LA Scene: Salonen Farewell Concerts

I've been a subscriber since 1999. While on a European vacation in 1999, I attended two orchestral concerts (Prague and Vienna) and an opera (Vienna). When I got back, I figured, we got our own world class organization in LA, why not subscribe?

And so began my personal experiences with Salonen's gifts. Not being a music expert, I simply enjoyed the music and the creative programing of Salonen who often paired familiar works with newer works. I had been told that the Dorothy Chandler was not a great acoustic environment. I felt it was cavernous and the orchestra always felt a little "small" even though it was so big. But I enjoyed the music anyway!

When time came to renew my subscription to the Phil when they moved to Walt Disney, the price went up and for a moment I hesitated about renewing. I decided to renew. As a reward for "my faith," my first concert there I got to hear Rite of Spring in the first of the ultimately ill-fated programing experiment First Nights. From the opening warble to the fireworks of an orchestra gone crazy, the audience was bathed in sound. The music was now heard and felt and from all directions. Salonen and his collaborators dream had come true!

Well, the house that Salonen helped build hosted his farewell concerts this past weekend.

Lots of coverage in the LA Times ... check out from the front of Sunday evenings LAT on the web with some photos of today's final farewell concert.

LAT's Swed's review of the performance he heard on Thursday night was generally positive.

I attended the event on Friday night.

The pairing of the Stravinsky's edition of the Greek Tragedy Oedipus Rex with Symphony of Psalms was another example of Salonen's creativity in designing a concert experience. I have come to admire his programing choice where he often goes beyond the more familiar old classic classical pieces.

I have no idea what Salonen's religious sensibilities are but as a Christian, I appreciated the linkage of the horribly tragic Oedipus with the hope embodied in the Psalms used in the second composition. Don't know if Stravinsky or Salonen had in mind the Gospel message - humans are crushed by sin but in God there is the possibility of redemption - but that was my gut reaction and so it was in a sense a devotional moment for me Friday night.

See here for Wikipedia's re-cap of the Symphony of Psalms. Here are the English translations of the Psalms used:

Psalm 39:13-14
Hear my prayer, O Lord, and with Thine ears consider my calling: hold not Thy peace at my tears.
For I am a stranger with Thee: and a sojourner, as all my fathers were.
O spare me a little that I may recover my strength: before I go hence and be no more.

Psalm 40:2-4
I waited patiently for the Lord: and He inclined unto me, and heard my calling.
He brought me also out of the horrible pit, out of the mire and clay.
and set my feet upon the rock, and ordered my goings.
And He hath put a new song in my mouth: even a thanksgiving unto our God.
Many shall see it and fear: and shall put their trust in the Lord.

Psalm 150
Alleluja.
O praise God in His holiness:
Praise Him in the firmament of His power.
Praise Him in His noble acts:
Praise Him according to His excellent greatness.
Praise Him in the sound of the trumpet:
Praise Him upon the strings and pipe.
Praise Him upon the well-tuned cymbals,
Praise Him upon the loud cymbals.
Let everything that hath breath praise the Lord.
Alleluja.

Here are photos from on of the final concerts and see LAT's team coverage.

If you can't get enough, check out KUSC's 2-hour radio documentary, E-P in LA.

For more personal glimpses check out the round-up of reflections by his collaborators in music.

His farewell at the Hollywood Bowl was Mahler's #8 which was a choral work also. I thought it was interesting that for both farewell concerts he went with choral works. He could have gone with a mixed program including some of his own works or easier still, crowd pleasing favorites. Instead, he went with the unconventional and he went with works that require him to share the stage. And from reading the round-up of reflections, that keeping the ego in check is part of why he is beloved as a conductor and collaborator.

EPS had his debut with the LA Phil in 1984 at the age of 26. He has had a relationship with the orchestra since then and will continue on as conductor laureate. He became music director in 1992 and his 17 year tenure has been the longest in the history of the LA Phil. Its been a great ride.

Thanks Esa-Pekka for the great music making filled with passion and risk taking!