Fine Music - Orchestra, Big Band, Classical and Such

[My Alter Ego]

Tom22, congratulations on your diligence and persistence, and thus, your find. Good research.

I had suspected that Clara had something to do with it, although I initially thought that it might have been after her husband's death. I've read something, somewhere that she and Brahms (yes, that one) compiled and did much to promote Schumann's works after his death. So I thought that, perhaps, Clara (or, even Brahms) might have edited the piece.

In either case, Järvi's choice of Khatia could have a variety of reasons. Since they are both from areas of the former USSR, there is that obvious connection. The conductor may have heard her many years before, and had been keeping an eye on her progress.

Khatia's recordings have been of Liszt and Chopin. Schumann was a contemporary of both pianists/composers, while few would put him in the same league. But there are some similarities, so it may have been a fairly easy shift to Schumann.

Given the above statement, it also may be that she was within the price range that the orchestra could afford. (Not what we like to think of, but certainly something that the business office must consider.)

Finally, she may have been a last minute choice because the originally selected soloist had to bow out at the last minute. (And while really I don't think this is the case, it does happen. And if it did happen here, either she's played the piece in the past, or she's a phenomenally quick study at memorization!)

I want to amend or clarify my earlier statement regarding whom the members of the orchestra follow, because I'm not certain that I've been clear. Yes, the orchestra should and most likely will follow the conductor -- unless, of course, the conductor displays his/her incompetence. (And, yes, I have witnessed such an uncomfortable situation.)

And, yes, the conductor and the soloist need to be in communication in order to be on the same page. My suspicion is that the soloist that is brought in will be one who most closely aligns with how the conductor/music director interprets the piece the soloist is to play. But that may be an ideal.

(When you're the New York Philharmonic or London Symphony or some other hugely well known orchestra, you can probably bring in any one you want, but smaller markets will have to keep an eye on the bottom line. I'm sure you understand that, Tom.)

So back to whom the orchestra responds. Bottom line, they're trained to follow the conductor: they have to. When you've got that many "moving parts," there isn't an option.

Yet on one hand, the conductor does need to be responsive to the soloist. On the other hand, the soloist, to some degree, has to respond and follow the conductor. It's a delicate dance, which is why when the result is good, great, or better, it's such a delight! But you know this, Tom.

I do wonder if you haven't mistaken a "command performance" with "standing ovation."

But again, congrats on your discovery!