Last week's searing temperatures have calmed down, and we're back to the merely uncomfortably warm. B. runs the fans in the bedroom all night, and this enables us to sleep - in fact, I need to keep a heavy robe on because of the moving air.
All we have to worry about locally right now is the World Cup. My interest in this is best measured with a zero, but I do have to worry that when a game is scheduled at the big local stadium, the traffic closures can extend as far as the passing highways, which I sometimes use. So I've put little "avoid 237" stickers on my pocket calendar for days that games are scheduled, one of which is today. But I don't think I'll have to go that way any time soon.
Kalimac's corner: a journal by DB
Tuesday, June 16, 2026
Sunday, June 14, 2026
listen to Elim Chan conduct
In search of online interviews and other such publicity material about Elim Chan, the San Francisco Symphony's new music director, I found a number of full-length concert videos of her conducting various European orchestras in standard classics of the repertoire. They were all good performances - I listened to the bunch of them with full appreciation - but two struck me as particularly outstanding. They captured the fervor and intensity that these pieces had when new and bold, they were led and played with full commitment to the music, and they had me captivated on the edge of my seat throughout - an experience I find rare enough in concert and even rarer in recordings. But this is the amazing conducting that I heard in person when she led Holst's The Planets in a guest appearance at SFS a few years ago.
One of these particularly outstanding renditions was of Brahms's Fourth Symphony, his last and most experimental essay in the form, and my long-time favorite of his. Compelling and urgent.
The other was the monster itself, Beethoven's Fifth, the work that originally sold me on the heavy classics. If bad performances have led you to find this work dull and routine, just listen to this fiery attack.
The other full-length recordings I listened to of Elim Chan conducting included:
Tchaikovsky's Fifth
Rimsky-Korsakov's Scheherazade
Shostakovich's Fifth
Shostakovich's Tenth
Beethoven's First
One of these particularly outstanding renditions was of Brahms's Fourth Symphony, his last and most experimental essay in the form, and my long-time favorite of his. Compelling and urgent.
The other was the monster itself, Beethoven's Fifth, the work that originally sold me on the heavy classics. If bad performances have led you to find this work dull and routine, just listen to this fiery attack.
The other full-length recordings I listened to of Elim Chan conducting included:
Tchaikovsky's Fifth
Rimsky-Korsakov's Scheherazade
Shostakovich's Fifth
Shostakovich's Tenth
Beethoven's First
Saturday, June 13, 2026
critical mutterings
Dave Hurwitz, executive editor of ClassicsToday.com, has over the last several years been publishing literally hundreds of videos on YouTube featuring him talking about various aspects of classical music: reviews, lists of the greatest (or worst) this and that, opinion pieces, and on. He mostly eschews music clips for copyright reasons, and I wish he had transcripts, because it's tiring to listen to him yammer for half an hour where you could read it in five minutes.
Anyway, one of his latest opinion pieces was billed as a praise of the San Francisco Symphony for hiring Elim Chan as its new music director. I say "billed as" because much of it was actually a complaint, and as often when listening to Dave (I call him by his first name because he's so personalized and intimate in his presentations) I begin to think he's yammering more than he can coherently and judiciously talk about.
Let's start with what Dave gets right. First, he's absolutely correct that picking a fairly young and well-regarded conductor like Chan was a wise choice. After Michael Tilson Thomas retired, another senior conductor like Esa-Pekka Salonen was a good idea, because Salonen had the authority and seasoning not to be overshadowed by the long and fabulous reign of his predecessor. But after a fairly short Salonen regime - and we weren't expecting a long one, just perhaps not as short as we actually got - now's the time to raise someone younger, experienced but not encrusted, up from the next tier and see what she can do.
Second, Dave is concerned that ten weeks a year will not be enough time for Chan to really put her stamp on the orchestra. A great music director has to really commit to their post; they can zoom off and guest conduct elsewhere, sure, but they can't be a jet-setter just dropping in for a couple weeks once in a while.
But what Dave didn't note is that Chan's contract says ten weeks only for the first year. Maybe she already has a lot of other commitments for that year. Starting with her second year she'll be here longer; maybe not long enough to meet Dave's standards for commitment, but it's a step in the right direction. Also, even the ten weeks is a contractual minimum; it's possible she could manage more.
