What were you listening to? (CLOSED)

[pjme]

Normally I wouldn't look twice at a CD by a conductor I've never heard of and an ensemble from a part of the world I associate more with, ummm, tennis and breeding 'gators, than world-beating Mahler performances (no offense to Floridians intended - I'm sure it's a lovely state).  However a little birdy told me to check this recording out, and I'm glad I did.  Crikey, the Florida Phil is so obscure it doesn't even exist any more!

The Florida Philharmonic apparently had a strange existence! James Judd, however
History
The Philharmonic Orchestra of Florida was formed through a merger of two smaller South Florida orchestras, the Fort Lauderdale Symphony Orchestra and the Boca Raton Symphony Orchestra. Though the orchestra was officially founded on February 15, 1985, the merger had existed on a "de facto basis" since August 1984.[1] The new orchestra filled an artistic void in the South Florida area left after the collapse of the Miami Philharmonic Orchestra in 1982.

and :

From Wikipedia, the free encyclopedia
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James Judd is a British conductor. He is a graduate of Trinity College of Music, London. Judd was an assistant conductor of The Cleveland Orchestra, and served as associate music director of the European Union Youth Orchestra.

Judd made his U.S. opera debut in 1988 conducting Don Giovanni for the Florida Grand Opera. Judd was the last Music Director of the Florida Philharmonic, from 1987 to 2001. During his tenure, the orchestra suffered financial problems, and Judd served for 3 months as chairman of the board and donated a portion of his salary to assist the organisation. However, he was also criticised for expensive programming in his concerts.[1]

In September 2003, Judd had been named the next music director of the Malaysian Philharmonic Orchestra.[2] However, in April 2004, the MPO terminated the agreement with Judd without public explanation, and Judd never took up the post of the MPO's music director.[3]

Judd served as music director of the New Zealand Symphony Orchestra (NZSO), the first NZSO conductor with that title, from 1999 to 2007. He conducted several recordings with the NZSO for the Naxos label[4] [5], and led the NZSO in its first-ever appearance at The Proms in August 2005[6]. Judd now holds the title of Music Director Emeritus of the NZSO.

Judd and his wife Valerie, a former member of the New World Symphony Orchestra[1], have a daughter.




[edit] Early years
Emerson Buckley, the music director of the Fort Lauderdale orchestra since 1963, continued as music director of the new orchestra until stepping down from the podium in 1986. At this early period in the orchestra's existence, the orchestra began seeking to compete on a national level for musicians and prestige, hiring British conductor James Judd as music director in May 1987 after his frequent guest appearances with the orchestra.[2] At the beginning of his tenure, Judd expressed optimism for the future of classical music in South Florida.[3][4]


[edit] The 1990's
In December 1990, the orchestra changed its name to the Florida Philharmonic Orchestra.[5]

In what may represent one of the greater accomplishments of the orchestra, the Florida Philharmonic recorded Gustav Mahler's Symphony No. 1 in September 1993.[6] The album, released in August 1994, was declared the best Mahler recording of the year by the Gustav Mahler Society[7], as well as Recording of the Month for August 1994 by Stereophile, who declared "this is one of the best orchestral recordings of the digital era."[8]

The orchestra continued to grow in size, quality and prestige throughout the 1990s while under the direction of Judd, who initially had an amicable relationship with the musicians, however nagging financial struggles combined with disputes between the musicians and management led to increasing discord which culminated in a strike in the autumn of 2000.[9]


[edit] 2000 Strike
Contract negotiations during the summer of 2000 hit frequent sticking points, and tensions between the musicians and management hit an all-time high, with Sun-Sentinel music writer Lawrence A. Johnson suggesting that a strike was inevitable at this point given the ever-increasing tension within the organization through the 1990s. The primary point of debate was regarding the orchestra's wages, which were well below average. In 1991, music director James Judd argued that if management couldn't raise the musicians' salaries up to the level of Atlanta Symphony by 1993, then "there is a limit to what I can do for the orchestra." Nine years later in 2000, the orchestra was nowhere near that goal.[10]

The management's last offer before what would have been the start of the 2000-01 season consisted of a 5 percent increase over one year. This was dismissed as "extremely disrespectful" by union representative Andrew Lewinter, who further commented that after two years of surpluses, it was time for the orchestra's salaries to catch up after pay freezes and concessions made by the musicians though harder economic times in the 1990s. The union's demands were derided by management attorney Susan Potter Norton as being based on "faulty logic". The musicians' union called a strike on September 25, however during the strike the musicians continued to perform free community concerts on a volunteer-basis, not organized by the orchestra management.[11]

