Previews, Reviews and Features: February 26 through March 30

Pr ev i ews , Rev i ews a ndF ea t ur es F ebr ua r y26t hr oughMa r c h30

L et ’ st a k eal ooka tMa r c ha ndt het hr eec onc er t s wi t hi ni t ss pr i ngi s hc onfineswhi c hhol ds ome pr omi s e.

Thefir s ts etofc onc er t si sf r om TheMa i nl y Moz a r tFes t i v a l ’ sSpot l i ghtCha mberSer i es .

The r eper t oi r ef ort hec onc er tonMa r c h9i s Moz a r t ’ sAda gi oa ndFuguef ors t r i ngsi nCmi nor a ndSc huber t ’ sSt r i ngQua r t eti nCma j or .

The s ec ondc onc er tonMa r c h1 0r epl a c esMoz a r t ’ s Ada gi oa ndFuguewi t hhi sSt r i ngQua r t etNo. 6.

TheHens c hel Qua r t et t—t hedoubl eTi sc or r ec t—i sa na wa r dwi nni ngf our s omeha i l i ngf r om Ger ma nya ndpl a y i ngi nSa nDi egof ort he9t ha nd1 0t h.

Theywi l l bej oi nedi nt hes ec onc er t sby r enownedc el l i s tL y nnHa r r el l .

Bot hc onc er t si nc l udewi ner ec ept i onsonehourbef or et hemus i c s t a r t s .

Thev enuef orMa r c h9, 7: 00PM, i st heRa nc hoSa nt aFeGa r denCl ub.

Thev enuef orMa r c h1 0, 7: 30 PM i sTheSc r i ppsRes ea r c hI ns t i t ut e.

Bot ht hes el oc a t i onsa r edes i gnedt obr i ngt hea udi enc eup c l os et ot hemus i ca ndt hemus i c i a ns .

Al s oonMa r c h9i sTheSa nDi egoSy mphony ’ sper f or ma nc eofMa hl er ’ sSy mphonyNo. 1 : Ti t a na s c onduc t edbyEdodeWa a r t .

I , f orone, a m notc onv i nc edoft het i t a ni cs t a t usoft hi ss y mphonywhen c ompa r edt owha tMa hl erf ol l owedi tupwi t h.

Howev er , i ti sadr ea df ul l ypopul a rs y mphony , a nd Ma hl eri sMa hl er .

Ther ei sat unei nt hefina l mov ementwhi c hy oua l l k nows opl ea s et r yt oa v oi ddoi ngt her ec ogni t i on hummyt hi ngt ha ts oof t ena c c ompa ni esaf a mousmel ody .

Why ?Bec a us ewe’ r ebet t ert ha nt ha t .

Ther ea r et woper f or ma nc es :Fr i da y , Ma r c h9, 8: 00p. m. a ndSunda y , Ma r c h1 1 , 2: 00p. m.

Bot h c onc er t sa r ea tTheJ a c obsMus i cCent er Copl eySy mphonyHa l l .

I st her eamor ef a mousor c hes t r at ha nTheAc a demyofSt .

Ma r t i ni nt heFi el ds ?Wel l , y es , y est her e a r e.

Howev er , t hi si st heor c hes t r awhi c hpl a y eda l l t hemus i ci nAma deusa ndwa sf oundedi n1 958 byt hel a t eSi rNev i l l eMa r r i ner .

Vi r t uos ov i ol i ni s ta ndAs t er oi dsv i deoga mec ha mpi on, J os huaBel l , i s t henewmus i cdi r ec t orf orTheAc a demy .

TheLaJ ol l aMus i cSoc i et yi spr es ent i ngTheAc a demyofSt .

Ma r t i ni nt heFi el dsonFr i da y , Ma r c h1 6, 8: 00PM, a tTheJ a c obsMus i cCent er Copl eySy mphonyHa l l .

E x c i t i ngCha mberMus i cPer f or ma nc e byMus i c i a nsoft heS a nDi egoS y mphony byKenHer ma n, Ma r c h8, 2018

T heS a nDi egoS y mphony’ sl a uda bl ec ha mbermus i cs er i est y pi c a l l yf ea t ur ess omegues ts ol oi s twhoha s j us tper f or medwi t ht heor c hes t r a .

ButT ues da y’ s( Ma r c h6) c onc er ta tt heAudi t or i um a tT S RI wa s ha ndl edwi t hgr ea ta pl ombbyahea r t yc a dr eofs y mphonymus i c i a nsa ndt wogues tha r ps i c hor di s t s .

F el i xMendel s s ohn’ sE -a tMa j orS t r i ngQua r t et , Op. 18, di s pl a y edt hev er v ea ndpol i s hofa nens embl e t ha tha spl a y eda ndt our edt oget herf ory ea r s .

L edwi t hes t i ma bl edr i v ea ndt her i c h, gl ea mi ngs onor i t y ofr s tv i ol i ni s tJ i s unY a ng, t heor c hes t r a ’ sAs s i s t a ntConc er t ma s t er , a ndel oquent l ys uppor t edbyc el l i s t Andr ewHa y hur s t , t hi squa r t eti mbuedMendel s s ohn’ sea r l yqua r t etwi t ht ha teffer v es c entopt i mi s mt ha t i st hec ompos er ’ st r a dema r k .

I nt hes ec ondmov ement , t i t l edCa nz onet t a , t hequa r t ete x pr es s edt hei ngr a t i a t i ngc ha r m ofal i v el yf ol k t unedef t l yt ur nedoutf orav i l l a gef a i r .

Vi ol i s tCheY enChenopenedt heAnda nt ees pr es s i v owi t ha l ux ur i ouss ol ot ha tgr a c ef ul l yc ededt oas oa r i ngdi s pl a ybyY a ng.

Atl ongl a s ti nt hee x uber a nt na l e , s ec ondv i ol i nY ehS henga v ei ghtt oapa s s i ona t es ol ot ur n.

Wi t hs uc h eetens embl epl a y i nga nd i nt er pr et i v ei ns i ght , I hopet ohea rmor ef r om t hi squa r t et .

T hemus i cofJ .

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Ba c hs el dom di s a ppoi nt s , a nda nyoppor t uni t yt ohea rpor t i onsofhi sMus i c a l Offer i ng i st r ea s ur ed.

F l ut i s tS a r a hT uc k , v i ol i ni s tZouY ua ndCel l i s tMa r c i aBook s t ei n, a s s i s t edbyha r ps i c hor di s t Al i s onL uedec k e , ga v eaf ul l bl oodedy etbea ut i f ul l ydet a i l eda c c ountoft heCMi nor T r i oS ona t af r om t ha tmonument a l c ol l ec t i on.

Not a bl ewer et hepl a y er s ’ bol d, dec i s i v ephr a s i ngoft heAl l egr oa ndt he mor edel i c a t el yt ur nedouts i ghi ngmot i f soft heAnda nt e .

L uedec k e ’ ss uppor ta sha r ps i c hor dc ont i nuo e x hi bi t edt a s t ef ul under s t a t ement , a l t houghmi x i ngaper i odi ns t r umentwi t hmoder nor c hes t r a l i ns t r ument sa l wa y si nv i t esac er t a i ni mba l a nc e .

I mba l a nc epr ov edt obet hea nnoy i ngdowns i deofJ a nDi s ma sZel enk a ’ sT r i oS ona t ai nB-a tMa j or .

Obi s t sAndr eaOv er t ur fa ndS a r a hS k us t erga v eas pi r i t ed, ma s t er f ul a c c ountofZel enk a ’ si nv ent i v e mel odi cc or nuc opi a , butt hes et wopl a y er swer es oni c a l l yov er whel medbyba s s ooni s tRy a nS i mmons a ndc ont r a ba s s ooni s tL ey l aZa mor aont heba s sl i ne .

T hef ews ec t i onsoft het r i os ona t ai nwhi c hj us tt he oboesa ndba s s oonpl a y edr ev ea l edt hebea ut yofZel enk a ’ s nel ywr oughtc ount er poi nt .

I a mc on dent t ha tha r ps i c hor di s tNi naDeer i ngga v ear es pec t a bl ea c c ountofherc ont i nuopa r t , a l t houghwor k i ng behi ndt hehea v ya r t i l l er yofba s s oonsma deherc ont r i but i onnea r l ys uperuous .

T hi sc onc er tofc ha mbermus i cwa spr es ent edbyt heS a nDi egoS y mphonyonMa r c h6, 2018, a tt he Audi t or i um a tT S RI , 10620J ohnJ a yHopk i nsDr i v e , S a nDi ego.

