Photo credit: Bruce Bennett

Obstacles, though seemingly trivial in the face of such tragedy, did abound. The first concert for Hans Graf as Music Director of the Houston Symphony took place on September 15, 2001, just 4 days after the terrorist attacks. All air traffic was grounded and it seemed that there would be no way to get Hans from Calgary to Houston in time for the Opening Night concert, let alone the rehearsals that preceded it.

Through creativity, persistence and lots of phone calls made by an industrious intern, we were able to locate a private plane that had been en route to Calgary, but was grounded at the Dallas/Fort Worth airport. Once air traffic was cleared to start again on September 13th, the first priority was given to flights that had been in progress. The private plane resumed its journey up to Calgary and, for its return trip, Margarita and Hans Graf were the passengers. At around midnight on September 13th, I received a call from Hans to assure me that he was safely on the ground in Houston!

Photo credit: Bruce Bennett

-Aurelie Desmarais

In the video below, Aurelie Desmarais, Senior Director of Artistic Planning, speaks about Maestro Graf’s final month of concerts as Houston Symphony Music Director:

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Known for his wide range of repertoire and creative programming, distinguished Austrian conductor Hans Graf is the Houston Symphony’s 15th Music Director and is its longest serving music director. As one of today’s most highly respected musicians, he is a frequent guest with all of the major North American orchestras, and regularly conducts in the foremost concert halls of Europe, Japan and Australia.

Maestro Hans Graf will conduct the Houston Symphony in his final concerts as Music Director on May 17 and 18. Ending his 12-year tenure, Graf will celebrate with the orchestra, staff and patrons in a grand performance of Mahler’s Symphony No. 2, Resurrection.
Click here for more information and tickets.

The preceding weekend, May 9, 11 and 12, 2013, Maestro Graf will lead the orchestra in it’s final classical subscription concert of the season, featuring Chopin’s Piano Concerto No. 2 with guest pianist Janina Fialkowska, and Beethoven’s Symphony No. 3, Eroica.
Click here for more information and tickets.

Watch a video tribute to Maestro Graf, which is being shown before each of the concerts during his final month as Houston Symphony Music Director:

As I await my flight home to Houston, I am fondly recalling highlights from the final 48 hours of my visit to Vienna with a crew from our official television partner KTRK, Channel 13.

Mozart statue in the Imperial Palace gardens

Johann Strauss statue in Stadtpark

Earlier on Saturday, the TV crew returned to the Musikverein to see Andrés rehearsing that evening’s Tonkünstler Orchester program. Channel 13′s Gina Gaston helped Andrés cope with his strenuous schedule (two different all-Mozart programs rehearsed and performed over a 36-hour period) by sharing some yoga stretches before continuing their interview from the day before. Following the driving tour, I enjoyed Verdi’s opera Don Carlos at the Staatoper while remembering Andrés’ moving story, told to Gina earlier that day, about his first concert experiences in Vienna at the age of 18. One can’t help but be inspired by Vienna’s musical history and everyday performances in its many stunning performance halls.

Marathon Route

Stephansdom

On our walk to Stadtpark to meet up with Andrés wife, Julia, and daughter, Laura, following the concert, Gina Gaston asked us about the Houston Symphony’s role as a cultural ambassador and about the virtues and pitfalls associated with outdoor parks concerts. While strolling through Stadtpark, Andrés and Julia shared stories with Gina about their courtship and busy life together in Vienna. Both demonstrated command of Houston’s landmarks and traditions by reciting sections of the children’s book “Goodnight Houston”, a gift brought over during a prior trip.

With the television cameras and lights turned off for the weekend, Andrés expressed his thanks to our Channel 13 friends and rolled up his sleeves for an evening of fruitful discussions with me about the Houston Symphony’s exciting future, a future that owes a debt of gratitude to Vienna’s prominent role in the development of classical music and seeks to build upon Vienna’s remarkable history of cultural achievement.

[To read the other blogs in this series, click here].

Wow!  We have just returned to our hotel following an exciting and memorable Tonkünstler Orchester Niederösterrich concert at the Musikverein under the direction of our incoming music director Andrés Orozco-Estrada.  

Andrés Orozco-Estrada and the Tonkünstler Orchester following tonight’s concert at the Musikverein

KTRK Channel 13′s Gina Gaston interviewing principal flute Walter Schober

Tonight’s Tonkünstler Orchester Niederösterrich concert program

Andrés Orozco-Estrada with KTRK’s Kim Nordt-Jackson, Andre Dorsey, Raul Carmona and Gina Gaston

Andrés Orozco-Estrada with Mark Hanson

I am writing from Vienna, Austria, where I have joined up with a television crew from our official television partner KTRK Channel 13. The TV crew, which includes anchor Gina Gaston, has travelled all of this way to spend several days with our Music Director Designate Andrés Orozco-Estrada.

