It may not look it during most daylight hours or even on nights when there are no performances, but Davies Symphony Hall is actually a humming beehive of continuous goings-on. Between complex scheduling, rehearsals and concerts, tour planning, recording projects, and community outreach, the administrative and artistic personnel of the San Francisco Symphony work virtually nonstop.
An amazing amount of business transpires behind those gleaming plate-glass windows, but the public and press is usually made aware of any major changes with plenty of advance notice. It seemed rather sudden, though, when SFS Executive Director Brent Assink recently announced his "stepping down" from his position next March after 18 highly productive and successful years at the helm. His reasons seem fairly enigmatic for now, but the fruits of his labor are immediately apparent, and his impressive legacy will certainly go on long after he leaves.
Assink's acknowledgment of the need for innovation and change in a traditional but still evolving institution may be partly responsible for his surprising decision. His leadership has rightfully been called "transformative," and his vision for the Orchestra has always been in mutual accord with Music Director Michael Tilson Thomas. They importantly have joined in promoting international recognition with extensive tours and recordings. Fresh examples of both crucial endeavors are currently in motion.
Recently at DSH, red-hot pianist Yuja Wang said "yes to the dress" once again when she appeared with MTT and SFS Principal Trumpet Mark Inouye in a knockout performance of the Shostakovich Piano Concerto No. 1. The biting wit and theatrical flair of the scintillating score, not to mention Yuja's fabulous technique and fashion sense, will be taken on the road during the upcoming tour of Asia featuring 10 concerts in six cities Nov. 9-22.
MTT is back on the podium at DSH with Ms. Wang at his side Nov. 2, 3 & 4 to present more pieces scheduled for the tour. Bruckner's Symphony No. 7 and Chopin's Piano Concerto No. 2 get a local final polishing before adding to the massive concert programs. Bright Sheng's "Overture" to Dream of the Red Chamber (an SFS Commission during Brent Assink's tenure) was also heard to great effect during the previous MTT/Wang performances. It, too, is hitting the road.
Critical and commercial success for MTT and the Orchestra came early in Assink's career when the San Francisco Symphony became the first US orchestra to launch its own recording label in 2001. In a stroke of good timing, the latest offering from SFS Media will be released on Fri., Oct. 28. The recording is already available for pre-order on iTunes.com/SFSymphony and SFSymphony.org/Debussy.
Debussy: Images pour orchestre; Jeux; La plus que lente
San Francisco Symphony; Michael Tilson Thomas, music director and conductor
Super Audio Compact Disc (SACD), recorded using Direct Stream Digital (DSD) technology (SFS Media)
At a mere total playing time of just one hour and 21 seconds, the new all-Debussy disc might seem a little short on value, but in the digital age of shorter attention spans that could be considered a big plus. Since the program is also available in studio master-quality at a very reasonable price, it can confidently be recommended to all listeners in either format. The luxury of the disc's packaging with an informative hard-copy booklet enclosed earns it a place in collectors' libraries. The economy and excellence of the download make it a must for mobile device fans.
All of the works were recorded live at Davies Symphony Hall, and thanks to the superb engineering team, the acoustics actually sound better than one could have ever hoped. MTT is a life-long Debussy devotee who prefers the added frisson of live recording. These gasp-inducing performances seal the deal with sensuous and stirring sound that is beautifully present.
The longest selection, Images was recorded May 22-25, 2014; the spikier and more modern-sounding Jeux was recorded Jan. 10-13, 2013; and the wistful La plus que lente was recorded Sept. 26-28, 2013. Any mistakes or intrusive audience sounds have been edited out, but the ambience remains intact.
The sparkle and sheen of the orchestral playing are intoxicating, and MTT's strong rhythmic control of the wilder passages offers fresh insights upon repeated hearing. The reflective interpretations and immersive sound guarantee many returns.