Queen Elizabeth II did more for classical music than any leader in modern times, critic Mark Swed argues.
â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â [Los Angeles Times]
[Essential Arts] PRESENTED BY The Soraya*
[Click to view images]Queen Elizabeth II in 1952. (Dorothy Wilding / Bettmann Archive) I heard the news when I clicked to the [BBC Radio 3]( website to catch the broadcast of the dayâs Proms concert in London. Iâm The Timesâ classical music and dance critic, Mark Swed, filling in for columnist Carolina A. Miranda, and what I expected to hear was the Philadelphia Orchestra at Royal Albert Hall. Elizabeth, queen of music Following an announcement of Queen Elizabeth IIâs death an hour earlier, Yannick Nézet-Séguin led the Philadelphians in âGod Save the Queenâ and âNimrodâ from Elgarâs âEnigma Variations.â The Thursday concert was canceled, as was Fridayâs (which had been programmed to begin with Rachmaninoffâs spooky âIsle of the Deadâ) and Saturdayâs patriotic Last Night at the Proms free-for-all â all for the obvious reason. The silencing of music was anything but characteristic of Elizabeth. Seventy years on the throne, 96 years on the planet, the queen generated far more classical music and engendered the art form more responsibly than any leader of modern times. Her influence began in 1930 when Edward Elgar, appointed Master of the Kingâs Music, dedicated a delightful âNursery Suiteâ to the 4-year-old Princess Elizabeth and her newborn sister, Princess Margaret. At 5, Elizabeth attended her first world premiere when Elgar conducted the concert premiere of the suite, which he already had recorded, making it the first orchestra score to receive its world premiere on a gramophone record. [A baby in a frilly white bonnet sits in a vehicle with another child and an adult.]
A baby Princess Elizabeth in 1927. (Associated Press) The middle movement of seven is titled â[The Sad Doll]( and is unmistakably music by the composer of âEnigma.â With âNimrodâ as the first concert music played in memory of Elizabeth, a circle was completed. Not just a circle but an orb of exceptional size. Elizabethâs Buckingham Palace involved itself with artists and architects, poets and novelists, playwrights and actors, choreographers and dancers. Museums, galleries and theaters of all sorts received royal patronage. Movie stars, as well as celebrated pop and jazz musicians, mattered to the queen, and she to them. But [classical music]( played a role in her historic reign unlike any other art. To a considerable extent this was because music for ceremonial occasions has traditionally been classical. Beginning in 1626 when Charles I appointed a certain Nicholas Lanier as the first Master of the Kingâs Musick, there has always been a Master of the Kingâs (or Queenâs) Music. (The spelling changed during Elgarâs 1924-34 turn.) Every coronation needs a new coronation anthem. And much, much other ceremonial music. Vaughan Williams, Arthur Bliss and William Walton were the most famous composers to have written [music for Elizabethâs coronation]( in Westminster Abbey on June 2, 1953. But 25 composers from the 16th century to the modern era were represented. Handel â whose âZadok the Priest,â which has been played at every coronation since that of King George II in 1727 â was the only non-Brit. We would need volumes to chronicle all of the music made in Elizabethâs name, all the composers and classical musicians she supported, all of those she invited to Buckingham Palace, all whom she made knights and dames, along with all the concerts and operas and ballets she attended around the world. Much of it, admittedly, has been music of the moment and forgotten. Waltonâs â[Orb and Sceptre]( coronation march is an exception. Williamsâ heavenly choral coronation miniature â[O Taste and See]( is well worth your two minutes. Arnold Baxâs â[Morning Song (Maytime in Sussex)]( written for Princess Elizabethâs 21st birthday, in 1947, is all sunlight. The biggest and most notable work for Elizabeth was Benjamin Brittenâs opera âGloriana,â a frank look at the relationship between Queen Elizabeth I and the Earl of Essex. Given its premiere by the Royal Opera six days after the coronation, it has long been held to be Brittenâs one operatic failure. But that opinion has slowly been revised with revivals as well as performances of the terrific orchestral suite Britten made from it. Los Angeles Opera had hoped to mount âGlorianaâ during the Britten centennial, but that fell through. Itâs never too late, especially in this era of âThe Crown.â Elizabethâs long reign encompassed four Masters of the Queenâs Music. They were Bliss, Malcolm Williamson, Peter Maxwell Davies (whose Ninth Symphony was written for Elizabeth) and Judith Weir. Weirâs âBy Wisdom,â an anthem in tribute to Elizabeth, had its premiere at St. Paulâs Cathedral on June 3 as part of the Queenâs Platinum Jubilee. ADVERTISEMENT BY The Soraya The Soraya kicks off its 2022-23 season with the celebrated sounds of four Jazz legendsâtenor saxophonist and composer Joshua Redman, pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Bladeâ all trailblazers of the Jazz genre. A MoodSwing Reunion promises to be an unforgettable celebration of 30 years since the release of MoodSwingâthe recording that changed jazz forever. This September 22nd concert is the first of The Sorayaâs season, which includes the return of Jazz at Naz, a February festival that will feature some of the best and brightest jazz artists! LATimes subscribers enjoy 50% off using promo code OPEN50 until September 15th. Visit us at [TheSoraya.org]( . End of advertisement âBeing Future Beingâ
[A woman with long dark hair closes her eyes and extends her arms.]
