Some Thoughts on Segerstam
I managed to mix up the programmes for the final NZSO tour, which meant that I missed the concert with the premiere of Leif Segerstam’s Symphony No. 191 Presumably it will turn up on RNZ Concert sometime, but right now I can only comment on the attention that the concert has received in the Dominion Post. John Button’s review was extremely positive, comparing the symphony favourably to Edgard Varèse – a connection I have since heard refuted by somebody who probably knows Varèse better. Apparently giving five stars to every single Mozart reissue to cross his bows is not enough for John Button to appease the heaving, aging masses, however, as this letter subsequently appeared in the Dominion Post.
…It would have been better had the conductor stayed away, not least because it would have prevented the audience from being subjected to 25 minutes of unremitting noise classed by Button as atonal.
The so-called Symphony No 191 created by Segerstam was so unpleasant that I was rendered physically unwell – so much so I could not get up to walk out. By the end of the piece, I was in tears from the pain of the noise…
Wow. That’s quite something. Perhaps it’s alarming that my eye was immediately drawn to the words “classed by Button as atonal”. Does the letter writer have some better description of her own? How dare John Button make a correct judgement about the harmonic nature of the music? I am 100% certain that the letter writer would have come away free from nausea had she actually made some attempt to listen to the music rather than tried to block it out. Unfortunately, her hatred of Segerstam’s music (I think it might be worth pointing out here that much of the music with which Button compared Symphony No. 191 is eighty years old) also affected her enjoyment of the remainder of the concert
…The Karelia Suite was the NZSO at its best – possibly because they have made it their own and the conductor left them to the performance at one stage, acknowledging this point.
Having been to the pre-concert talk and heard some of the great sopranos sing the Four Last Songs with sympathetic orchestras, Saturday’s soprano didn’t have a chance because the conductor didn’t match the orchestra to her voice, allowing it to override her…
Or alternatively, the Karelia Suite succeeded without much conducting because it is a fairly simple repertoire work and any orchestral player will have performed it dozens of times. A professional orchestra does not need a conductor to keep time with pieces like this – the conductor’s role in shaping the performance to a far greater extent in rehearsal than on the concert stage, but because the letter writer is so determined to steer any credit away from Segerstam she ignores this consideration. If I have understood the comment about the Four Last Songs correctly, recordings of the work were played, which the letter writer feels were more balanced than the actual performance. This is, of course, exactly what one would expect. Recording a work, even live, will naturally create a better balance than the same work live, simply because microphone positioning and mixing will create a false impression of what is actually happening.