Ama s t era twor k : E dodeWa a r tma k es Ma hl er i a nma gi cwi t hS a nDi egoS y mphony byMa r c usOv er t on, Ma r c h10, 2018 S omet hi ngl i k eDa y l i ghtS a v i ngT i mec a meea r l yonF r i da y ev eni ngwhenc onduc t orE dodeWa a r t , S a nDi ego S y mphonyc onc er t ma s t erJ effT ha y er , a nda20pl a y ers t r i ng a ndha r ps i c hor dens embl ebr i eyt ur neda nov er c a s t ev eni ngi nt os pa r k l i ngs uns hi nei naper f or ma nc eofJ .

S .

Ba c h’ sAmi norv i ol i nc onc er t o.

T ha y er ’ sr es t r a i nedt emper a menta ndhi sel ega nt— i f s l i ght l yunder power ed— s ound tBa c h’ sc l a s s i c a l l y ba l a nc eds t r uc t ur ei nt hi st hr eemov ementwor kwi t h ha ndi ngl ov es moot hnes s .

He , hi sc ol l ea guesa nddeWa a r ta ddedt ot hemus i c ’ si mpa c tbyt uni ngoffs t a gea ndent er i ngt oget her t os t a nda r oundt hes ol oi s t , pr oba bl yi nt hes a mec on gur a t i oni nwhi c hBa c hpr es ent edt hi spi ec ea t t hec our tofPr i nc eL eopol dAnha l t Cöt heni n1720.

Ourc l oc k swi l l c a t c hupwi t ht hemus i cwhent hi sc onc er ti sr epea t edonS unda ya t2p. m. i nCopl ey S y mphonyHa l l a tt heJ a c obsMus i cCent er , butt hewea t herout s i dewi l l ha v et obewonder f ul t o c ompet es uc c es s f ul l ywi t ht hewa r m gl owoft hi sper f or ma nc e .

Andt henc a meMa hl er .

Aboutt he r s tofhi sni nes y mphoni es— 10, i fy ouc ount “ T heS ongoft heE a r t h, ” whi c hhe s uper s t i t i ous l yr ef us edt oc a l l as y mphony— ga l l onsofi nkha v ebeens pi l l ed.

Ma hl erhi ms el fs owed c onf us i ona boutt hi swor k .

F i r s ti twa sagi ga nt i c , ev eni ngl ongpor t r a i tofna t ur e , wi t hmov ementt i t l esa boutbi r dsa nd ower sa nd a na s c entf r om hel l t ohea v en.

T heni twa ss ma l l er ; mov ement sc a mea ndwent .

T i t l esa nds t or y t el l i ng di s a ppea r edf r om t hes c or e , onl yt or ea ppea rwhenMa hl erdi s c us s edi t .

Wheni t s na l r ev i s i onwa spubl i s hedi nt heea r l y1900s , i tha da c qui r edani c k na me , “ T i t a n, ” butt he mov ement sbor es t r a i ght f or wa r dt empoma r k i ngsa ndl i s t ener sha dt os uppl yi t si nnerna r r a t i v e , i ft her e wa sone , t hems el v es .

Wha ti sac onduc t or , wha ta r ewe , t odowi t ht hi st ower i ngmus i c a l obj ec twhi c hc ont a i nsev er y t hi ng, f r om a na c hi ngl yl y r i c a l c ent eroutt onea r f r a nt i cedgesofc ount r yda nc es , wa nder i ngk l ez mer f r a gment s , di s t a ntmi l i t a r yba ndsa nd, ul t i ma t el y , at r i umpha ntf a nf a r et ha tev ok esbot hphy s i c a l t r a ns f or ma t i ona nds pi r i t ua l t r a ns c endenc e?

Wedowha tdeWa a r tdi dwi t ha s t oni s hi ngma s t er ya ndr oc k s ol i da s s ur a nc e , s ur el yt her es ul tof 40pl usy ea r sofl i v i ngwi t ht hi ss y mphony .

Wegi v eour s el v est ot hemus i ca smus i c , wer ef r a i nf r om i mpos i nga nys or tofpr ogr a m ors t or yoni t .

We l eti tc omet ousa nds ummon, outofea c hofusf r om ouri nnerhea r t , t het hought sa ndf eel i ngst ha t ev er y da ywor dsc a nnots a y .

S omec onduc t or st a k et hi ss y mphony’ ss pr a wl a sper mi s s i onf orr a uc ous nes s .

Wi t ht hi sk i ndof e x hi bi t i oni s m, deWa a r tha dnot hi ngt odo.

E v er yel ementoft heper f or ma nc e— dy na mi cl ev el s , i nt r i c a t ec ount er poi nt , a br uptc ha ngesi nt empoa ndr hy t hm — wa sunderr el a x ed, a l er tc ont r ol .

E ner gywa sev er y wher ei na bunda nc e , butt hr oughoutt heor c hes t r a , c onc ent r a t i onwa suni f or m, c ommuni c a t i onbet weenc onduc t ora ndens embl ewa ss ubt l e— a ndi ns t a nt a neous .

F r om t he r s t not esoft hewor k , i t sc onc ept i on— l of t y , s er eneev enwhendeWa a r tl oos edi t sgr ea tl a s t mov ement c l i ma x , bui l tupi nc a l i br a t eddegr eesf r om i t sbegi nni ng— pa s s edba c ka ndf or t hbet weenpl a y er sa nd

c onduc t ora si fi twer eas ha r edt hought .

I c oul dgi v ey ouahundr ede x a mpl esofdeWa a r t ’ sunc a nnya t t ent i ont odet a i l : c ont r a s t i ngv ol ume l ev el si ndi ffer entpa r t soft heor c hes t r a , as i ngl ei ns t r ument a l l i nepul l edt ot hef or ef r ontoft het e x t ur e , nott oment i ont hes ubl i mei ns t r ument a l s ol osa l l ov ert heor c hes t r a .

Buty oudon’ tneedmet ot el l y oua boutwha ty ouc a ne x per i enc ey our s el f .

S unda ya t2p. m. , Copl ey S y mphonyHa l l .

S omet hi ngs pec i a l i swa i t i ngf ory ou.

BWW Rev i ew: T HES ANDI E GOS YMPHONY CONDUCT E DBYE DODEWAARTa tt heJ a c obsMus i cCent er byRonBi er ma n, Ma r c h11, 2018 E dodeWa a r tha sbec omeawel c omer epea tgues t c onduc t orf or t heS a nDi egoS y mphonyOr c hes t r a .

Hi snonons ens e , e x per i enc eba s eda ut hor i t ya tt hepodi um a ppea r st oha v ewont her es pec tof pl a y er s , S y mphonyma na gement a ndc er t a i nl yS a nDi ego a udi enc es .

F r i da y ' s na l ebr oughta ni mmedi a t es t a ndi ngov a t i on a nds us t a i neds hout i nga nda ppl a us et hr oughouta nunus ua l f our c ur t a i nc a l l s .

S i nc es t a ndi ngOsha v ebec omea l mos tper f unc t or y , i t wa sapl ea s ur et opa r t i c i pa t ei nonet ha twa sa c t ua l l ydes er v ed.

T hepr ogr a m offer eda ne x t r emec ont r a s ti nmus i c a l s t y l es .

J .

S .

Ba c h' sc ompa c tr s tv i ol i nc onc er t oc ompr i s edt he r s tha l f , Ma hl er ' ss pr a wl i ng, wi l dl yemot i ona l r s ts y mphonyt hes ec ond.

T hes i z eoft heor c hes t r af orea c hwor kdeepenedt hec ont r a s t .

J us ta ha r ps i c hor di s ta nd19s t r i ngsa c c ompa ni edv i ol i ns ol oi s t , Conc er tMa s t erJ effT ha y er .

T houghnotaf a n oft heor i gi na l i ns t r ument smov ement , I dobel i ev es omeoft hea s s oc i a t edper f or ma nc epr a c t i c esha v e benet edmoder nor c hes t r aper f or ma nc esofBa c ha ndot herba r oquea ndc l a s s i c a l er ac ompos er s .

T hi s per f or ma nc es howedwhy .

T ha y er ' spl a y i ngwa sa wl es s , a ndwi t ht hes ma l l erens embl emor et y pi c a l of t heba r oqueer a , deWa a r t ' sma s t er f ul ma na gementoft empos , dy na mi c sa ndba l a nc espr oduc eda per f or ma nc eofgr ea tc l a r i t ya nddeepf eel i ng.

T hes a mec onduc t i ngs t r engt hsc a r r i edov ert oMa hl er ' ss y mphony , t hought heor c hes t r awentf r om 20 t oov erni net y , 17i nt hebr a s ss ec t i ona l one .