Dancer and choreographer Emily Johnson. (Cherylynn Tsushima) Last week in this [newsletter,]( Carolina wrote about an exhibit by Wendy Red Star, who is of Apsáalooke heritage, restaging the Indian Congress of 1898 in Omaha at the Broad museum in downtown L.A. On Thursday in Santa Monica (with performances running through Saturday), it was the Broad Stageâs turn to acknowledge Indigenous art and the land that we inhabit with a staging of âBeing Future Being.â The work was created by Catalyst, the company of Emily Johnson, a choreographer of the Yupâik Nation, who created the startling Native American dances for John Adamsâ â[Doctor Atomic]( at Santa Fe Opera four years ago. âBeing Future Beingâ employs an electronic score by [Raven Chacon]( this yearâs Pulitzer Prize winner for music, which began outside the Santa Monica theater. We were asked to orient ourselves to land once home to Tatviam, Chumash and Tongva peoples. We stood apart and stomped. âWhen I jump on you,â Johnson said of the ground, âyouâre in me.â Inside, the stage held a large mountain of dirt and some projections. A smaller mound was placed among the seats, as were platforms on which dancers could perform. When the ground is opening, there is no need for a fourth wall, and 20 audience members were invited to watch seated onstage as three ghostly figures, extravagantly dressed, quietly and mysteriously wandered around them. The observer of âBeing Future Beingâ is inevitably the outsider, which is to say that, at first exposure and without an insiderâs grasp of its process and the spirit that spawns it, you should become whatever you make of it. Be they in quiet or frenzy, four dancers and Johnson seem possessed but also possess power. They do the stomp, releasing spirits, becoming spirits, speaking to us in a language we donât understand and maybe they donât either. Chaconâs tectonic score groans like the ground rumbling under our feet. The artists involved are the future being, letting their identities flourish. One exceptional dancer, Stacy Lynn Smith, describes herself as âa neurodivergent, mixed race/Black dance/performance artist with an extensive background in butoh, improvisational forms and experimental theater.â Others in the production bring vast ranges of other traditions and identities. The result is a mysterious whole. The future will be the future if we can welcome such inexplicable spirits without asking why. Visual arts
[Painting of a figure seated on a chair and leaning their head onto one arm on a table next to an empty bottle.]
Francis De Erdely, âUntitled (Man Resting),â oil on canvas. (Laguna Art Museum) The list of the great European émigré artists who helped give Los Angeles its 20th century identity seldom includes Francis De Erdely. After seeing a small exhibition at the Laguna Art Museum, Times art critic Christopher Knight wonders whether the Hungarian painter â who fled the Gestapo, taught at USC and died in 1959 â [has been unjustly forgotten](. He was not, Knight reveals, the radical he is sometimes claimed to have been, and he didnât exactly leave a legacy on the L.A. art scene. He was instead, Knight explains, âa conservative, if socially conscious, painterâ who âoccupies a modest historical nook.â But he was once prominent and, at his best, Knight concludes, worth knowing. Enjoying this newsletter? Consider subscribing to the Los Angeles Times Your support helps us deliver the news that matters most. [Become a subscriber](. ADVERTISEMENT
Classical notes
[ A woman in black tails waves a baton, with her head thrown back, as she conducts an orchestra.]