The month-long strike ended after the orchestra accepted a 30 percent pay increase over five years, though many musicians expressed frustration for what they considered a "vote for surrender" on job security issues. The musical silence ended on October 26, 2000, with a program of Beethoven's Fifth and Sixth Symphonies at Broward Center for the Performing Arts.[12]


[edit] Judd resignation
The period of time after the strike was marked by increasing economic difficulties. The Philharmonic in 2001 announced efforts to fight off their financial woes, with pay concessions on the part of the musicians and cut-backs in the management structure, however this was quickly overshadowed by a major change to the orchestra's staff in the later part of the year. In November 2001, the Florida Philharmonic's music director of nearly fifteen years, James Judd, announced his resignation by releasing a press release to the media. When asked about Judd's departure, Bob Levinson, chairman of the Philharmonic's board is quoted as having responded "It's news to me. You're telling me something I don't know."[13]

The cracks in Judd's relationship with the orchestra had turned into an abyss by this point, with management blaming Judd's "mildly adventurous" and expensive programing for declining box office performance, and the orchestra's successful attempt to revoke Judd's power to unilaterally dismiss musicians who he considered not up to the task. His resignation came on the heels of the formation of an artistic committee which would share control with Judd over matters of programing.[14]

James Judd was swiftly replaced on November 27, just seven days after his resignation, by veteran violinist and conductor Joseph Silverstein who would take the title of Acting Music Director for two seasons.[15]


[edit] Collapse and bankruptcy
The financial predicament of the orchestra hit crisis mode in the spring of 2003. By this time, the orchestra's 80 musicians had already accepted a cut to salaries and benefits totaling $3.2 million in savings, but in April, the orchestra's chairman, Daniel R. Lewis, announced that unless the orchestra could raise an additional $20 million, the orchestra could be facing bankruptcy by early May.[16] The orchestra at this point had already retained a bankruptcy attorney, and some management officials were already announcing the imminent doom of the orchestra in the press.[17]

Though the amount of money the orchestra required to continue operations was reduced to $4 million, Executive Director Trey Devey said to the Sun-Sentinel that they had had "no significant progress" in reaching that amount. The orchestra's final concert was played on May 9, 2003 in Boca Raton, FL.[18] At the end of the concert, amidst tears among audience and orchestra members alike, and a thunderous applause that refused to end, Devey took the stage to plead for a "hero." Ninety minutes later, the orchestra announced that it was "terminating the employment" of its musicians.[19]

The orchestra filled for chapter 11 bankruptcy protection on May 14, 2003. Despite hopes of a possible re-organization of the orchestra, the Florida Philharmonic never emerged from bankruptcy. Hopes for reorganization were further stunted when the 10 year Miami residency of the Cleveland Orchestra was announced in 2007. [20]


[edit] Controversy regarding bankruptcy
The collapse of the orchestra raised a number of suspicions regarding how the management of the orchestra reacted to its financial difficulties. Perhaps the most widely questioned piece of the controversy is the "ultimatum," issued by orchestra chairman Dan Lewis on April 22, stating that bankruptcy was imminent unless the community would produce $20 million. This approach to fundraising has been criticized as being excessively confrontational and unlikely to provide results as it could create an attitude of unwillingness to contribute to an organization whose bankruptcy was imminent anyway. Dan Lewis, however, has defended this step as necessary, citing time constraints and saying that "I feel good about what we did. I feel terrible about the outcome, but I think we did a good job."[21]


[edit] Cleveland Orchestra and conflicts of interest
The Miami-residency of the Cleveland Orchestra, which was announced shortly after the collapse of the Florida Philharmonic, is also mentioned as an irritating factor insofar as diverting the community's donor base which should have been allocated to the reconstruction of a South Florida-based orchestra, with one former member of the orchestra stating that it would "definitely prevent Miami and South Florida from having a symphony orchestra in the near future." Another former employee, this one a former artistic advisor to the orchestra, commented that "it discourages and maybe deters people from contributing the money necessary and the energy necessary to start to build a quality orchestra in Miami."[22]

