Their first week's concert having been cancelled by a chorus strike, SFS finally put on a regular concert - no chorus this week - Friday evening. Of course, given the cavalier way management has treated the chorus, I expect the orchestra players also to go on strike again (they've done this before) when their contract comes up, but that's not until November, and I don't have any concerts scheduled after next week until January.
Esa-Pekka Salonen - the music director whom management let get away - thus began the subscription concerts of the final season on his contract with this performance. He was greeted by huge audience cheers when he arrived and even huger ones when he was finished, having demonstrated yet again what a loss his departure will be.
The big piece on the program was Hindemith's Mathis der Maler Symphony, which you don't hear very often. Its thematic material consists mostly of unpromising-sounding fragmentary motifs, but a good performance builds them up into a big hefty solemn-sounding work that sounds more compelling than the material making it up. That happened here.
The symphony material is taken from an opera about a 16th-century painter, though there's nothing 16th-centuryish about the music. Somewhat more concrete 20th-century references to earlier music were found in two shorter accompanying pieces. Hindemith's rare Ragtime (Well-Tempered), from his early cheeky period, takes a phrase from a Bach prelude and adapts it into as much raucous noise as an orchestra can generate. Edward Elgar orchestrated Bach's Fantasia and Fugue in C Minor, which had an integrated texture that made it sound like it was being played on an organ with more different stops than you'd ever heard of.
For another big piece, EPS has commissioned yet another new piano concerto, this one from composer Nico Muhly and written for pianist Alexandre Tharaud, whose album of French Baroque music Muhly had admired. There was supposed to be an air of, but no quotations from, music of that kind in the outer movements, but the music sounded to me more like fast pulsating minimalism of the Steve Reich school. In the slow movement, Tharaud played an endless series of soft diatonic chords, for all the world as if this were by Georgs Pelēcis, while the orchestra steadily built up into a contrasting din around it.
If you want an account of the mess that led to the strike, and the labor/financial situation that SFS is in, a simple but right-headed accounting comes from retired Chronicle reviewer Joshua Kosman; but for the full-throated burn, Kosman suggests the latest (as of now) four posts from this blogger, Emily Hogstad, who isn't even a Californian but is viewing this from Minnesota, but is her gaze ever piercing, informed as it is by their own orchestral troubles a few years back.
My own take is that the only solution here is to dissolve the management and get a new and more level-headed one, while keeping the musicians - nothing wrong with them. That's what they did in San Jose a couple decades back, and things have been fine there since. The big difference is, San Jose was a local orchestra that learned to live within its budget, while SFS is a world-class ensemble that has yet to grasp that to retain that status, they need to pay for the requisite talent instead of trying to run it on the cheap. If they're going to drop back into a regional-level orchestra, which is where they're headed, they should acknowledge that and have a good excuse for it. But if they want to keep on, they need 1) a clearer, less waffling, and more rip-roaring vision, that will attract the donors they say they want; and 2) a willingness in the meantime to dip further into their enormous endowment to keep the coaster running.
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