ORCHESTRAL SEATING PLANS

In the NY Times Review (Tommassini) of the Philharmonic's Opening Night Gala, the accompanying photograph caugt my eye, as it appeared that Alan Gilbert had changed the orchestra seating. Today's Times carries an article about various changes at The Philharmonic, most visable of which is the new orchestral seating plan, and the musician's reaction to it [having to get used to listening for other instruments entrances and overall coordination after, what, 40 years sitting in the same seats as last season.

When Escenbach took over the Philadelphia, he made the same seating changes, and my friend had more than a little trouble seeing the second violins in front of us (we sit third row orchestra to the conductor's left), when she was so used to seeing Stoecklin (?) sitting in front of us. In any case, I actually like the new seating plan, as it really brings out the differences between the first and second violin parts. However, if I were on the podium, I could never get used to reaching to my left for the lower strings when for 60 years it's been the other way around.

Two interesting musical acquisitions this past week. First, a recording of Mahler's "Das klagende Leid" led by Michael Tilson Thomas with The San Francisco Symphony and soloists (including Michelle de Young) and chorus. Never heard this work before, but de la Grange mentions it so many times in his biography, and it was one of "Mahler's favorite children", that I had to get acquainted. Heard it through yesterday afternoon, and must do so again tomorrow. Astounding orchestration for a nineteen-year-old composer! The final hammerblow on the timpani in the last movement is a foretelling of the three that end his Sixth Symphony.

The other recording was also brought about from reading de la Grange. When Mahler took over the Hofoper, a repertoire staple was Albert Lorzing's "Zar und Zimmermann", very popular at the time amongst the Viennese audience. Mahler immediately re-staged the production in the fall of 1897, and it was a great early success. Thus I was very curious to hear what it was all about, it having vanished into performance oblivion. Well, the Viennese may have loved it, but that doesn't say too much about them or their tastes! My Lord, what was such rubbish doing on the stage of the second greatest opera house in the world? [More about the Viennese later-- hint, I filled out a survey for a travel blog site the other day. Among several questions, it asked what place would you never travel to again? I spent 4 days over Christmas in Vienna around 1967 or so, and outside of a wonderful performance of Zauberflote and Christmas Morning services at St. Stephens, found the City to be a very unfriendly place!].

So, the bad news is that "Zar" was awful. The good news is that it only set me back $9.00 + shipping.