant step forward in quality and professional respect, which would have brought incalculable rewards to Columbus, many in ways totally unrelated to the arts. Are we to let this treasure, which would take decades to rebuild, slip away because of several years of what appears to be gross mismanagement by the CSO Board and staff? (The musicians are not the problem; their wages — total artistic costs — have been at or below budget the last three years.)

In the bigger picture, if Columbus is to grow and keep pace with other major cities by attracting new business and industry, supporting the symphony right now is absolutely mandatory. This is purely a matter of civic and corporate will. Let’s just determine to do it! And generously, in ways that will ensure its long term excellence and survival.

An enormous outpouring of support is needed from community members and arts lovers from all walks of life. The emergency is real, and the consequences are enormous. Failure is not an option! I invite you to weigh in with your thoughts on this matter at www.symphonycolumbus.com.

David Lundberg

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Today’s Dispatch Article

Published on July 15, 2008 in Behind the Scenes, Columbus Cultural Politics, columbus symphony orchestra, symphony board and symphony management. 4 Comments Tags: beadle, columbus dispatch, columbus symphony, cso events, executive director, junichi hirokami, music director, tony beadle.

Korine Fujiwara, a violinist with the orchestra, responded appropriately to the hypocritical attack on Junichi Hirokami by Tony Beadle in today’s Dispatch. While it is common for a Music Director to “jet set” from city to city to make a living, and thereby hardly ever residing in any particular city in which he directs, Tony Beadle’s has lived in an Extended Stay hotel since he began working for the Columbus Symphony, which is unheard of for an Executive Director.

It should also be known that Junichi Hirokami, during any visit to Columbus, made himself completely available for meetings with prospective donors. Yet Tony Beadle failed to schedule Maestro Hirokami to lobby for the orchestra.

Hello all,

Regarding the following quote from today’s Dispatch 7/15/2008: (emphasis mine) “Hirokami should have remained neutral, said Tony Beadle, executive director of the symphony — adding that Hirokami has also failed to perform key duties of a music director for a major orchestra, partly because he hasn’t put down roots in central Ohio. “A good deal of the work is not done on the podium,” Beadle said. “A music director is the face of the orchestra and ambassador of good will to the community and potential donors.”

I still haven’t had the opportunity to meet Mr. Beadle’s family. Have he and his family moved from Boston to Columbus yet? Where does he currently reside? In what state? Do they still live in the Boston area?

The fact that Hirokami doesn’t live in Columbus has been widely touted in the press, but if it is indeed true that after more than two years, Tony Beadle, THE EXECUTIVE DIRECTOR of the Columbus Symphony, HAS STILL NOT “PUT DOWN ROOTS IN CENTRAL OHIO” either, shouldn’t this also be newsworthy? Isn’t it also a HUGE problem for fundraising and the overall general health of an organization IF THE EXECUTIVE DIRECTOR DOESN’T HAVE A PERMANENT RESIDENCE IN CENTRAL OHIO?

We all have had the pleasure of meeting Junichi Hirokami’s family on many occasions, and it is my understanding that they even visited potential schools for their daughter on at least one occasion.

Korine Fujiwara

I would like to add that the board hired Junichi two years ago. Yet management has failed to effectively market him and utilize his time wisely when he visits Columbus. Who is to say he wouldn’t move here if given appropriate support from a functioning board.

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Junich Hirokami’s Gift to Columbus

Published on May 28, 2008 in Behind the Scenes, Musician's Life, Orchestral Playing and Personal. 0 Comments Tags: alessandro siciliani, badea, chamber orchestra, columbus symphony, evan whallon, great spirit, junichi hirokami, music director, music directors, orchestras, saito, seiji ozawa, szell.

Ken Matsuda (CSO viola) sent this notice from Japanese news about Junichi.

Junichi Hirokami will be conducting the Mito Chamber Orchestra in Japan this week, May 28, 29, and 30 as a last minute replacement for the ailing Seiji Ozawa. Ozawa (72) has been suffering from a herniated disk and has been told it will take a month to recover.

Hirokami (50) was personally asked by Seiji to replace him. Since Hirokami’s success at the Saito Kinen Festival last year, Seiji Ozawa has complete trust in Junichi.

In all the hullabaloo over whether the Columbus Symphony will survive, we have all but forgotten the great spirit which unites us musically and in politic: Junichi Hirokami. I don’t know if Columbus realizes (yet) what a gift we have. I hope it’s not too late.

This very subject came up last night in a phone conversation with a close colleague, who mentioned Junichi’s vital importance to us as an orchestra.

