Friday night I attended a Los Angeles Philharmonic concert of Dvorak's
cello concerto (Peter Wispelway, for the indisposed Truls Mork) and
Shostakovich #5.  Salonen conducted, as he will for Mahler #3 this coming
weekend - the same piece with which he started his stewardship of LA
many years ago at the Dorothy Chandler.  Then Pierre Boulez comes in for
the final two programs, and with Haydn's "Farewell Synmphony," the Phil
packs its bags and moves across the street - literally - to the Walt
Disney Hall.

I'd say it was a good night at the Chandler - but for me, I will remember
the night for a different reason than the big success Mr.  Wispelway had
- he got a huge ovation, and played an encore, which is not all that
common at the Chandler (I believe it was Faure's "Apres la reve" - please
correct me if anyome knows I'm wrong).

There is an exposed horn solo near the start of the Dvorak, and the
playing was frankly pathetic, in the classic sense.  I pitied the horn
player.  He lost breath, was under the note - painful. I had my opera
glasses, and I couldn't help but wonder - do orchestra players react
when something like that happens?  The horn player next to the soloist
stared hard at her score, though she had nothing to play soon (she is
an attractive blonde).  The horn player himself - an older, silver-haired
gentleman - looked down at his lap, mournfully, I thought.

Later the sad soloist had another exposed line, or perhaps both horns
played and one was clearly playing poorly.  The gentleman continued to
look sad.  When the concerto was over, Wispleway was taking his bows.
Often an orchestra member with a solo part gets a separate bow as well
- I don't think Salonen looked anywhere near the horn section.  I did
see the gentleman horn player say a few words to the lady next to him,
and hold his hand to his stomach.  She didn't seem to say much to him,
and he returned to looking sad.

This little "drama" rather affected my appreciation of the Dvorak - I
thought the Chandler acoustics made it hard to appreciate some of the
subtleties of Wispleway's quiet approach, but since the audience went
nuts, that may just have been my ears.

Then again in the Shostakovich - I forget which movement - another horn
solo for the unfortunate gentleman - this time not quite as poor as that
in the Dvorak's, but still, not good.  Again he looked down forlornly
afterwards.

So Salonen works the orchestra into a thunderous frenzy for the climax
- a Salonen specialty - and the evening is over.  But as I drove home
in the rain I couldn't help but wonder - why did the horn player play?
If he felt unwell, why didn't he cancel?  Can he realize he is indisposed
after the beginning of the Dvorak and let the other horn player take
over the lead lines?  Is there just too much pride involved?  Will
Salonen talk to the man, or is it just assumed he had an off night?

Perhaps I was so affected because I had been suffering some stomach pain
myself that week.

The horns and trumpets are the sole weak area, IMO, of the LA Phil.  The
program announced that we have a new, younger trumpet player as of this
concert - a gentleman from Houston Sym.  Hopefully he will bring up the
level here.  In some of the horn/trumpet sections of the Shos #5, some
sour edges intruded.  I saw the man in the row in front of me do a funny
grimace/grin at one point.  Sort of like - it hurts, but it's funny too.
The trombones seem to be fine, by the way.

And next week is the Mahler #3 - yes, I will be just a little apprehensive.
How will that opening go?  We shall see.

C Mullins
Redondo Beach