My other complaint is his characterization of Esa-Pekka Salonen flouncing off in a huff because he didn't like the orchestra's policies. That's unfair. You have to remember that Salonen didn't need another music director job when he came to SFS; he didn't even want another one; but SFS sold him on it by offering him an irresistible opportunity to do things he really wanted to do. And then, because of budget concerns which really didn't make any sense, they took those things away. And I'm not talking, as Dave is, about the superfluous European tour that got cancelled; I'm talking about special programs like the SoundBox and the Collaborative Partners initiative.
And Salonen didn't flounce off; he didn't renege on his contract. He simply said that this was not what he signed up for and declined to renew his contract when it expired. I think he had every right to do that, no call to be criticized for it, and it was the right thing for him to do considering the circumstances. It was the circumstances - the orchestra's unnecessary retrenchment - which was at fault.
That's where I think Dave Hurwitz is off-base, and Joshua Kosman - former critic for the San Francisco Chronicle, whose judgments heavily informed mine - has a better take on it.
Anyway, one of his latest opinion pieces was billed as a praise of the San Francisco Symphony for hiring Elim Chan as its new music director. I say "billed as" because much of it was actually a complaint, and as often when listening to Dave (I call him by his first name because he's so personalized and intimate in his presentations) I begin to think he's yammering more than he can coherently and judiciously talk about.
Let's start with what Dave gets right. First, he's absolutely correct that picking a fairly young and well-regarded conductor like Chan was a wise choice. After Michael Tilson Thomas retired, another senior conductor like Esa-Pekka Salonen was a good idea, because Salonen had the authority and seasoning not to be overshadowed by the long and fabulous reign of his predecessor. But after a fairly short Salonen regime - and we weren't expecting a long one, just perhaps not as short as we actually got - now's the time to raise someone younger, experienced but not encrusted, up from the next tier and see what she can do.
Second, Dave is concerned that ten weeks a year will not be enough time for Chan to really put her stamp on the orchestra. A great music director has to really commit to their post; they can zoom off and guest conduct elsewhere, sure, but they can't be a jet-setter just dropping in for a couple weeks once in a while.
But what Dave didn't note is that Chan's contract says ten weeks only for the first year. Maybe she already has a lot of other commitments for that year. Starting with her second year she'll be here longer; maybe not long enough to meet Dave's standards for commitment, but it's a step in the right direction. Also, even the ten weeks is a contractual minimum; it's possible she could manage more.
My other complaint is his characterization of Esa-Pekka Salonen flouncing off in a huff because he didn't like the orchestra's policies. That's unfair. You have to remember that Salonen didn't need another music director job when he came to SFS; he didn't even want another one; but SFS sold him on it by offering him an irresistible opportunity to do things he really wanted to do. And then, because of budget concerns which really didn't make any sense, they took those things away. And I'm not talking, as Dave is, about the superfluous European tour that got cancelled; I'm talking about special programs like the SoundBox and the Collaborative Partners initiative.
And Salonen didn't flounce off; he didn't renege on his contract. He simply said that this was not what he signed up for and declined to renew his contract when it expired. I think he had every right to do that, no call to be criticized for it, and it was the right thing for him to do considering the circumstances. It was the circumstances - the orchestra's unnecessary retrenchment - which was at fault.
That's where I think Dave Hurwitz is off-base, and Joshua Kosman - former critic for the San Francisco Chronicle, whose judgments heavily informed mine - has a better take on it.
Thursday, June 11, 2026
a miscellaneous Jane Yolen memory
Jane Yolen has passed on. She certainly accomplished a lot while she was among us: author of literally hundreds of books. Many of them very short children's books, but some were longer. I have about 35 of them. I probably cherish most some of the short story collections, but my strongest memories are of some of the full-length novels: Briar Rose, Cards of Grief, The Devil's Arithmetic. I am also particularly glad to have an essay collection on fantasy, titled Touch Magic.
What really sticks with me about Jane Yolen, though, is that for some years we were pretty good friends. As in, if we'd see each other at a convention we'd sit down for a long chat. I think this began as a result of her first (of two) appearances as Mythcon Guest of Honor, in 1984. I was editing Mythprint in those days, and I wanted some celebratory material on the GoH, and I recall writing her with some bibliographical questions - she was prolific even then. We had some mutual friends in the apa Apanage to which she belonged, so that was a seed for acquaintance. That must be how it started.