I twa sa nout s t a ndi ngper f or ma nc et ha tl i t er a l l yma demy s c a l pt i ngl e , whenei ghtF r enc hhor npl a y er ss t oodt oa nnounc eoneoft he na l mov ement ' sr ous i ng hunt i ngc a l l t hemes .

Buti tdi dn' tt a k eei ghther oi chor nst ohol da t t ent i on.

DeWa a r twa sequa l l y effec t i v ei nt hewor k ' squi et ermoment sa nd, a si nt heBa c h, pr oduc edgr ea tc l a r i t ywi t hunf us s y a t t ent i ont odet a i l t hr oughoutt hes y mphony ' sf ourmov ement s .

I nar ec enti nt er v i ewConc er tMa s t er T ha y ers a i d, " Under nea t ha l l oft hepr es s ur ea ndt i mea ndener gy a ndc onc ent r a t i on, a tt heendofac onc er ty ouc a ns i tt her ea ndt hi nkwow, wej us tpl a y edaMa hl er S y mphonyoraBa c hc onc er t oa ndt ha t ' spr et t yr ewa r di ng.

"I beta na udi enc ej umpi ngt oi t sf eett ov oi c e ent hus i a s t i ca ppr ov a l ma det hi spa r t i c ul a rc onc er tf eel ev enmor er ewa r di ngt ha nus ua l .

I ' v ebeent hi nk i ngf ors omet i meofc omment i ngont heS y mphony ' spr ec onc er tt a l k sbyNuv i Meht a , t he" Voi c eoft heS a nDi egoS y mphony "a nda na c c ompl i s hedmus i c i a n.

Ar ec entweek endt r i pt oL os Angel esf ors y mphonya ndoper aper f or ma nc esc el ebr a t i ngL eona r dBer ns t ei n' sbi r t hc ent enni a l c onv i nc edmei twa st i me .

Nei t herL Ac onc er tdi s a ppoi nt ed.

Duda mel ' si nt er pr et a t i onoft hec ompos er ' sma s swa sar ev el a t i on, f a r mor ec oher enta ndc ompel l i ngt ha nBer ns t ei n' sownv er s i ona sc a pt ur edona nol dCol umbi aRec or ds r ec or di ng.

Ber ns t ei n' soper aCa ndi det oof a r edwel l wi t he x c el l entv oi c es , c l ev ers t a gi ng, a nd s ur pr i s i ngl yent er t a i ni ngna r r a t i on, a c t i ng, a nds i ngi ngbyKel s eyGr a mma r , ev ent houghI c oul dn' t s ha k et hef eel i ngi twa sa c t ua l l yF r a s i eri mi t a t i ngKel s ey .

Af t ermypr ev i ouss t ea dydi etofMeht a ' ss moot hl yent er t a i ni nga ndeduc a t i ona l l ec t ur es , onl yt hepr ec onc er tL Aequi v a l ent sunder whel med.

Meht ama na gest oi ns er tf a s c i na t i nga ndof t enhumor ous a nec dot esa boutmus i ca ndc ompos er swi t houtnegl ec t i ngc l ea ra na l y s i st ha tenha nc esl i s t eni ng.

T he c or r es pondi ngL Al ec t ur eswer edr ye x pos i t i ons , i nt heoper a ' sc a s epl a guedbyt hec l ums yus eofa udi o e x c er pt st ha ts omet i mesma dei ti mpos s i bl et ohea rwha tt hes pea k erwa ss a y i ng.

T her e' sar ea s ons o ma nyS a nDi egoS y mphonypa t r onsnowbr a v er us hhourt r a ffica ndhur r ydi nnert oc a t c hpr ec onc er t l ec t ur es .

E dodeWa a r tr et ur nsf ort heS y mphony ' s na l c onc er toft hes ea s on, whi c hi nc l udeswor k sbyBer ns t ei n, Poul enca ndBr a hms .

F ori nf or ma t i onont hi sa ndot herJ a c obsMus i cCent erev ent sv i s i tt he S y mphony ' swebs i t e .

S a nDi egoS y mphonyCel ebr a t esL E ONARDBE RNS T E I NAT100 Ma r c h13, 2018 Asoneoft hemos tc el ebr a t edmus i c i a nsofhi st i me , L eona r dBer ns t ei n( 1918-1990) dedi c a t edhi sl i f e a ndc a r eert ot hej oyofmus i ca ndt hedev el opmentofhuma ni t y .

I nhi sc ent enni a l y ea r , t heS a nDi ego S y mphonyi spr oudt ohos tas pec i a l Ber ns t ei nF es t i v a l i na s s oc i a t i onwi t h" L eona r dBer ns t ei na t100" , a wor l dwi dec el ebr a t i onofhi s100t hbi r t hda y .

T hr oughoutt hemont hofMa y , t heS a nDi egoS y mphony wi l l per f or mf ours pec i a l pr ogr a mshonor i ngL eona r dBer ns t ei n' sl i f ea sac ompos er , c onduc t or , educ a t or , mus i c i a n, c ul t ur a l a mba s s a dor , a nda c t i v i s t .

Ber ns t ei n' sr a ngeofa c hi ev ement si suni quel ybr oa da ndi nt henewmi l l enni um, hi sl ega c yr es ona t es mor et ha nev er .

Asac onduc t or , hewa sac ha mpi onf orgr ea tAmer i c a nc ompos i t i on.

Hi ss c or es c ombi neddi v er s emus i c a l el ement sa tat i mewheni twa sf r ownedupont odos o, pa v i ngt hewa yf or f ut ur ec ompos er st ot a k es i mi l a rr i s k s .

Asa neduc a t or , heha dar a gi ngt hi r s tf ork nowl edgea nda n undeni a bl ee x c i t ementt os ha r ehi sl ea r ni ngswi t ht hewor l d.

I nl i f e , hewa sa ni nnov a t ora nda c our a geousa dv oc a t ef orc i v i l r i ght sa nds oc i a l c ha nge .

T heS a nDi egoS y mphony ' smont hl ongs a l ut et oL eona r dBer ns t ei n' sCent enni a l k i c k soffonMa y4a nd 6wi t honeofhi sgr ea tea r l ys uc c es s es , mus i ct ot heba l l etF a nc yF r eel edbyMa es t r oF a bi enGa bel .

T he c el ebr a t i onc ont i nuesonMa y8wi t haCha mberConc er tf ea t ur i ngPi a ni s tOr l i S ha ha m, t henMa y1113 i t ' sS a nDi ego' supda t eoft hef a mous" BBB"c l a s s i c a l f or mul af ea t ur i ngL eona r dBer ns t ei n' sJ er emi a h S y mphony , wr i t t eni n1944whent hec ompos erwa s24y ea r sol da nddes per a t et oc a l l outF a s c i s m' s des t r uc t i v ea s c endenc yi nE ur ope .

T hef es t i v a l c onc l udesMa y2527wi t h" L enny ' s "qui nt es s ent i a l c ur t a i nr a i s er , t heov er t ur et oCa ndi del edbyMa es t r oE dodeWa a r t . " L eona r dBer ns t ei nha sa l wa y sbeens uc ha ni ns pi r a t i ont ot hemus i c a l c ommuni t ya ndwea r ehonor ed t oc el ebr a t ehi sl ega c y , "s a i dMa r t haGi l mer , S a nDi egoS y mphonyCE O. " I ha dt hegr ea tf or t unet owor k wi t hhi m onc ewhi l ei nChi c a goa ndhewa sa ma z i ng.

Wel ookf or wa r dt os ha r i nghi swor kwi t hour a udi enc est hr oughoutMa y . "

T i c k et sa r ec ur r ent l yons a l ef ora l l Ber ns t ei nF es t i v a l per f or ma nc es .

F ormor ei nf or ma t i onort opur c ha s e t i c k et s , v i s i twww. s a ndi egos y mphony . or g/ ber ns t ei nf es t i v a l /orc a l l t heboxoffic ea t619.

235.

0804.

Gues t sma ya l s ov i s i tt heS a nDi egoS y mphonyJ a c obsMus i cCent erCopl eyS y mphonyHa l l boxoffic ea t 750BS t r eet , S a nDi ego, CA92101.

S a nDi egoS y mphonypl a nsL eona r dBer ns t ei nf es t i v a l Ma r c h13, 2018 Asoneoft hemos tc el ebr a t edmus i c i a nsofhi st i me , L eona r dBer ns t ei n ( 1918–1990) dedi c a t edhi sl i f ea ndc a r eert ot hej oyofmus i ca ndt he dev el opmentofhuma ni t y .

I nhi sc ent enni a l y ea r , t heS a nDi ego S y mphonyi spr oudt ohos tas pec i a l Ber ns t ei nF es t i v a l i na s s oc i a t i on wi t h“ L eona r dBer ns t ei na t100” , awor l dwi dec el ebr a t i onofhi s100t h bi r t hda y .