Cate Blanchett stars in director Todd Fieldâs âTár.â (Focus Features) The first reviews of âTár,â director Todd Fieldâs (âLittle Childrenâ) new film, starring Cate Blanchett as an ambitious rising-star conductor, have been glowing. â[Her synapses fire like mad]( Times film critic Justin Chang writes about Blanchettâs performance after seeing the premiere at the Telluride Film Festival, âand her hands spring to inventive life as she describes her role in not just keeping but creating time.â Lydia Tár may be a fictional conductor, but this film follows a slew of biopics about real conductors. Netflix is filming âMaestro,â in which Bradley Cooper stars as Leonard Bernstein. Israeli actor Shira Haas, star of âUnorthodox,â has signed on to play Ethel Stark, founder and conductor of the Montreal Womenâs Symphony Orchestra in 1940, in âEthel.â Then there will be Rupert Friend and John Malkovich portraying the mesmerizing Romanian conductor Sergiu Celibidache in various stages of his life in âThe Yellow Tie,â to be directed by the conductorâs son, Serge Ioan Celebidachi. In the it-just-so-happens department, Friend and Malkovich last appeared together in âThe Libertine,â which had music written by the British minimalist Michael Nyman. And Nyman, whose career took off as a film and opera composer in the early movies by Peter Greenaway, is a topic in my [interview with Greenaway]( about his use of music. On and off the stage The fall theater season is not quite upon us, but Broadway has already lighted up with Lea Micheleâs debut as Fanny Brice in the âFunny Girlâ revival. Times staff writer Nardine Saad [addresses]( how the former âGleeâ and âSpring Awakeningâ star has come to terms with accusations of bullying. At her first night in âFunny Girlâ last week, the audience had its say about the production â with six standing ovations. Moves One of Queen Elizabethâs last duties was to invite a newly elected Tory leader to become prime minister. And one of Liz Trussâ first appointments was Michelle Donelan as secretary of culture, who now has the responsibility to live up to Elizabethâs arts legacy. Among Donelanâs previous jobs, the British art world is noting, was marketing manager of WWE. New York Philharmonic music director Jaap van Zweden has [announced]( that, once his tenure at Lincoln Center ends in 2024, he will become music director of the Seoul Philharmonic Orchestra. Passages Charlie Finch, the acerbic New York art critic, has [died at 69]( after falling from the window of his Manhattan apartment. Lars Vogt, the eloquently understated German pianist and conductor who performed with inspirational grace throughout his cancer treatment, has [died at 51](. Dianne Haigh, the architect who renovated Londonâs [Southbank Centre]( where Los Angeles Philharmonic conductor laureate Esa-Pekka Salonen held forth while music director of the Philharmonia Orchestra, has [died at 73](. In other news Plácido Domingo has [apologized]( for what was reported to be so slapdash a performance in Italyâs Verona di Arena that the orchestra refused to stand for him. Antiquities [seized]( from the Metropolitan Art Museum have been returned to Italy. Groundbreaking for [Calder Gardens]( by architects Herzog & de Meuron and landscape artist Piet Oudolf, will now be this fall. The planned center in downtown Philadelphia is dedicated to the art and ideas of native Philadelphian sculptor Alexander Calder. And last but not least ... King Charles III, who has long championed classical music, may have an impossible task of living up to his motherâs glorious record, but he did get off to a spectacular start. He was welcomed into the world in 1948 by Michael Tippettâs â[Suite in D (for the Birthday of Prince Charles)]( That, though, adds a further responsibility on the no-longer-future king to bring as much good cheer as Tippettâs irresistible suite does. ADVERTISEMENT
Thank you for reading the Los Angeles Times Essential Arts newsletter.
Invite your friends, relatives, coworkers to sign up [here](.
Not a subscriber? Get unlimited digital access to latimes.com. [Subscribe here](.
[Los Angeles Times]
Copyright © 2022, Los Angeles Times
2300 E. Imperial Highway, El Segundo, California, 90245
1-800-LA-TIMES | [latimes.com]( *Advertisers have no control over editorial decisions or content. If you're interested in placing an ad or classified, get in touch [here](. We'd love your feedback on this newsletter. Please send your thoughts and suggestions [here](mailto:newsletters@latimes.com).
The Essential Arts logo was created by Alfredo Ponce. You received this email because you signed up for newsletters from The Los Angeles Times.
[Manage marketing email preferences]( · [Manage newsletter subscriptions or unsubscribe]( · [Terms of service]( · [Privacy policy]( · [Do Not Sell My Personal Information]( · [CA Notice of Collection]( FOLLOW US [Divider](#) [Facebook]( [2-tw.png]( [Instagram]( [YouTube](