During that period - it must have been about 15 or more years before we fell out of touch - I visited her at her home in western Massachusetts twice I think. But what I remember most is a visit somewhere else. In the summer of 1992, I spent a week in Edinburgh in Scotland. At that time, Jane and her husband David were renting a house in St. Andrews, not far to the north, so I drove up one day to see them. The rented house was an impressive semi-Gothic structure, but my particular memory comes from Jane driving me over to a modern suburban neighborhood, to the home of friends of theirs. These friends had decided to hold an American-style backyard barbecue, complete with hamburgers fired on a grill; and I was Jane's guest. Soon after I arrived, it started to rain pretty heavily, so we all grabbed the fixings and retreated inside. But this was Scotland, where a rainy day at any time of year is normal, and despite my limited experience there I knew that. What puzzled me was that any of the natives should have been surprised at the rain.
What really sticks with me about Jane Yolen, though, is that for some years we were pretty good friends. As in, if we'd see each other at a convention we'd sit down for a long chat. I think this began as a result of her first (of two) appearances as Mythcon Guest of Honor, in 1984. I was editing Mythprint in those days, and I wanted some celebratory material on the GoH, and I recall writing her with some bibliographical questions - she was prolific even then. We had some mutual friends in the apa Apanage to which she belonged, so that was a seed for acquaintance. That must be how it started.
During that period - it must have been about 15 or more years before we fell out of touch - I visited her at her home in western Massachusetts twice I think. But what I remember most is a visit somewhere else. In the summer of 1992, I spent a week in Edinburgh in Scotland. At that time, Jane and her husband David were renting a house in St. Andrews, not far to the north, so I drove up one day to see them. The rented house was an impressive semi-Gothic structure, but my particular memory comes from Jane driving me over to a modern suburban neighborhood, to the home of friends of theirs. These friends had decided to hold an American-style backyard barbecue, complete with hamburgers fired on a grill; and I was Jane's guest. Soon after I arrived, it started to rain pretty heavily, so we all grabbed the fixings and retreated inside. But this was Scotland, where a rainy day at any time of year is normal, and despite my limited experience there I knew that. What puzzled me was that any of the natives should have been surprised at the rain.
Tuesday, June 9, 2026
busy day
Wow, did I have a busy day on Monday. First I had a doctor's appointment at noon to discuss the results of my test from last week. I had to take a roundabout route to get there, because there was some event going on at the Apple spaceship, which is along the regular route.
That gave me half an hour to get home before the regular starting time of my Zoom play-reading session. I made it, ten minutes to spare. This week we were finishing up Dion Boucicault's London Assurance, our latest successful venture into obscure 19th century comedy. This one features a man who convinces his father that he is not himself but a random lookalike. Then he keeps forgetting that there are things he therefore shouldn't know.
When we finished that, I had enough time to grab a hasty lunch before heading over to the other side of the urban area for another visit to the specialized dentist who is taking care of the hole where my extracted tooth used to be. Done there - uncomfortable but not painful, as my previous visits have been - I stopped by the nearby excellent tamale makers for dinner makings before heading home.
After dinner, another Zoom session. The Lamplighters, the local Gilbert & Sullivan society, were presenting an hour's introduction to Iolanthe, their next production, focused on Sullivan's music. I know Iolanthe pretty well, but I thought I might learn something, and I did pick up a little. (The oboe solo at Iolanthe's introduction is the only extended instrumental solo in the entire G&S canon.)
After that I fell asleep early, and no wonder.
That gave me half an hour to get home before the regular starting time of my Zoom play-reading session. I made it, ten minutes to spare. This week we were finishing up Dion Boucicault's London Assurance, our latest successful venture into obscure 19th century comedy. This one features a man who convinces his father that he is not himself but a random lookalike. Then he keeps forgetting that there are things he therefore shouldn't know.
When we finished that, I had enough time to grab a hasty lunch before heading over to the other side of the urban area for another visit to the specialized dentist who is taking care of the hole where my extracted tooth used to be. Done there - uncomfortable but not painful, as my previous visits have been - I stopped by the nearby excellent tamale makers for dinner makings before heading home.
After dinner, another Zoom session. The Lamplighters, the local Gilbert & Sullivan society, were presenting an hour's introduction to Iolanthe, their next production, focused on Sullivan's music. I know Iolanthe pretty well, but I thought I might learn something, and I did pick up a little. (The oboe solo at Iolanthe's introduction is the only extended instrumental solo in the entire G&S canon.)
After that I fell asleep early, and no wonder.
