…the New York Post reminds you you haven’t.
Brought to my attention by the Musical America weekly newsletter, composer Nathan Currier ((who?)) is suing the Brooklyn Philharmonic because they cut his piece and Allan Kozinn (consequently?) gave it a terrible review in the New York Times. This, apparently, had a “bad effect” on Currier “both psychologically and in a very direct, nuts-and-bolts way.” It had a bad effect on Kozinn as well, who wondered during the performance if he had died and gone to hell, and reported feeling “liberated” when the piece was stopped early.
Currier was sitting in his seat during the second of two
intermissions in the two-hour-long piece when orchestra CEO Catherine
Cahill summoned him to an emergency meeting.She hurriedly explained to him that by union rule, both
intermissions had to count as 20 minutes — no matter how long they
actually were — and that as a result the massive piece, for orchestra,
chorus and vocal soloists, was in danger of incurring overtime.The surprise warning came after orchestra officials had repeatedly
reassured the composer that they had the labor situation under control,
according to the suit.A flabbergasted Currier quickly took out his musical scalpel and
reluctantly sliced up the piece so that at least it would still end
with, well, the end.But worse was in store. At about 10:45, orchestra management apparently decided upon a simpler solution.
“Suddenly a hand stuck out from the left side, from offstage, and
the conductor just stopped and walked offstage,” Currier said. “It was
completely bizarre because we had agreed on a different solution.”He said he still doesn’t know why the cuts he’d made weren’t used.
The piece was savaged by the Times — a worst-case scenario for a classical composer in New York.
First, this nonsense went down 5 long years ago; why a lawsuit now? Second, being “savaged” by the Times is the “WORST-CASE SCENARIO” for a “classical composer in New York”, New York Post?? Really? Really? I’m not sure that’s true. Actually, I’m sure that’s not true. I might say the “worst-case scenario” for a classical composer in New York is getting hit by a cab or whatever.
Artists – my artists, other artists – get bad reviews, even from ((rapid Silence of the Lambs sucking in of air)) The New York Times, and life always manages to trot on for everyone.
They can call me in as a Witness for the Publicity: one bad review cannot end an artist’s career. Does anyone disagree, other than Nathan Currier? Comments?
Currier intends to drop the suit if the Brooklyn Phil will just play the “dreadful” – Allan Kozinn’s word, not his – piece in its entirety.
Wikipedia tells me that Mr. Currier is more than legit, a well regarded composer. So among all his successes, why is he dwelling on this trip up? Dude, get over yourself. Even the greatest composers fail now and again. Accept it and move on (and be grateful that Brooklyn ever played your work in the first place).
Plus, orchestra overtime is a serious issue. Those are big bucks, and you only spend those big bucks for works that really matter.From the sound of Kozinn’s review, nothing was going to save the piece and it was a small blessing that it was cut off…for everyone except Mr. Currier.
The classical music industry is too small and incestuous to go around suing colleagues. Mr. Currier may have a tough time finding commissions in the future.
My question, though, is: What did the audience think that night? How did they feel when the piece got cut off? At the end of the day, it’s not about the composer, management or even the musicians–it’s about the receiver. Would LOVE to hear a Brooklyn Phil patron’s thoughts on what transpired that infamous evening.
well, considering the Brooklyn Phil just canceled their 09-10 season, doesn’t seem likely that they’ll be performing such a large scale work anytime soon…
I’m wondering why there is no note about this on the Brooklyn Philharmonic’s website. Reminds me of City Opera. Are arts organizations ashamed (?) to admit financial challenges? Why not seize these moments as opportunities to rally a community around a cause? -AA
Without an explanation, I’d probably find it a bit strange that a piece ends without it’s officially composed ending – no wonder the Times had a field day.
I’m sure he will be OK though – his piece was probably chosen on it’s artistic merits in the first place, otherwise why would they even attempt to perform it? If he can do it once, he can live on and do it again.
There’s one curious item at the top of the Post story that you didn’t quote, and that I’m not sure I quite understand:
“An award-winning composer gave the Brooklyn Philharmonic more than $70,000 to perform his magnum opus…”
Indeed. A new model for “commissioning”, perhaps? -AA