T hr oughoutt hemont hofMa y , t heS a nDi egoS y mphonywi l l per f or mf ours pec i a l pr ogr a mshonor i ngL eona r dBer ns t ei n’ sl i f ea sa c ompos er , c onduc t or , educ a t or , mus i c i a n, c ul t ur a l a mba s s a dor , a nd a c t i v i s t .

Ber ns t ei n’ sr a ngeofa c hi ev ement si suni quel ybr oa da ndi nt henew mi l l enni um, hi sl ega c yr es ona t esmor et ha nev er .

Asac onduc t or , hewa s ac ha mpi onf orgr ea tAmer i c a nc ompos i t i on.

Hi ss c or esc ombi neddi v er s e mus i c a l el ement sa tat i mewheni twa sf r ownedupont odos o, pa v i ng t hewa yf orf ut ur ec ompos er st ot a k es i mi l a rr i s k s .

Asa neduc a t or , heha d ar a gi ngt hi r s tf ork nowl edgea nda nundeni a bl ee x c i t ementt os ha r ehi sl ea r ni ngswi t ht hewor l d.

I n l i f e , hewa sa ni nnov a t ora ndac our a geousa dv oc a t ef orc i v i l r i ght sa nds oc i a l c ha nge .

T heS a nDi egoS y mphony’ smont hl ongs a l ut et oL eona r dBer ns t ei n’ sCent enni a l k i c k soffonMa y4a nd 6wi t honeofhi sgr ea tea r l ys uc c es s es , mus i ct ot heba l l etF a nc yF r eel edbyMa es t r oF a bi enGa bel .

T he c el ebr a t i onc ont i nuesonMa y8wi t haCha mberConc er tf ea t ur i ngPi a ni s tOr l i S ha ha m, t henMa y1113 i t ’ sS a nDi ego’ supda t eoft hef a mous“ BBB” c l a s s i c a l f or mul af ea t ur i ngL eona r dBer ns t ei n’ sJ er emi a h S y mphony , wr i t t eni n1944whent hec ompos erwa s24y ea r sol da nddes per a t et oc a l l outF a s c i s m’ s des t r uc t i v ea s c endenc yi nE ur ope .

T hef es t i v a l c onc l udesMa y2527wi t h“ L enny’ s ” qui nt es s ent i a l c ur t a i nr a i s er , t heov er t ur et oCa ndi del edbyMa es t r oE dodeWa a r t . “ L eona r dBer ns t ei nha sa l wa y sbeens uc ha ni ns pi r a t i ont ot hemus i c a l c ommuni t ya ndwea r ehonor ed t oc el ebr a t ehi sl ega c y , ” s a i dMa r t haGi l mer , S a nDi egoS y mphonyCE O. “ I ha dt hegr ea tf or t unet owor k wi t hhi m onc ewhi l ei nChi c a goa ndhewa sa ma z i ng.

Wel ookf or wa r dt os ha r i nghi swor kwi t hour a udi enc est hr oughoutMa y . ”

T i c k et sa r ec ur r ent l yons a l ef ora l l Ber ns t ei nF es t i v a l per f or ma nc es .

F ormor ei nf or ma t i onort opur c ha s e t i c k et s , v i s i twww. s a ndi egos y mphony . or g/ ber ns t ei nf es t i v a l /orc a l l t heboxoffic ea t619.

235.

0804.

Gues t sma ya l s ov i s i tt heS a nDi egoS y mphonyJ a c obsMus i cCent erCopl eyS y mphonyHa l l boxoffic ea t 750BS t r eet , S a nDi ego, CA92101.

S y mphonyHa l l bec a meMot herMa hl er ' shomef ort hes i c ka nddy i ng ByGa r r et tHa r r i s , Ma r c h15, 2018 Ov ert hec our s eofa nyendea v ort her ea r e hi ghsa ndl ows , pea k swhi c hr ev ea l uni ma gi na bl ev i s t a sa ndda r kc r ev i c esf ul l of c r ea t ur eswhi c ha r el es st ha nbenev ol ent .

Wi t h t heS a nDi egoS y mphonyt hec r ev i c esa r ef ew a ndf a rbet weena ndus ua l l yj us tl l edwi t ha n obl i ga t or ya v a ntga r depi ec e .

T heS a nDi egoS y mphony’ sc onc er tonS unda y , Ma r c h11, wa sapea ka ndav i s t awi t hs ome c r ea t ur eswhi c he x pr es s edt hems el v esv i at he pa t het i cc ough.

Mor eont ha tl a t er .

I nma nywa y st hi sc onc er tofBa c ha ndMa hl erc oul dbet hehi ghpoi ntoft hema s t er wor k ss ea s onwhen l ook i nga ti tf r om aper s pec t i v eoft her eper t oi r e .

Al ongwi t hRes pi ghi ’ sT hePi nesofRomet hi sMa hl er S y mphonyNo. 1or c hes t r awa soneoft hel a r ges toft hes ea s on.

T hes i z eoft heor c hes t r ai snotus ua l l yanot ewor t hyoc c ur r enc e .

Howev er , i ti sdi ffic ul tt odenyt hes ur ge ofent hus i a s m whi c hbubbl esupi nmyc hes twhenI s eeei ghtF r enc hhor ns , a ndat ubaont hes t a ge .

T hemor er el ev a ntqua l i t yoft hec onc er twa st hej ux t a pos i t i onofBa c ha ndMa hl er .

Pr ec edi ngt heMa hl er ’ sT i t a ns y mphonywa sadel i c i ousv i ol i nc onc er t obyBa c hwhi c hwa sper f or medby at i ghtc ohor toft heS a nDi egoS y mphonys t r i ngswi t hc onc er t ma s t erJ effT ha y erons ol o.

T het e x t ur eof Ba c h’ smus i ci se x qui s i t ea ndi tpa i r edwel l wi t ht heMa hl era v a l a nc hewhi c hwa st of ol l ow.

T hes t r i ngs , e x c eptt hec el l osa ndba s s , per f or medt hepi ec es t a ndi ngup.

T hec ha ngeofener gyc r ea t ed byha v i ngt hepl a y er ss t a ndwa sr ef r es hi ngbutI c oul dn’ thel pt hi nk i ngof WoodyAl l ent r y i ngt opl a yt he c el l oi nama r c hi ngba ndi nT a k et heMoneya ndRun. Conduc t orE dodeWa a r ti ses t a bl i s hi ngas t r ongr el a t i ons hi pwi t ht heor c hes t r aher ei nS a nDi egoa nd t ha twa sev i dentf r om t hegetgooft heMa hl er .

Ast hemus i cc r epti nt oe x i s t enc ei twa si nt er r upt edby t hema t i ngc a l l oft hei nr m.

I wi l l notdwel l ont hi sbutt hea mountofc oughi ngi nt hea udi enc ewa sdi s t ur bi ng.

S y mphonyHa l l wa s t r a ns f or medi nt oMot herMa hl er ’ sHomef ort heS i c ka ndDy i ng.

Ne x tt i mey oua r ea tac onc er ta ndf eel a needt oc ough, di s c i pl i ney our s el fa nddon’ tdoi t .

Att hev er yl ea s t , wa i tf oraf or t e .

Ma es t r odeWa a r ta ndt heor c hes t r abl a z edl i k eav a s tc ometa c r os st hev a ul tofMa hl er ’ shea v en.

Gus t a v Ma hl er , whenwr i t i ngas y mphony , t r i edt oc ompos enot hi ngl es st ha nt heent i r euni v er s e .

T heor c hes t r a pl a y edi ti nt oe x i s t enc ei nac onc er twhi c hwa ss a t i s f y i ngt ot heea r , mi nd, a ndhea r t .

Ma es t r odeWa a r twi l l ber et ur ni ngf ort hec onc l us i onoft hema s t er wor k ss ea s ononMa y25, 26, a nd27 wi t haBr a hmss y mphonya ndas c enes t ea l i ngc onc er t of ort wopi a nosbyF r a nc i sPoul enc .

byGeor geVa r ga , Ma r c h17, 2018 Ov ert hec our s eofhi ss t or i edc a r eer , Chi c kCor eaha s r ec or dednea r l yahundr eda l bumsa saba ndl ea der a ndma nyot her sa sac ol ea dera nda c c ompa ni s t .

T he j a z z a ndbey ondl egend’ smus i c a l pa r t ner sha v e i nc l udeds uc hv a r i eda r t i s t sa sMi l esDa v i s , F ooF i ght er s , Cha k aKha n, S pa ni s ha menc ogui t a rgi a ntPa c ode L uc i a , Br a z i l i a nbos s anov ak i ngAnt oni oCa r l osJ obi m, Ca tS t ev ens , c l a s s i c a l pi a nos t a rL a ngL a ng, a ndmor e .