Monday, June 8, 2026
venue review
Review of a new pop-music concert venue in my area, the Siesta Valley Bowl. Only it's not new, it's the amphitheater that used to host the now-defunct California Shakespeare Festival.
You know, I stopped going there long before Cal Shakes died, and the reason was the acoustics. The bowl was not focused, and the unamplified actors had to shout to be heard. That's assuming that a plane landing at or taking off from the nearby Oakland Airport wasn't passing overhead, which they did frequently, because that would rip a few pages out of the script entirely, making the actors inaudible no matter what they did.
So, all in all, this is a better venue for amplified pop music than it was for unamplified theater, assuming it doesn't bother the neighbors. Though I will say that I was curious enough to go and listen to what the review said was probably "the finest song in [the performer's] entire catalog," and all I can say is that if that is his finest song, I'm really glad I don't have to hear any of the others.
You know, I stopped going there long before Cal Shakes died, and the reason was the acoustics. The bowl was not focused, and the unamplified actors had to shout to be heard. That's assuming that a plane landing at or taking off from the nearby Oakland Airport wasn't passing overhead, which they did frequently, because that would rip a few pages out of the script entirely, making the actors inaudible no matter what they did.
So, all in all, this is a better venue for amplified pop music than it was for unamplified theater, assuming it doesn't bother the neighbors. Though I will say that I was curious enough to go and listen to what the review said was probably "the finest song in [the performer's] entire catalog," and all I can say is that if that is his finest song, I'm really glad I don't have to hear any of the others.
Sunday, June 7, 2026
driving
B. and I had received an invitation for Saturday. Our great-niece, T., has graduated from high school - and beyond that, owing to an arrangement between her high school and a local junior college, a lot of extra classes, and four years of summer school, she also completed an A.S. degree, normally two years full-time of junior college, at the same time. So she goes off to university this fall a couple of legs ahead.
So T.'s parents, A. and C., decided to host a big late-afternoon party to celebrate. We've been invited to some earlier birthday and other celebrations but were not able to attend. So since we did have this day free, we decided to go.
The thing is, T. and her family live three hours' drive and a mountain range away from here, in a large and comfortable home out in the boondocks far from anything, so it's a major investment in time to go there. I drove us, we spent an hour and a half there, and then B. wanted to get back, partly to perform evening ablutions before it was too late. It took even longer to get home, thanks to a brush fire in the freeway median, but we did that too. Amazingly I got us home without feeling too tired out on the way.
Not a trip we may ever take again, at least not together, but we did get a chance to congratulate (congraduate) the honoree, and chat with parents and grandparents. It was a good outing, despite the trouble it took to get there.
So T.'s parents, A. and C., decided to host a big late-afternoon party to celebrate. We've been invited to some earlier birthday and other celebrations but were not able to attend. So since we did have this day free, we decided to go.
The thing is, T. and her family live three hours' drive and a mountain range away from here, in a large and comfortable home out in the boondocks far from anything, so it's a major investment in time to go there. I drove us, we spent an hour and a half there, and then B. wanted to get back, partly to perform evening ablutions before it was too late. It took even longer to get home, thanks to a brush fire in the freeway median, but we did that too. Amazingly I got us home without feeling too tired out on the way.
Not a trip we may ever take again, at least not together, but we did get a chance to congratulate (congraduate) the honoree, and chat with parents and grandparents. It was a good outing, despite the trouble it took to get there.
Friday, June 5, 2026
Thursday, June 4, 2026
one thing about doctors
and dentists is that - I suppose depending on their specialty - is that they love looking around the inside of your body, where all the blood and guts are. (In the case of dentists, close-up views of the gums and around the tongue.) If they have cameras floating around in there, they want to show off the view to the patient, and are rather hurt if you decline on grounds of ickk.
Wednesday, June 3, 2026
voting for the least annoying candidate
Here's a clue, politicians. If you're running for a relatively low-profile down-ballot office, like state legislature or a county office, don't deluge the voters with endless flyers or giant ads on tv or in newspapers. Because all you'll do is make me wonder, "Who's funding this person?" and make me reluctant to vote for you.
Indeed, for one local office there were two candidates, of which I was very skeptical of the incumbent. But the challenger's ads were so glaring that I got even more uncomfortable with him. I voted for the incumbent, who won.
Indeed, for one local office there were two candidates, of which I was very skeptical of the incumbent. But the challenger's ads were so glaring that I got even more uncomfortable with him. I voted for the incumbent, who won.
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