Bravos from local musicians
By Susan Larson, Globe Correspondent, 09/20/98
Seiji Ozawa and the Boston Symphony Orchestra are sometimes perceived
as living in a parallel universe, separate from the rest of the community's
musical life. There is truth in the complaint, but it isn't the whole truth -- over
the years Ozawa has premiered or programmed works by 10 locally based
composers, given dozens of locally trained singers early breaks in their
careers, observed and participated in other aspects of Boston's cultural life.
Susan Larson has collected an anniversary bouquet of tributes by local
musicians.
Seiji Ozawa is one of a handful of Boston musicians who, like "Sarah,"
"Gunther" or "Lenny," is known by his first name alone. Such affectionate
appellations are reserved for people with legendary talent coupled with an
ability to touch lives in a special way. Many of Boston's finest musicians who
have worked with Ozawa have stories about his technical virtuosity, his
astounding memory and focus, and his disarming modesty about it all. They
usually call him Seiji.
Composer John Harbison: "Seiji Ozawa obviously enjoys doing new pieces,
and they represent some of the most memorable events of his tenure with the
Boston Symphony."
Composer Bernard Rands: "I can't think of a conductor who gives a better
first performance than Seiji Ozawa. His premiere of my Cello Concerto was
very, very fine. It's a pity he doesn't get to do more new works."
Pianist Russell Sherman: "I was called the day before to substitute in
Beethoven's 'Emperor' concerto. Seiji is remarkable in dealing with such
situations. It was not a question of conductor and soloist sparring; he could
pick up every inflection and create his own pattern of expression. It was a sign
of his incredible aptitude as a musician, and his sanguine, optimistic way of
handling the situation."
Tenor Richard Clement: "He is always concentrating, and he makes every
moment exciting. He was tired for the Bernstein 'Songfest' rehearsal this
summer, but as soon as the music started he was refreshed and completely
committed. Before the performance he came over to us and said, 'We do this
for Lenny.'"
Mezzo-soprano Janice Meyerson: "Seiji teaches you the value of memorizing
music. I was called on 24 hours' notice to sing in 'Beatrice and Benedict.' I
didn't memorize -- it was a concert performance. He said to me, 'The chorus
memorized! I memorized!' So I did it. You think you can't, but then you do,
and it liberates you to be more expressive in the music. Later in my career I
had to memorize quickly and I always knew I could."
Soprano Jayne West: "He's just there with you, he breathes with you. Not
one day was I nervous, because he exudes this confidence in you, and so you
do your best."
Baritone James Maddalena: "I'm still a little intimidated by him, but he's really
nice."
Soprano Dominique Labelle: "Seiji gave me my first professional job when I
came to the States. I was still a student, and it meant a lot that he trusted me."
Joel Escher, 13, a member of the PALS children's chorus (for Performing
Arts at Lincoln Schools) has sung Mahler and Dutilleux under Ozawa.
"There's sureness in his conducting. He expects us to get it right but he's nice
about it, like a father helping us with our homework. He's a soft-spoken man."
Jordan Swaim, 13, PALS chorister: "Even though he's famous he treats us
like equals. He talks to us so we'll understand."
Orchestra pianist Randall Hodgkinson: "He's such a perfectionist. I get to
watch him in piano rehearsals with soloists. The way he moves, he's like a
dancer or an athlete; he's so easy to follow. When there's a mistake, I know
I'm wrong -- that's very comforting to know."
Orchestra pianist and concerto soloist Benjamin Pasternack: "Even the
greatest conductors call an orchestral response that is different from what they
want. They have to stop and explain. Seiji is the only one whose gestures are
exactly what he wants to hear."
Flutist Eleanor Preble: "I was playing piccolo in the 'Rite of Spring.' Lois
[Schaefer] and I missed an entrance at a crucial place; we didn't know what
was going on. After the concert we were eating at Amalfi's and Seiji came by
our table and said, 'It was my fault.' I thought that was very nice of him."
Conductor Susan Wyner studied with Ozawa at Tanglewood: "Seiji has that
ability to concentrate on what you are doing. Usually a teacher just asks you
to imitate him, but he could get away from his own physicality. He would
stand next to me and -- well, he became my body, then showed me how I
could open that body as a conductor. It was so profound!"
Wyner continues, "I rarely got the sense he is dealing with notation, but with a
spatial awareness of an orchestra. If he's working with fiddles he can help a
horn or trombone with some part of his body. This is something he has that's
special, but he's very humble about it."
Leonard Matczynski, executive director of Emmanuel Music, invites Ozawa
to conduct a Bach cantata at Emmanuel Church every year. "Seiji has really
become part of the community. The first year he came down here with his
whole staff, lots of assistants. He arrived in a limo. He was so sensitive, he
immediately picked up on how bare-bones it is here, how little time and space
we have. Next year he drove himself down here in his Datsun."
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