The connection between the Cleveland Orchestra and the South Florida classical community is personified by Daniel Lewis, a native of Cleveland. Lewis, while serving on the board of the Florida Philharmonic made unprecedented contributions to the Cleveland group, including a single donation of $10 million, the orchestras largest ever.[23] This has led to suggestions of a conflict of interest, given Lewis' financial support for the Cleveland Orchestra, questions regarding hasty and unprofessional handling of the Florida Philharmonic's financial problems[24], and his direct involvement in initiating Cleveland's residency in Miami during and after the Florida orchestra's collapse.[25] Florida Philharmonic artistic adviser Julian Kreeger said that only "if one was paranoid" would one draw connections between Lewis and Cleveland's Miami residency.[22] Others, including former musicians, assert that Lewis' motives when taking over the administrative leadership of the orchestra was to "kill the orchestra",[23] paving the way for the Cleveland Orchestra's Miami-residency, which has financially proven quite fruitful for the Cleveland-based group.[25]

[ChamberNut]

Schumann

Piano Concerto in A minor

Jorge Bolet, piano

Riccardo Chailly
Berlin Radio Symphony Orchestra
Decca (Eloquence budget label)

[Bogey]

Mozart
Quartet for Piano and Strings no 2 in E flat major, K 493  
Performer: Mieczyslaw Horszowski  (Piano), Ernst Wallfisch (Viola), Pablo Casals (Cello), Yehudi Menuhin (Violin)
Date of Recording: 1956
Venue: Live  Prades, France
Label: Music & Arts

[RussellG]

The Florida Philharmonic apparently had a strange existence! James Judd, however
History
The Philharmonic Orchestra of Florida was formed through a merger of two smaller South Florida orchestras, the Fort Lauderdale Symphony Orchestra and the Boca Raton Symphony Orchestra. Though the orchestra was officially founded on February 15, 1985, the merger had existed on a "de facto basis" since August 1984.[1] The new orchestra filled an artistic void in the South Florida area left after the collapse of the Miami Philharmonic Orchestra in 1982.

Wow, what a story.  I read up on Judd on Wikipedia but hadn't bothered reading about the Florida Phil.  When a GMG member recommended their Mahler 1st to me recently, it rang a bell, as I recalled seeing mention of this performance elsewhere.  I didn't realise it was as highly regarded as is stated in the Wikipedia article though.

(BTW why on earth is the Cleveland Orchestra moving to Miami    More sunshine?)

[Bogey]

(BTW why on earth is the Cleveland Orchestra moving to Miami    More sunshine?)

'Cause the Indians have no shot this year.   (Ducks tank round from Sarge.)

[Sergeant Rock]

Hah. I can't help but think: "where does that man find all these exotic Mahler recordings?" I can name you a dozen (maybe two dozen!) Mahler 1sts I'd consider before one by the Florida Philharmonic...

Judd's Titan is not a first choice, of course, but it is an interesting addition for anyone who has an extensive Mahler collection. I own it because I love the discarded (by Mahler) Blumine movement and I buy any recording that includes it. My main criticisms of this disc are: 1) Judd doesn't give us Mahler's original thoughts by incorporating the movement within the symphony. Instead it's just a filler on this disc. In that respect, Levi, Ormandy and Ozawa are preferable. 2) He seriously undercharacterizes the Klezmer music, rendering it bland. The first movement, though, is wonderful, as light and springlike as one could wish. The Florida Phil was a remarkable orchestra...really!

Sarge

[marvinbrown]

  CD 5 from this set (Fantasie, Op.17, Fantasiestucke, Op.12 and Etuden Nach Paganini, Op.3):

 

  I am thoroughly enjoying this set.  Purchased late last year for a meager £9.99  on amazon.co.uk marketplace this set has proved to be very good value for money. A real shame though as the price has now increased over 6 fold at about £65  .  I have no qualms about the quality of the recording nor the playing of Demus. 

  marvin

[Bogey]

Well, our Schumann paths are crossing today, Marvin.


Schumann
Trio for Piano and Strings no 3 in G minor, Op. 110
Performer:  Sandor Végh (Violin), Rudolf Serkin (Piano), Pablo Casals (Cello)
Date of Recording: 07/11/1956
Venue: Live  Prades, France
Label: Music & Arts

[Jay F]

Second listen.  I'm really warming to this performance.  It reminds me a lot of my first M1:  Levi on Telarc.  I was less impressed, however, with the other M1 I picked up this weekend:  Tennstedt/London Phil.

Recorded 1993:

The James Judd M1 is one of my favorites. I love the Blumine movement, so it's the one I usually play.