Gina Gaston interviewing Andrés Orozco-Estrada inside the Musikverein.

Sign outside Vienna’s mdw – University of Music and Performing Arts.

Following a lunch of weinerschnitzel and potato salad, we have all returned to our hotel to rest before this evening’s Tonkünstler Orchester Niederösterrich concert. The crew will be in their concert positions by the time the audience is allowed into the hall at 7 pm. We are all most excited about hearing Andrés’ interpretation of Mozart’s Jupiter Symphony, a work that Andrés will conduct with the Houston Symphony in January, 2014.
[To read the other blogs in this series, click here].

Tickets start at $29
Pablo Sainz-Villegas performs Rodgrigo’s Fantasia para un gentilhombre (Fantasia for a Nobleman) with the Houston Symphony as part of the Spanish Masters concert on April 5, 6 and 7, 2013. This video is an example of Pablo Sainz-Villegas’s artistry, playing a different piece by Rodrigo, Concierto de Aranjuez.
Performance dates:
Friday, April 05, 2013 at 8:00 PM
Saturday, April 06, 2013 at 8:00 PM
Sunday, April 07, 2013 at 2:30 PM
CLICK HERE FOR TICKETS
Program:
Haydn: Symphony No. 37
Ginastera: Variaciones concertantes
Rodrigo: Fantasia for a Nobleman – for Guitar and Orchestra
Falla: Suite No. 2 from The Three-Cornered
Artists:
Carlos Kalmar, conductor
Pablo Sainz-Villegas, guitar

Celebrate the 50th anniversary of this iconic film and winner of ten Academy Awards®, including Best Picture. The Houston Symphony plays Leonard Bernstein’s electrifying score and memorable songs with lyrics by Stephen Sondheim live, while the newly re-mastered film is shown in glorious high definition on the big screen with the original vocals and dialog intact. This classic romantic tragedy, directed by Robert Wise and Jerome Robbins and one of the greatest achievements in the history of movie musicals, features Robbins’ breath-taking choreography and a screenplay by Ernest Lehman based on the masterful book by Arthur Laurents.
West Side Story © 1961 Metro-Goldwyn-Mayer Studios Inc. All rights reserved.
© A.M.P.A.S.

The Film Production Backstory:

In 2009, MGM, who currently owns the rights to the United Artists film West Side Story, decided to do a tribute to the history of this groundbreaking cinematic musical, which won 10 Academy Awards including Best Picture, by restoring the film into a new 70mm, 6-Track version, plus releasing a special digitally remastered HD Blu-ray edition in 2011, to commemorate the 50th Anniversary of its premiere, on December 13th, 1961.

In addition, in 2010, the Hollywood Bowl along with the LA Philharmonic and The Bernstein Office, decided to also do a special tribute 50th Anniversary “Re-Premiere” in the summer of 2011, by projecting the HD version of the newly restored 70mm version of the movie which was being readied at the Hollywood Bowl, accompanied by the live orchestra performance of the LA Philharmonic.

Photographed in Super Panavision 70 (with spherical lenses to create a final aspect ratio of 2.20:1 on a 65mm negative), it is such a famous and well respected movie that there were always sufficient visual elements extant to restore a 70mm version, and to master the visual part of the film to HD. With a modern twist. The existing film elements were used to create a new 65mm interpositive, which was then scanned in 4K, and then corrected and restored digitally, then the 70mm 5.1 projection prints were produced in the current digital-to-film laser fashion.

The problem was the soundtrack.

West Side Story © 1961 MGM. All Rights Reserved.

Then it was subsequently released in 35mm 4-Track (magnetic), and then finally in 35mm Mono (optical). Due to historical circumstances, the only complete audio track that existed 50 years later, was Mono.

For the 70mm and HD Blu-ray versions, 70mm & 35mm prints and mag reels were collected from around the world, then digitally cleaned up and combined, to be able to produce the original 6-Track soundtrack, with new 5.1 digital clarity. But for the version to be performed with live orchestra, it was a bit more difficult. Even though MGM had been able to track down enough print elements to be able to digitally restore, and construct a clean 5.1 soundtrack for the 70mm exhibition and Blu-ray releases, there were no original mixing stems where all the elements were still separate. The singing voices, dialogue, music, sound effects and foley had all been mixed already and only existed as a composite soundtrack.

