One of the highest compliments I ever pay anyone is to call him or her a “pro”. By this I mean that he or she is proficient at his or her job, and performs his or her duties in a way that exceeds the minimum level of competence one typically experiences in any such encounter. That is to say, it is rare enough to encounter someone who is competent, but to meet someone who is highly skilled is rarer still. (The epithet I use to describe the opposite of “pro” is “clown”, though it should be noted that an especially good actual clown could be a pro.)
In my experience, the backstage crew at University of Florida Center for Performing Arts at the University of Florida is made up of individuals I consider pros. During recording sessions for radio broadcast, I have had a number of professional encounters with the UPA folks, and without exception all have been extraordinarily capable, helpful, and friendly. It works like this: I arrive a couple hours before show time with my myriad gear, consisting of a recording device, a small mixing console, a microphone on a large, heavy stand, and an assortment of cables. I have everything I need to make a recording, but I lack some things that the UPA staff are quick to offer: a table on which to put my gear, a chair on which to sit, help locating power supplies, and so on. They have even helped me with the laborious task of laying cable and gaffer’s tape. They have done all this with expertise and good cheer. These sessions require a good deal of waiting around on my part, and it never fails that when a member of the crew walks by me, he or she asks if I need anything.
Last night I had another of these positive experiences. I was invited to attend a live performance by the American violinist Joshua Bell with the English pianist Sam Haywood. The session had been arranged through Mr. Bell’s people with the resulting recording one I hope to use as the gem of my summer concert broadcast series. I arrived at about 4:30 in the afternoon, three hours before the scheduled start of the program. Like most artists, Bell and Haywood would have a brief rehearsal sometime before the concert, and that would be my opportunity to ensure that the microphone was correctly placed, and my levels were safe. The artists are concerned, too, about things like music stands and lighting and whatnot. My chief concerns getting a good recording without interfering with the artists’ performance. To this end I am worried about the placement of the enormous microphone stand we have for these sessions, which is tall and extremely heavy. Its legs span several feet, and, fully-extended, it towers at least ten feet over the performers. I always consider it extremely generous when artists even consent to have this ugly thing cluttering the front of the stage, so I do my best to ensure that it is not more intrusive than it has to be. The stage crew helped me make sure that my stand would not block the view of anyone in the audience. The stereo microphone we use for these recordings has only one cord, which is good, but I still have to run it across some thirty feet of stage. The crew members are helpful in this regard, and help me snake it through an opening in the large shell they put up for such music performances. Though I could sit in the orchestra pit in front of the stage, I prefer to sit backstage, and the crew offers me prime real estate directly next to the stage entrance. Watch this video to see my setup.
Mr. Bell and Mr. Haywood arrived for a brief rehearsal around six o’clock. I had my gear all set up by then and was just hanging out backstage when I heard the huge sound of a Steinway piano. I put my headphones on and began checking levels. I couldn’t see what was happening, but I next heard Joshua Bell’s voice in my headphones. Then, the awesome sound of his Stradivarius. He was just playing scales and double-stops, but, wow, it sounded great in my headphones. I could hear them talking about lighting while I got my levels, then they left the stage and I waited another hour or so for the concert to begin.
Before showtime, Mr. Haywood—who looks and sounds like the very image of a polite British gentleman—approached me. I could tell he had some trepidations about the recording, though he was aware before hand that it would be taking place. I assured him that he and Bell had right of refusal, and I would never broadcast anything they didn’t consent to release. He seemed satisfied, and we chatted about the weather (it was very pleasant in Gainesville, but currently awful in London) and the program. I asked which of the pieces on the bill was his favorite and he answered, “the Brahms”. I agreed completely, since I have long believed that nobody beats Brahms at chamber music. I told him I wished I could hear a recital of all three of Brahms’ violin sonatas. He answered, “that would be a bit like having three steaks”, then paused and asked, “but how would you divide the program?” “Good point”, I answered. “I know”, he shot back, “the first two sonatas before the intermission, and the third sonata and the [Op. 4] Scherzo in the second half with some other little pieces”. He told me he and Bell were going next to Los Angeles. It was very nice of Mr. Haywood to talk me, and he seems like a very nice man. His pianism, of course, is splendid.
Just before showtime Mr. Bell appeared. He had his violin under his chin and walked directly to my small table and put his music down right in front of me while he did a little last-minute tuning and (literally!) fiddled around a bit. I don’t know if you have ever been within two feet of one of the world’s best violinists playing a Stradivarius, but I recommend it. Mr. Bell could probably make a rubber band on a shoebox sound good, but a Stradivarius is like a miracle, and in his hands it sings. As he and Mr. Haywood took the stage I had my typical fears: I hope my microphone placement is good; I hope my recording sounds natural; please, God, don’t let my microphone stand collapse and crush Joshua Bell and his priceless violin.
I met Joshua Bell years before after a recital he gave with another pianist. I had been in the front row for the performance, and when it concluded I stayed in my seat for a long time as the rest of the audience departed. After a while, Mr. Bell reappeared in the now-empty auditorium. He came down from the stage, shook my hand and asked if I enjoyed the performance. He was quite warm and friendly. He even signed my program. As I learned last night, however, backstage during performance, Joshua Bell means business. He was not the least bit rude or obnoxious. Rather, he was highly focused. This is entirely understandable. Playing music night in and night out for a paying audience is one thing, but the classical music world is one in which reputation is huge. Perfection is practically an expected standard. And it isn’t like he’s playing easy stuff. The duo played Mendelssohn, Brahms, Ravel, Ysaÿe, Gershwin, and Sarasate. Ysaÿe’s Six Sonatas for Solo Violin, Op. 27 are astonishing works, and, like the Bach pieces which surely inspired them, extraordinarily difficult. The D Minor Sonata from that set was first performed by one of Ysaÿe’s former pupils, Josef Gingold, who later became Joshua Bell’s teacher. Bell played the piece splendidly. I don’t much care for Gershwin’s Preludes, and Ravel’s Violin Sonata is probably one of my least favorite of his works. But Brahms’ Sonata in D Minor, Op. 108 was wonderful, as expected. Surprisingly, though, it was the relatively rare Sonata in F Major (1838) by Mendelssohn. The slow middle movement enchanted me, and the credit is due to Sam Haywood’s playing, which was profoundly affecting. Mendelssohn is known as a fairly light-hearted composer, but that adagio was sad and beautiful.
I spoke with Mr. Haywood again after the concert and told him how much I liked his playing. He was very gracious, and even assured me that he thought for sure that they would approve the second half of the program for broadcast. “I hope when you hear the rest you’ll like it as much”, I replied. “It was very nice meeting you,” he said.
By the time all the equipment was packed and ready to go the auditorium was empty. Bell and Haywood were up in the lobby signing autographs, which is something many of the friendlier performers do when they come to Gainesville. The established fans really appreciate it, and the new ones the artists just made are doubly pleased. To me, it’s the mark of a pro. Last night at the UF Center for Performing Arts, everybody was a pro.
Filed under: Music, Musings, Work on February 5th, 2012 | 2 Comments »
As I was at work last week when I heard the news of Dietrich Fischer-Dieskau’s passing, I did not have access to my personal music library, which, as I mentioned, includes a substantial number of that great singer’s recordings. So, at that time I could not include a specific musical clip I wished to. Now I can.