ButCor ea ’ sc ur r entna t i ona l c onc er tt r ekwi t ht heJ a z za t L i nc ol nCent erOr c hes t r ar epr es ent st wonot a bl er s t s f ort hi s22t i meGr a mmyAwa r dwi nner .

I t ’ st hi spi oneer i ng k ey boa r di s t ’ sr s tU. S . c onc er tt r ekwi t habi gba nda ndhi sr s tl ea di ngt heens embl ei npl a c eofJ AL C t r umpet era ndf ounderWy nt onMa r s a l i s .

“ I ’ l l bef r ont i ngt heba ndf orWy nt on.

He ’ st a k i ngs omet i meoffa nddoi ngs omewr i t i ng.

Hepr oba bl yj us t needsabr ea k— t heguy’ saha r dwor k er .

S oi ts houl dbef un.

I enj oywor k i ngwi t ht heba nd, ” s a i dCor ea , whoper f or msi nS a nDi egoonS a t ur da y , Ma r c h24, wi t ht heJ AL COr c hes t r aa spa r toft heS a nDi ego S y mphony’ sJ a z z @T heJ a c obsc onc er ts er i es .

F r ont i ngf orWy nt on?Rea l l y ?Howi sCor ea ’ st r umpet pl a y i ng?

“ Ha , ha !

T ha twoul dbeahoot , ” her epl i ed, a ddi ng: “ I ha v enoi nt ent i onoft a k i ngWy nt on’ sr ol e .

I ’ l l j us t l ea dt heba nd, f r om t hepi a no, i nt er msofc hoos i ngt hes etl i s t .

T hey’ l l pl a yal otofmyt unest ha tt he guy si nt heba ndha v ea r r a ngedbea ut i f ul l y .

I ’ l l s a y( t ot hea udi enc e) : ‘ Hel l o.

T hi si st heba nd.

Her ewego! ’ T heba nddoes n’ tneedal ea der . ” Cor eac ount ss uc hbi gba ndgr ea t sa sL i onel Ha mpt ona ndMa y na r dF er gus ona monghi spa s tr ec or di ng pa r t ner s , a l t houghhi sl onea l bum wi t hHa mpt on, 1999’ s“ L i v ei nCa nnes , ” wa swi t has ma l l gr oup.

And s omeofCor ea ’ sc l a s s i cc ompos i t i ons— i nc l udi ng“ S pa i n, ” “ L aF i es t a ” a nd“ 500Mi l esHi gh” — ha v el ong beens t a pl esi nt her eper t oi r esofbi gba ndsa r oundt hewor l d.

Buta pa r tf r om hi sonebi gba nda l bum wi t hF er gus ona nda not herwi t hs a x ophoni s tJ oeHender s on, ev endev ot edj a z zf a nsa r eha r dpr es s edt oc i t ee x a mpl esofCor ear ec or di ngwi t habi gba nd, l eta l one t our i ngwi t hone . “ I t ’ spr et t yunus ua l , ” t hev et er a nk ey boa r di s ta c k nowl edged. “ I ha v en’ tdoneal otofwor kwi t hbi gba nds .

I us edt ol ov es ubbi ngf orRol a ndHa nnai nt heT ha dJ ones / Mel L ewi sJ a z zOr c hes t r a , ba c ki nt he1960si nNewY or k .

T ha twa sabl a s t !

I ’ v eenj oy edwa t c hi ngbi g ba nds .

I l ov eDuk eE l l i ngt on’ sba nd— i t ’ sl i k eadeepwel l i nt ha tmus i c , al i f et i meofmus i c .

AndI us edt o l i s t ent oCountBa s i e ’ sba nd, gr owi ngup. ”

F r om NewY or kt oNor wa y , a ndba c k

I nf a c t , Cor eadi dr ec or dabi gba nda l bum i n2000, a l t houghi t ’ sunl i k el yt ooma nypeopl eout s i deof Nor wa yha v ehea r d“ Chi c kCor eaa ndT heT r ondhei mJ a z zOr c hes t r a‎ –L i v eI nMol de . ” “ We ’ r ea boutt odoa not herr ec or di nga ndI ’ l l pl a yt hr eeni ght swi t ht hem l a t ert hi sy ea ri nT r ondhei m a ndS t a v a nger , ” Cor eas a i d.

“ T ha tba ndi sabl a s tbec a us eoft hel ea der , E r l endS k oms v ol l , whoi sac ompos era nda r r a nger .

Hedi dn’ t j us ta r r a ngemys ongsf orabi gba nd, her ei ma gi nedt hem.

Hema dei ts ot heys oundl i k ehi s c ompos i t i onswi t hmymus i c .

I t ’ spr et t yi nt er es t i ng.

Butt ha ta ndJ AL Ca r emyonl ybi gba ndt hi ngsI ’ v e donei nt hi sc ent ur y . ”

Bef or el a unc hi nghi sgr oundbr ea k i ngf us i onba ndRet ur nT oF or ev eri n1972, Cor eaha ddi s t i ngui s hed hi ms el fpl a y i ngwi t hDa v i s , MongoS a nt a ma r i a , Her bi eMa nn, S a r a hVa ugha n, S t a nGet za ndot herj a z z l umi na r i es .

Whenhec el ebr a t edhi s75t hbi r t hda yi nl a t e2016a tt heBl ueNot ej a z zc l ubi nNewY or k , Cor eadi ds oby doi nga nei ght weekr es i denc yt ha ts a whi ml ea dnof ewert ha n15di ffer entba nds .

Hi s70t hbi r t hda y c el ebr a t i on, whi c ha l s ot ookpl a c eov erweek sa tt heBl ueNot ewi t ha na r r a yofdi ffer entba nds , r es ul t ed i nl a s ty ea r ’ sCDboxs et , “ Chi c kCor ea : T heMus i c i a n. ” Y et , noma t t ert hes t y l i s t i cs et t i ng, hi sc r ea t i v ei mpul s ef orma k i ngmus i cov ert hedec a desha sr ema i ned c ons t a nt . “ T ha t ’ ss omet hi ngt ha tnev erc ha nges— a ndy ouc oul dmor eus et hewor d‘ er a s ’ mor et ha n‘ dec a des ’ — butt ha tc r ea t i v ei mpul s enev erc ha nges , ” Cor eanot ed. “ E v er y t hi ngel s ec ha nges : r ec or dc ompa ni es , t ec hnol ogy , c ommuni c a t i ons y s t ems .

S omuc hc ha nge oc c ur s , i ns t y l esa ndev er y t hi ngel s e .

Butt ha tba s i ci mpul s et oc r ea t enev erdoes .

Andt ha t ’ st hes pi r i tof c r ea t i ont ha tev er y oneha s . “ T ha t ’ swha tI t hi nkofwheny ous a y‘ i mpul s e , ’ bec a us et hei mpul s ei st oc r ea t e— t heny ous i tdowna nd gur ei tout .

T her e ’ sa not herl ev el ofc r ea t i on, wher ey ouha v et o gur eouthowt ogety ourc r ea t i on c ommuni c a t edwi t hi nt hec ur r entc ul t ur e , a ndt ha t ’ sac ons t a nt l yc ha ngi ngt hi ng. ”

S a y i ngmor ewi t hl es si nabi gba nd

Cor ea ’ spr i orper f or ma nc eswi t ht heJ AL COr c hes t r at ookpl a c ei n2010, 2011a nd2013i nNewY or k .

Hei s del i ght edt oa ga i nbeper f or mi ngnewa r r a ngement sofhi smus i cwi t ht hi sr s t c l a s sbi gba nd.

T he r eper t oi r ef ort hi st ourdr a wsf r om nea r l yt wodoz enofhi sc ompos i t i ons , i nc l udi ng“ T onesf orJ oa n’ s Bones , ” “ Wi ndows , ” “ Cr y s t a l S i l enc e , ” “ Ar ma ndo’ sRhumba , ” “ Wi gwa m” a ndt wopi ec esf r om hi s1984a l bum, “ Chi l dr en’ sS ongs , ” t ha tha v ebeenr ea r r a ngeda nde x pa ndedbyJ AL Cl ea derMa r s a l i s .

ButCor eaa l s or ea l i z est ha t— a st hepi a ni s ti na16pi ec eens embl e— hec a ns a ymor ewi t hl es s .

Muc h l es s . “ I ha v et hees s ent i a l r hy t hm s ec t i onupt her ewi t hmea ndwepl a yi nt hegr oov e .

T her ea r es ome phy s i c a l di ffer enc es , bec a us eoft hewa yt heba ndi ss etup, s ot her hy t hm s ec t i onma ynotbei nt he s a mes potons t a get ha tI ’ m us edt owi t hmyt r i o.