In modern or recent films where all the elements are still available, with discrete tracks and mixing stems, it is very easy to record a separate dialogue track for foreign versions, leaving the music and effects intact, etc. But for West Side Story the desire was to leave the singing, dialogue and effects intact, and instead replace the music with a symphonic score, performed live by an orchestra. But since it was all combined as essentially a Composite Mono Track, something had to be done to separate the music from the dialogue and effects.

So MGM turned to Chace Audio by Deluxe (background article) to employ “source separation technology” by Audionamix of Paris, which utilizes Vocal Isolation, Music Dissociation and Dialogue Isolation, to produce an original dialogue and effects composite with a cappella singing to project during the live performance by the LA Philharmonic.

West Side Story © 1961 MGM. All Rights Reserved.

West Side Story was in fact successfully “Re-Premiered” to great acclaim on July 8 & 9, 2011, at the Hollywood Bowl, accompanied by the LA Philharmonic, followed by another performance on September 7 & 8, 2011, at Avery Fisher Hall at Lincoln Center, again with David Newman, this time conducting the live orchestra to West Side Story with Leonard Bernstein’s home symphony when he wrote the score, the New York Philharmonic. A decidedly symbolic 50th Anniversary homecoming for the great movie that was in fact a symbiotic melding of Hollywood and New York talents, and mystiques.

The 50th Anniversary Blu-ray release has been reviewed very highly, and gratefully accepted by the film-loving public.

The good thing about the Live Orchestra version that was laboriously created by all concerned, is that it is now available as a licensable production (info at IMG Artists) that can be performed by any symphonic organization with the proper resources, facilities, and preparation.

Since its first performances at the Hollywood Bowl, and in New York City, it has been performed in Chicago, the Royal Albert Hall in London, by many other orchestras around the world, and now by the Houston Symphony, on March 22, 23, 24, 2013.

West Side Story © 1961 MGM. All Rights Reserved.

Houston Symphony Press Release:

SYMPHONY BRINGS THE BIG SCREEN TO LIFE IN WEST SIDE STORY CONCERTS

Guest conductor Steven Reineke to conduct live orchestra alongside the film

HOUSTON (March 7, 2013) – On March 22, 23 and 24, the Houston Symphony, under the direction of guest conductor Steven Reineke, will entertain audiences with a live performance of Leonard Bernstein’s electrifying score of West Side Story while the newly re-mastered film is shown in glorious high-definition on the big screen. With the original vocals and dialog intact, the Symphony will bring the film’s beloved music to life by performing live alongside the film. In contrast with pit orchestras heard on Broadway, the Symphony’s performance will feature the full 87-piece orchestra playing the entire musical score of the iconic film, West Side Story, which celebrated its 50th anniversary in 2012. Winner of 10 Academy Awards®, including Best Picture, this classic romantic tragedy is one of the greatest achievements in the history of movie musicals.

Houston Symphony Cynthia Woods Mitchell POPS at Jones Hall Series
Jones Hall
615 Louisiana St.
Houston, TX 77002

Friday, March 22, 2013, 8:00pm
Saturday, March 23, 2013, 8:00pm
Sunday, March 24, 2013, 7:30pm

West Side Story
Steven Reineke, conductor
Tickets from: $25

About Steven Reineke

Steven Reineke

Reineke is a frequent guest conductor with The Philadelphia Orchestra. In the past year, he’s been on the podium with the Boston Pops, Chicago Symphony and Cleveland Orchestra. As the creator of more than one hundred orchestral arrangements for the Cincinnati Pops Orchestra, Reineke’s work has been performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works, Celebration Fanfare, Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic.

A native of Ohio, Reineke is a graduate of Miami University of Ohio, where he earned two bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City.

Gary Lindsay

Gary Lindsay is an award-winning Filmmaker, and IT Consultant, who has lived and worked all over the United States. He is proficient in all forms of still, film, video, and digital technology. He is a graduate of the San Francisco State University Film School, with a specialization in Documentary Filmmaking; and the University of Southern California School of Cinematic Arts, with an emphasis on Feature Filmmaking and Film Industry Studio Practices.

Contact Gary Lindsay at: garylindsay.examiner@gmail.com
Facebook: http://www.facebook.com/Examiner.com.GaryLindsay
Twitter: @GaryLindsayExam
YouTube: GaryLindsayExaminer

The following video will be shown prior to the concert each night, starting at 7:15 PM:

“Alban Berg’s music is so deep, so new and so perfect. It strikes an
inescapable chord of compassion and empathy for our ill-fated hero,
Wozzeck.” – Hans Graf

Rooted in real life, Wozzeck’s tale is one of social criticism, lust, murder and morality. You’ll feel compassion for poor Wozzeck as he falls victim to cruelty and descends into insanity.