Orchestras do not become truly great until they have a unifying direction, either from a music director, or in some cases with older orchestras, a unifying tradition. Examples of the latter include Cleveland, whose tradition was formed by Szell, and Berlin, by Karajan.

The Columbus Symphony has been built over several generations by 4 music directors; Evan Whallon, Christian Badea, Alessandro Siciliani and now Junichi Hirokami.

Junichi is the perfect match for the abilities and experience of the Columbus Symphony. From past music directors we gained such skills as discipline and flexibility. Now we are poised for the next step, gelling into the cohesive power of one instrument.

Junichi’s temperament is particularly suited in our case, since discipline and flexibility alone do not make a great orchestra. We need a musical “light” to direct all our various (and individually valid) intentions toward a common goal of one voice. His gentle and charismatic character coaxes us to higher planes of musical detail, with greater coordination and cooperation among our different personalities. This kind of unifying direction is not only Junichi’s gift; it is also a result of our match with him.

As he has said more times than I can remember, he “chose” us because he saw what we could do, and knew he could do it for us. I am only just beginning to believe him. Musicians learn to expect less, being perfectionists disillusioned by an all too imperfect world. Our ideals are not snobbery, but reflect our desire to over-achieve and exceed expectations. We are our own worst enemies at times. But with the right spirit to guide us, we will gladly reach far beyond our normal capabilities. That’s when a simple performance can become a revelation for all present.

Are you curious as to how we might sound after a few more years with Junichi? After all, many of you heard us with Maestro Hirokami in the past few months, and I believe most of you heard a difference. Already, in two years, we have grown immeasurably as an orchestra.

I am eternally optimistic that the “body politic” will hold sway when the intentions of all individuals are focused on the same goal. This not only applies to orchestras, but to cities as well.

Don’t settle for less. Demand what is rightly yours: an orchestra led to greatness by a perfect match with the gifted and beloved Junichi Hirokami.

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Letter to Columbus from Jon Kimura Parker

Published on May 9, 2008 in Behind the Scenes and Our Supporters. 0 Comments Tags: baltimore symphony, chamber music festivals, cleveland orchestra, columbus symphony, columbus symphony orchestra, dallas symphony, houston symphony, jon kimura parker, junichi hirokami, los angeles philharmonic, minnesota orchestra, new york philharmonic, philadelphia orchestra.

Jon Kimura ParkerIn the past two seasons, Jon Kimura Parker has performed as guest soloist with the New York Philharmonic, The Cleveland Orchestra, The Philadelphia Orchestra, the Baltimore Symphony, the Columbus Symphony, the Dallas Symphony, the Florida Orchestra, the Houston Symphony, the Minnesota Orchestra, and every major orchestra in Canada. This season Mr. Parker performs with major orchestras in Atlanta, Boston, Calgary, Cincinnati, Denver, Ottawa, Salt Lake City, San Diego, Tampa, Tokyo, Toronto, Rochester, and Warsaw. He also returns to the Hollywood Bowl with the Los Angeles Philharmonic next summer.

I made my debut with the Columbus Symphony Orchestra in the early 90s and was frankly astounded at the quality of the orchestra then.

I have been fortunate to see and hear its artistic growth over a
fifteen year period. I have collaborated with the CSO in repertoire ranging from Mozart to Tchaikovsky, and I have performed with many individual players in this extraordinary orchestra in chamber music festivals nationwide. I also recount, from many years ago, the great experience I had with the Rachmaninoff 3rd Piano Concerto, with Maestro Junichi Hirokami.

The quality, commitment, and artistic vision of this orchestra and its music director are recognized nationally and internationally. The CSO’s reputation has made Columbus a cultural jewel. The best players from around the country have moved to Columbus to make music for your citizens, to move you, to entertain you, and to enrich your lives. They are teaching music to your children.

It takes many years, even decades, for an orchestra to achieve this kind of prominence and renown. Unfairly perhaps, reversing this level of quality is painfully fast. Dire uncertainty or drastic curtailing of the scope of any orchestra quickly results in the best players moving on.

It is urgent to support this orchestra now and to demonstrate that the city of Columbus recognizes its value.

The artistic world is watching Columbus carefully and hoping to see this commitment to excellence continue.

It is overwhelmingly encouraging to note that the next few concerts have been saved, but it is now critical to support the CSO’s future.

Finally, I want to express my willingness to come to Columbus to perform without fee in any concert that will support the CSO and actively encourage others to do so. I can only imagine that many of my colleagues would do the same.

Respectfully,
Jon Kimura Parker
Concert Pianist

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