But , mus i c a l l y , ev er y t hi ngi st hes a me , ” Cor eanot ed.

“ Asf a ra spi a ni s t spl a y i ngi nabi gba nd, myt wor ol emodel sa r eDuk eE l l i ngt ona ndCountBa s i e .

T hewa y t heyus edt hei rpi a nowa sj us tbea ut i f ul .

I mea n, Ba s i edi dn’ tpl a yal ot , e x c eptwhenheha das ol o.

He under s t oodt hef a c tt ha tapi a noc a nnotbehea r dwhent hewhol ebr a s ss ec t i oni spl a y i ng. “ S oy oudon’ tpl a ya tt hos et i mes .

Whypl a y ?Whypounda wa ywhent hewhol eba ndi spl a y i ng?Ba s i e woul dha ngba c k .

And, whenas pa c eopenedupa ndhef el thec oul da dds omet hi ng, hewoul d.

Duk e wa sbr i l l i a ntt ha twa y , t oo. ”

Cor ea ’ smus i c , ev enf ors ma l l gr oups , i sr i c hwi t hmel odi ca ndha r moni cdet a i l .

T her hy t hmi ci ngenui t yof hi smus i ci ses pec i a l l ya ppea l i ng.

Hi sus eofa r r es t i ngt i mes i gna t ur esa ndc r os s r hy t hmsc a nbet r a c edi npa r tt ot hef a c tCor eat ookupt he dr umsa tt hea geofei ght , f oury ea r sa f t erhebega npl a y i ngpi a no.

Hi shi ghl yper c us s i v et ouc h, whet her onagr a ndpi a noorahi ght ec hdi gi t a l k ey boa r ds y nt hes i z er , ha sl ongbeenoneofhi st r a dema r k s .

And, l i k ef ewot herj a z za r t i s t s , Cor ea ’ spl a y i ngont heF enderRhodesel ec t r i cpi a noi ss odi s t i nc t i v ea nd qui nt es s ent i a l t ha thi sna mei ss y nony mouswi t ht hei ns t r ument .

Hebega npl a y i ngi ti nt hel a t e1960s , a f t err epl a c i ngHer bi eHa nc oc ka st hepi a ni s ti nt hef a bl edMi l esDa v i sQui nt et .

ButCor eadi dnot embr a c et heRhodes , a tl ea s tnota tr s t .

Mi l esbey ond

" T he r s tt i meI pl a y edel ec t r i cpi a nowa sonMi l es ' 1968a l bum, ‘ F i l l esdeKi l i ma nj a r o' , ” Cor ear ec a l l edi na 1987Uni onT r i bunei nt er v i ew. “ I s t i l l pl a y eda c ous t i cpi a noa tc onc er t swedi da f t ert ha ta l bum ( c a me

out ) unt i l ac onc er twedi da tt heJ a z zWor k s hopi nBos t on.

I wa l k edons t a ge , a ndt her ewa saF ender Rhodes .

I t houghtMi l eswa nt edmet opl a yi tj us tont het wopi ec esweus edi tf oront her ec or d, buthe ha dmepl a yi ta l l ni ght .

I f el tr ea l l yc r us hed. ` Wha ti shet r y i ngt odot ome? ' " I a c t ua l l yba t t l edwi t ht hei ns t r umentev er yni ght .

I twentoutoft unev er yea s i l y .

I tt ookmeawhi l et o r ea l i z et ha t , whi l ei tl ook edj us tl i k eapi a no, i twa sac ompl et el ydi ffer enti ns t r ument .

WhenI r ea l i z ed t ha t , I r ol l edupmys l eev esa ndt a c k l edt het a s ka tha ndv er ypos i t i v el y . ” I nt r i gui ngl y , i nar ec entUni onT r i bunei nt er v i ew, Ha nc oc kr ec ount edav er ys i mi l a re x per i enc e . “ I twa sa l mos te x a c t l yt hes a met hi ngf orme , ” Ha nc oc ks a i d. “ I wa l k edi nt hes t udi ooneda ya ndI di dn’ t s eea na c ous t i cpi a no.

I a s k edMi l es : ‘ Wha tdoy ouwa ntmet opl a y ? ’ Hepoi nt edt ot hec or neroft he r oom, a nds a i d: Pl a yt ha t . ’ I ’ dhea r doft heF enderRhodes , butnev erhea r done .

Anda l l t hemus i c i a nsI k news a i d: ‘ Oh, t hey’ r ec hea pt oy sa nda r enotc ool . ’ “ Butt henI pl a y edac hor doni t— a ndi ts oundedpr et t y !

I s a i d: ‘ Oh, t ha t ’ sani c es ounda ndi tdoes n’ t t hr ea t ent hea c ous t i cpi a no. ’ S o, r i ghta wa y , I c ha ngedmya t t i t ude .

AndI l ea r nednott oc omet os ome c onc l us i onba s edoffs omebodyel s e ’ se x per i enc e .

Y ou ndoutf ory our s el f . ” Cor ea , whoha sdonemul t i pl er ec or di ngsa ndt our swi t hHa nc oc k , l a ughedwhent ol dofhi sf el l ow k ey boa r di s t ’ sr s tF enderRhodesenc ount er .

“ T ha t ’ si nt er es t i ng.

Mea ndHer bi eha v enev ert a l k eda boutt ha t , ” Cor eas a i d. “ Butt ha t ’ sj us tt hewa y Mi l eswa s .

Hewa s n’ ta boutt oa s khi spi a nopl a y er sf orper mi s s i ont oha v et hem pl a ya not heri ns t r ument .

S o, boom, t her ei twa s !

Al l oft hes y ner gi esgoi ngoni nMi l es ’ ba ndsdur i ngt ha tper i odwer er ea l l y e x c i t i ngt ome . ” Muc hl i k eDa v i s , Cor ea ’ sma nyba ndsov ert hey ea r sha v enur t ur edt het a l ent sofy oungmus i c i a nswho wentont obec omes t a r si nt hei rownr i ght .

S omeoft hos epl a y er sha v ec ont i nuedt oc ol l a bor a t ehi m.

Hi sa udi enc es , mea nwhi l e , nows pa nmul t i pl egener a t i ons . “ I ts eemst obet ha twa y , y ea h, ” Cor eaa gr eed. “ T her ea r ehi ghs c hool a gedmus i c i a nsa ndy oungera tmy c onc er t s .

Pa r ent sbr i ngt hei r5-or8y ea r ol dk i ds , whopl a yk ey boa r ds , t os eet hes how. “ I tr ea l l yi sni c et os eea l l a gesa ndt heya l l under s t a ndmus i cf r om t hei rownv i ewpoi nt s .

T hey ounger onesma ynev erha v ehea r dofDuk eorMi l es .

T heol deronesdon’ tk nowwho( hi phoppr oduc er ) S wi z z Bea t zi sors omeoft hepopa ndhi phopguy s .

Butt heya r ea l l t her ef ort hemus i c . ” S oi sCor ea , whoonJ a n.

19r el ea s edhi sl a t es ta l bum, “ Chi nes eBut t ery . ” I t ’ sac ol l a bor a t i onwi t hdr um l egendS t ev eGa dd, whowa st he r s tdr ummeri nRet ur nT oF or ev eri nt heea r l y1970s .

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ARTS

TOP BRASS Jazz at Lincoln Center Orchestra, temporarily led by Chick Corea, comes to San Diego E3

BOOKS

T R AV E L

BITTER PILLS

BIG SHOTS

Author Lauren Slater’s new book looks at the rise of psychiatric drugs E7

The National Park Service’s photographer still uses the same large-scale-format camera favored by his predecessor Ansel Adams E8

SECTION E

SUNDAY • MARCH 18, 2018

JOHN GIBBINS U-T

No T lines in the sand

BY JAMES HEBERT

Audience and cast come together to debate and cast ballots in San Diego Rep’s interactive ‘Beachtown’

earing down the fourth wall, torching the script, tossing theatrical convention both hither and (quite possibly) yon.

All well and good.

But maybe the most daring ambition of San Diego Rep’s worldpremiere work “Beachtown” is this: to get people to sit down and talk civics together — and then to vote.

And not only that, to keep it all (reasonably) civil.

Casting ballots and participating in a public give-and-take with fellow citizens may not be everyone’s idea of a jolly good time at the theater, in this era of seriously fraught politics.

But Herbert Siguenza and Rachel Grossman, the creators of “Beachtown,” hope that blending civic engagement with the imaginative possibilities of theater will in some ways bring out the best in both.