Click here for tickets.

Robert Franz, Associate Conductor

For instance, musicians generally just want to play concerts. Sounds simple, but in actual fact it’s quite multi-faceted. We prefer to play pieces that challenge and engage us, constantly striving to create a deeper understanding of the art form. Simultaneously we demand a full house, plenty of concerts, a good salary and all of the backstage amenities required to perform at our peak. On the surface, all of these things are reasonable.

Those most affected by repertoire choices (after the audience of course) are the marketing and development folks. How do they inspire people to donate to our cause? How do they sell our “product”? We, the artists, tend to have a slight allergy to this second question, as our art form is reduced to a word that could just as easily describe a screw driver, or dish-washing liquid! However, the honest truth is that from their perspective we are a product and an experience. Some of our products/experiences are more sellable than others. A balance has to be struck to keep people coming through the doors.

Thirdly, we have finance. I am in awe of people who understand liabilities, assets, and deferred income. It’s impressive. Because they are so close to where the rubber meets the road, they are keenly aware when applying the brakes is needed to stop a head on collision with debt or worse, a complete financial meltdown. Their lens sees everything from the vantage point of the “bottom line.” Many an artist has been undone by the dreaded bottom line!

Each of these areas is represented on the administrative staff by paid professionals. Simultaneously, a group of dedicated volunteers choose to be on the board of directors because of their love of the art form, and their particular expertise in any of the above listed areas. These volunteers take time out of their busy lives once or twice a month, or more, to oversee the workings of the organization and make sure that everyone is on their game. While usually not active in the work itself (this is how it’s “supposed” to be, anyway), they are ultimately responsible to the patrons and creditors of the organization. Each person has something to lose, and faces that challenge in a different way.

In the middle of all of these factions is the music director. We strive each day to complete the picture of all these moving parts, prioritize them, and ultimately make decisions or recommendations as to the best direction forward. We are constantly juggling of all of those widgets to make the whole. This balancing act can be fraught with peril. Creating an imbalance in one direction or the other can topple the entire organization. Get the balance right and everyone leaves happy and the organization succeeds. The margin of error from success to failure is surprisingly thin and fragile, yet for the sake of music we constantly teeter. We constantly seek out the broadest view possible from which a decision can be made to achieve our goals. It is messy and oddly invigorating. When it succeeds it is amazing, and when it fails it is exhausting. No matter what the outcome, the same truth becomes evident. Step one is to understand how our widget fits into the whole. When we start there, we then open the door to a clarity that allows us to succeed and thrive. I wouldn’t trade my position for anything, as I reach towards an understanding of the broader picture and engage in one of the most wonderful arts forms ever created – music!

From Robert Franz’s blog Building Bridges with Music. CLICK HERE to read more of his posts.

Dave Kirk, Principal Tuba

As your friendly neighborhood tuba operator, I can tell you my part in the orchestra isn’t especially tough. As is always the case when we accompany the human voice, our greatest challenge will be to execute our passages delicately, allowing transparency.
Lest you be disappointed thinking I’ve an easy evening, there is a special and demanding moment for the tuba in Act 2, Scene 4; set in a tavern garden. Berg features an ensemble comprising two fiddles and one each of clarinet, accordion (!), guitar and tuba. At a dramatic moment when Wozzeck sees Marie and the Drum Major together, our tavern band plays for the dancing and amusement of two well-lubricated apprentices, one of whom eventually becomes annoyed with the tuba and stuffs a mute in the bell!

In Hans’s conception, the tavern band will be set apart from the body of the orchestra, placed on the stage’s close right corner (audience view). Berg allows just enough time for us to finish our orchestral entrances, get in place for our role in the tavern scene, and return to the opera orchestra.

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As I considered the upcoming Wozzeck performances, my thoughts immediately returned to memories of my first season as a member of our great orchestra. During the 1982-83 season, the Houston Symphony was in the Jones Hall pit for the Houston Grand Opera’s production of Wozzeck. I did a roster check to discover, by my estimation, some 18-20 HS musicians remain from those who played for this HGO production thirty years ago.

I know the experience of playing Wozzeck will be as invigorating for the veterans as for the players who’ve joined us over time.

I’m appreciative of the foundations, corporations, and individuals whose dedicated support of this project enables what we will create. Our presentation would not have happened without their vision for the highest artistic expression.

Back to the horn. The tavern solo awaits.

Dave Kirk

The Houston Symphony performs Wozzeck on March 1 and 2, 2013. CLICK HERE for tickets and more information.

Video: Why Wozzeck?