[RussellG]

In that respect, Levi, Ormandy and Ozawa are preferable.

How do you like Levi's M1 Sarge?  That was my only recording until I got Judd and Tennstedt this weekend.  I have a lot of Mahler on Telarc.

[Sergeant Rock]

(BTW why on earth is the Cleveland Orchestra moving to Miami   

Ever been in Cleveland in the dead of winter?  

Seriously, the Cleveland has traditonally played a few concerts a year in Miami. A few years ago they made a short winter residence in Miami a permanent part of their yearly schedule. It scared the crap out of some Cleveland boosters who feared an eventual move south (apparently there is more money in southern Florida than in northeastern Ohio).

Sarge

[marvinbrown]

Well, our Schumann paths are crossing today, Marvin.


Schumann
Trio for Piano and Strings no 3 in G minor, Op. 110
Performer:  Sandor Végh (Violin), Rudolf Serkin (Piano), Pablo Casals (Cello)
Date of Recording: 07/11/1956
Venue: Live  Prades, France
Label: Music & Arts

    I see ChamberNut's   on board as well.  I guess we are all in sync  !  I will spending the next few days listening to the piano works of Schumann and follow that up with his symphonies  , this set:

 

  marvin

[Bogey]

    I see ChamberNut's   on board as well.  I guess we are all in sync  !  I will spending the next few days listening to the piano works of Schumann and follow that up with his symphonies  , this set:

  marvin

Ah!  Indeed he is.  Very cool.  There are I believe five more Schumann pieces on this box set of mine, so I will make sure I post when they come up. 

[Sergeant Rock]

How do you like Levi's M1 Sarge?  That was my only recording until I got Judd and Tennstedt this weekend.  I have a lot of Mahler on Telarc.

I do like it; it's probably my favorite version of the Titans I own that include Blumine (Ormandy, Levi, Rattle, Judd, Ozawa). The other Levi Mahler recordings I own are 2, 4, and 6.

You'll get a lot of different advice about which Titan to buy next but I'd suggest: Kubelik, Bernstein (DG) or Horenstein.

Sarge

[Dr. Dread]

[ChamberNut]

Well, I see everyone is following me in listening to Schumann today. 

Continuing on with Schumann....

Cello Concerto in A minor, Op. 129

Lynn Harrell, cello
Cleveland Orchestra
Sir Neville Marriner

and

Introduction and Allegro appassionato for piano and orchestra in G major, Op. 92

Andras Schiff, piano
Vienna Philharmonic
Christoph von Dohnanyi

Decca (Eloquence budget label)

[jlaurson]

Normally I wouldn't look twice at a CD by a conductor I've never heard of and an ensemble from a part of the world I associate more with, ummm, tennis and breeding 'gators, than world-beating Mahler performances (no offense to Floridians intended - I'm sure it's a lovely state).  However a little birdy told me to check this recording out, and I'm glad I did.  Crikey, the Florida Phil is so obscure it doesn't even exist any more!

Well, you must have good birdies. I second Sarge on liking this recording--esp. for "Blumine". Can't say that I found Zinman's recording (which also includes the Blumine after the final version of M1) much of an improvement over it, in fact.

If I'm not mistaken, birdy also suggests Kubelik/Audite for #1... but it's probably not the best investment of your time and money to go nuts on one symphony at a time but instead more joy-giving to spread it around the 11 1/2 Mahler Symphonies* there are.

(*1-10, DLvdE, DKL)

[George]

Ah!  Indeed he is.  Very cool.  There are I believe five more Schumann pieces on this box set of mine, so I will make sure I post when they come up. 

I believe I mentioned that set to you awhile back, Bill. I hope you are enjoying it. 

[Bogey]

I believe I mentioned that set to you awhile back, Bill. I hope you are enjoying it. 

The first disc was fabulous.  Do you have it or the second set?

[DavidRoss]

You'll get a lot of different advice about which Titan to buy next but I'd suggest: Kubelik, Bernstein (DG) or Horenstein.

Or Boulez. (Fulfilling your prediction, Sarge.   )

Last night's playlist:
Prokofiev, Piano Concerto no.2 in G minor, op. 16, Ashkenazy/Previn/LSO
Gershwin, An American in Paris, Levine/CSO
Milhaud, La Création du monde, Wolff/St. Paul Chamber Orchestra
Strauss, Vier letzte Lieder, Janowitz/Karajan/BP

Now playing: Music of Barrios, David Russell, guitar