“I don’t know that this play is really that earth-shattering — not that edgy in the grander scheme of things,” insists Grossman, co-founder and ensemble director of dog & pony dc, an innovative troupe based in the nation’s capital.

“But to allow an audience to have a voice in a play is actually pretty risky, and I believe that the Rep, as basically the first regional theater of its scale to take it on, is SEE S.D. REP • E5

Herbert Siguenza and Rachel Grossman are the co-creators of “Beachtown,” which will have its world premiere at San Diego Rep.

“Beachtown” When: Previews begin Thursday.

Opens March 28. 7 p.m. TuesdaysWednesdays; 8 p.m.

Thursdays-Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m.

Sundays. (Some exceptions; check with theater.)

Through April 15.

Where: San Diego Rep’s Lyceum Space, 79 Horton Plaza, downtown Tickets: $20-$65 (discounts available) Phone: (619) 544-1000 Online: sdrep.org

E3

SUNDAY • MARCH 18, 2018

Chick Corea thinking big Storied jazz keyboardist embarks on his first U.S. tour with a big band

FRANK STEWART

BY GEORGE VARGA

O

ver the course of his storied career, Chick Corea has recorded nearly a hundred albums as a band leader and many others as an accompanist. The jazz-and-

beyond legend’s musical partners have included such varied artists as Miles Davis, Foo Fighters, Chaka Khan, Spanish flamenco guitar giant Paco de Lucia, Brazilian bossa nova king Antonio Carlos Jobim, Cat Stevens, classical piano star Lang Lang and more. ■ But Corea’s current national concert trek

with the Jazz at Lincoln Center Orchestra represents two notable firsts for this 22-time Grammy Award winner. It’s this pioneering keyboardist’s first U.S. concert trek with a big band and his first leading the ensemble in place of JALC trumpeter and founder Wynton Marsalis.

“I’ll be fronting the band for Wynton. He’s taking some time off and doing some writing. And he probably just needs a break — the guy’s a hard worker. So it should be fun. I enjoy working with the

band,” said Corea, who performs in San Diego on Saturday with the JALC Orchestra as part of the San Diego Symphony’s Jazz@The Jacobs concert series.

Fronting for Wynton? Really?

How is Corea’s trumpet-playing?

“Ha, ha! That would be a hoot,” he replied, adding: “I have no intention of taking Wynton’s role. I’ll just lead the band, from the piano, in terms of choosing the set list.

They’ll play a lot of my tunes that the guys in the band have arranged beautifully. I’ll say (to the audience): ‘Hello. This is the band. Here we go!’ The band doesn’t need a leader.”

Corea counts such big-band greats as Lionel Hampton and Maynard Ferguson among his past recording partners, although his lone album with Hampton, 1999’s “Live in Cannes,” was with a small group. And some of Corea’s classic compositions — including “Spain,” “La Fiesta” and “500 Miles High” — have long been staples in the repertoires of big bands around the world.

But apart from Corea’s one big-band album with Ferguson and another with saxophonist Joe Henderson, even devoted jazz fans are

The San Diego Symphony presents the Jazz at Lincoln Center Orchestra with Chick Corea When: 8 p.m. Saturday Where: Jacobs Music Center’s Copley Symphony Hall, 750 B St., downtown Tickets: $30-$75 Phone: (619) 235-0804 Online: sandiegosymphony.org

hard-pressed to cite examples of Corea recording with a big band, let alone touring with one.

From New York to Norway “It’s pretty unusual,” the veteran keyboardist acknowledged.

“I haven’t done a lot of work with big bands. I used to love subbing for Roland Hanna in the

Thad Jones/Mel Lewis Jazz Orchestra, back in the 1960s in New York. That was a blast! I’ve enjoyed watching big bands. I love Duke Ellington’s band — it’s like a deep well in that music, a lifetime of music. And I used to listen to Count Basie’s band, growing up.”

In fact, Corea did record a big-band album in 2000, although it’s unlikely too many people outside of Norway have heard “Chick Corea and The Trondheim Jazz Orchestra – Live in Molde.”

“We’re about to do another recording, and I’ll play three nights with them later this year in Trondheim and Stavanger,” he said.

“That band is a blast because of the leader, Erlend Skomsvoll, who is a composer and arranger.

He didn’t just arrange my songs for a big band, he re-imagined them. He made it so they sound like his compositions with my music. It’s pretty interesting. But SEE COREA • E4

SCULPTURE COLLECTION ADDS FLAVOR TO SALERNO WINERY

BY MARTINA SCHIMITSCHEK Jaime Chaljón loves art.

He also loves to collect it.

The Mexican businessman, who owns a chain of furniture stores called Muebles Dico, has amassed a collection of contemporary Mexican sculptures that have found an unlikely home in a winery in Ramona.

The Salerno Winery, off Highway 67, houses more than 100 pieces from Chaljón’s collection, and the number is growing.

Among his latest acquisitions is an exact replica of Michelangelo’s Pieta cast in marble. It was created in 2009, one of 112 authorized by the Vatican, cast from a 1-on-1 mold from Michelangelo’s original work.

The striking marble sculpture, set outside but under a canopy, is a departure from the contemporary pieces that usually catch Chaljón’s eye.

“He loves horses and also faces,” said Valdemar Carvajal, Chaljón’s senior adviser, who oversees the winery.

A grassy area in front of a deck where guests can sip wine Fridays through Sundays is the repository for equine sculptures. Among them is Rafael Levy’s horse in bronze, which is now on the winery’s label.

Most of the statues are displayed along two promenades that culminate in a Greek colonnade set with large statues of heads that includes Ricardo Cruz’s bronze Head of a New Generation, whose anguished look evokes images of Medusa.

“I love all my sculptures.

The primary reason is because, as they are a figurative art, some transmit love, passion, grace, strength or fear. Others transmit fun, pain, anguish,” Chaljón said by email through a translator. “In the end, all of my sculptures transmit uni-

Salerno Winery When: Noon to sunset Fridays; 11 a.m. to sunset Saturday and Sundays Where: 17948 Highway 67, Ramona Phone: (619) 520-1703 Online: salernowinery. ideemarkt.com versal feelings, which means: If I don’t feel something for a sculpture, I won’t buy it.”

The collection ranges from the whimsical with Rodrigo de la Sierra’s stacked cartoonlike figures — whose seemingly faceless heads transmit an array of emotions — to the mysterious with a series of works by Jorge Marín. Marín’s distinctive bronze nudes wear beaklike masks and often wings. Fernando Pereznieto’s sculptures combine music and magic to create SEE WINERY • E4

VALDEMAR CARVAJAL

The Salerno Winery in Ramona is home to more than 100 sculptures from the collection of Mexican businessman Jaime Chaljón.

E4

THE SAN DIEGO UNION-TRIBUNE

SUNDAY • MARCH 18, 2018

COREA FROM E3 that and JALC are my only big-band things I’ve done in this century.”

Before launching his groundbreaking fusion band Return to Forever in 1972, Corea had distinguished himself playing with Davis, Mongo Santamaria, Herbie Mann, Sarah Vaughan, Stan Getz and other jazz luminaries. When he celebrated his 75th birthday in late 2016 at the Blue Note jazz club in New York, he did so by doing an eightweek residency that saw him lead no fewer than 15 different bands.

Yet, no matter the stylistic setting, Corea’s creative impulse for making music over the decades has remained constant.

“That’s something that never changes — and you could use the word ‘eras’ more than ‘decades’ — but that creative impulse never changes,” he noted.

“Everything else changes: record companies, technology, communication systems. So much change occurs, in styles and everything else. But that basic impulse to create never does. And that’s the spirit of creation that everyone has.

That’s what I think of when you say ‘impulse,’ because the impulse is to create — then you sit down and figure it out. There’s another level of creation, where you have to figure out how to get your creation communicated within the current culture, and that’s a constantly changing thing.”

Saying more with less in a big band Corea’s prior performances with the JALC Orchestra took place in 2010, 2011 and 2013 in New York.

He is delighted to again be performing new arrangements of his music with this

WINERY FROM E3 delightful pieces that blur the line between player and instrument.

Many of the pieces are nudes and couples — some have indigenous Mexican influences, while others are more abstract.

“Our works of art have a very high artistic quality, recognized by expert critics,” Chaljón said. The sculptures date from the 1980s to the present, and only works that

Fond memories of Miles Davis

ALEXANDER ZEMLIANICHENKO JR. ASSOCIATED PRESS

Chick Corea performs at the Tchaikovsky Concert Hall in Moscow last year. first-class big band. The repertoire for the tour draws from nearly two dozen of his compositions, including “Tones for Joan’s Bones,” “Windows,” “Crystal Silence,” “Armando’s Rhumba,” “Wigwam” and two pieces from his 1984 album “Children’s Songs” that have been re-arranged and expanded by Marsalis.

But he also realizes that — as the pianist in a 16-piece ensemble — he can say more with less. Much less.

“I have the essential rhythm section up there with me, and we play in the groove. There are some physical differences, because of the way the band is set up, so the rhythm section may not be in the same spot onstage that I’m used

to with my trio. But, musically, everything is the same,” Corea noted.

“As far as pianists playing in a big band, my two role models are Duke Ellington and Count Basie.

The way they used their piano was just beautiful. I mean, Basie didn’t play a lot, except when he had a solo. He understood the fact that a piano cannot be heard when the whole brass section is playing.

“So you don’t play at those times. Why play? Why pound away when the whole band is playing? Basie would hang back. And, when a space opened up and he felt he could add something, he would. Duke was brilliant that way, too.”

Corea’s music, even for

small groups, is rich with melodic and harmonic detail.

His use of arresting time signatures and crossrhythms can be traced in part to the fact that he took up the drums at the age of 8, four years after he began playing piano. His highly percussive touch, whether on a grand piano or a hightech digital keyboard synthesizer, has long been one of his trademarks.

Like few other jazz artists, Corea’s playing on the Fender Rhodes electric piano is so distinctive and quintessential that his name is synonymous with the instrument. He began playing it in the late 1960s, after he replaced Herbie Hancock as the pianist in the fabled Miles Davis Quintet.

He did not embrace the Rhodes, at least not at first.

“The first time I played electric piano was on Miles’ 1968 album ‘Filles de Kilimanjaro,’ ” Corea recalled in a 1987 Union-Tribune interview. “I still played acoustic piano at concerts we did after that album (came out) until a concert we did at the Jazz Workshop in Boston. I walked onstage, and there was a Fender Rhodes. I thought Miles wanted me to play it just on the two pieces we used it for on the record, but he had me play it all night. I felt really crushed. ‘What is he trying to do to me?’

“I actually battled with the instrument every night.

It went out of tune very easily. It took me a while to realize that, while it looked just like a piano, it was a completely different instrument. When I realized that, I rolled up my sleeves and tackled the task at hand very positively.”

Intriguingly, in a recent Union-Tribune interview, Hancock recounted a very similar experience.

“It was almost exactly the same thing for me,” Hancock said. “I walked in the studio one day and I didn’t see an acoustic piano.

I asked Miles: ‘What do you want me to play?’ He pointed to the corner of the room, and said, ‘Play that.’

I’d heard of the Fender Rhodes, but never heard one. And all the musicians I knew said, ‘Oh, they’re cheap toys and are not cool.’

“But then I played a chord on it — and it sounded pretty! I said, ‘Oh, that’s a nice sound, and it doesn’t threaten the acoustic piano.’ So, right away, I changed my attitude. And I learned not to come to some conclusion based off somebody else’s experience. You find out for yourself.”

Corea, who has done multiple recordings and tours with Hancock, laughed when told of his fellow keyboardist’s first Fender Rhodes encounter.

“That’s interesting. Me and Herbie have never talked about that,” Corea said. “But that’s just the way Miles was. He wasn’t about to ask his piano players for permission to have them play another instrument. So, boom, there it was! All of the synergies going on in Miles’ bands during that period were really exciting to me.”

Much like Davis’, Corea’s many bands over the years have nurtured the talents of young musicians who went on to become stars in their own right.

After a solo tour of Europe in April and May, he’ll return to Europe in July for a reunion tour with the Chick Corea Akoustic Band, which he formed in the mid-1980s with bassist John Patitucci and drummer Dave Weckl. A new recording and concert film will follow.

From Aug. 31 to Sept. 3, Corea will be the artist-inresidence at the Detroit Jazz Festival, where he’ll perform with the Akoustic Band, his five-man Elektric Band and the Detroit Symphony Orchestra. In the fall, he’ll write a new version of George Gershwin’s “Rhapsody in Blue,” a piece he first performed last fall at Carnegie Hall with Lang Lang and the Philadelphia Orchestra.

“I work hard and I love it. It’s what life is all about,” Corea said. “I can’t wait to get to the next new thing.

The concept of retirement is pretty sad in itself. Because life is about living.

Retire? Does that mean to take a long vacation? I don’t know what it means.” george.varga@sduniontribune.com Twitter @georgevarga

are either one of a kind or limited in production are considered for the collection, which is steadily growing.

Carvajal said the vision is to expand the winery, which is one of more than two dozen boutique wineries in Ramona. Chaljón would like to buy more land and increase production of the wine by obtaining a generaluse permit for the nearly 6-acre winery. A maximum of 15,000 bottles per year are currently allowed, and Salerno makes cabernet sauvignon, petit sirah, malbec,

VALDEMAR CARVAJAL PHOTOS

A NEW IMMERSIVE COMEDY

chardonnay and port.

“His love for this place is remarkable,” Carvajal said of Chaljón’s devotion to the winery, which he now owns.

It all started with Chaljón’s other love: opera.

Chaljón enjoyed spending weekends at the winery, which was originally owned

by Herman and Rosaria Salerno. Herman Salerno, born in Reggio di Calabria, Italy, in 1934, was an opera singer who once performed in Argentina, Venezuela and Spain as well as the United States. After his singing career, he opened a bakery in Kearny Mesa. His love of wine led him to become a consultant for Bernardo Winery before striking out on this own, founding Salerno Winery in 1998.

Salerno enjoyed making pizzas and singing for his guests. He also invited other singers for lively afternoons of song and wine. He and his wife lived on the property in a 1940s adobe until his death in May 2016.

By Herbert Siguenza with Rachel Grossman Directed by Sam Woodhouse Based on the play Beertown by dog & pony dc

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HELEN MIRREN DONALD SUTHERLAND

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Chaljón and Salerno became friends and eventually co-owners of the winery.

“My very good friend Herman Salerno passed on his passion for opera and good wine,” Chaljón said.

“Every Sunday, in the company of friends, we would make Salerno Winery a wonderful place to enjoy the surroundings. Coupled with my love for sculptures, I made the decision of taking over the winery and allow Herman to remain making his wine and to live in the old house until his passing in 2016.”

Since taking ownership, Chaljón has been upgrading the property. Visitors now enter through new 15-foottall gates embellished with sculptural glass. Plans call for installing a solar power system, adding a kitchen (a food truck now provides the winery’s menu items) and, of course, adding more sculptures as well as some paintings as indoor space opens to the public.

The winery is part of the transformation of Ramona, said Joe Stupar, executive director of the Ramona Chamber of Commerce. “It brings people up from down the hill. A lot of them come for the art,” he said. “We’re no longer a place where you just drive through.”

Chaljón would like to see the winery as a cultural destination — a showcase for artists and a place for good food, wine and music.

“The sculptures are part of my life, my passion, my persona. For those reasons I invest more and more on my sculptures, and I open the door so that all the world can see them and enjoy them,” he said.

Schimitschek is a freelance writer.

Businessman and art collector Jaime Chaljón hopes to expand the winery to increase production and make room for more sculptures.

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T houghs ol ot a l enti sl es sev en, a l l getas hoti nmos toft heba nd' sc onc er t s .

T he democ r a t i ci mpul s ei sl a uda bl e , butt hebes tj a z zc onc er t sa ndr ec or di ngsf ea t ur ej us taf ew e x c ept i ona l i mpr ov i s er s .

T hec heer st ha tc a mewi t hCor ea ' soha ndment i onofhi st i mewi t h" Ret ur nt o F or ev er "i ndi c a t edhewa st hema i ndr a wf orma ny , buta sal ongt er ma dmi r erofbi gba ndsf r om Duk e E l l i ngt ont oGor donGoodwi n, I ' dha v el i k edl es sCor eaa ndmor eofaf ewequa l l yt a l ent edhor na nds a x pl a y er s .

T heS a nDi egoS y mphony ' sj a z zs er i esundert hedi r ec t i onoft r umpet erGi l ber tCa s t el l a nosha sbeena s ol i ds uc c es s .

E v er yc onc er ti nt hes er i esha sei t hers ol doutorc omec l os e .

F orj a z za ta ni ndoorv enue t ha ts ea t snea r l y3000, t ha t ' sa ma z i ng.

AndCa s t el l a nosha sdonei twi t houtpa nder i ng.

Noi c k y" s moot h" j a z z , orma nys ur ebi gdr a wna mes j us tt er r icpl a y er s , ma nyoft hem mus i c i a nshe' sk nowna nd per f or medwi t hf ory ea r s .

F ori nf or ma t i ona boutt hene x tc onc er ti nt hes er i esa ndt her es toft heS a n Di egoS y mphony ' ss c hedul ev i s i ther e .