AROUND TOWN/MUSIC: Rebirth of the Pasadena Symphony

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
This article was first published today in the above papers.
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• Pasadena Symphony Orchestra, Pasadena Master Chorale, Jorge Mester, conductor; Soloists: Howard Shelley, piano; Shana Blake Hill, soprano; Tracy Van Fleet, mezzo-soprano; Scott Ramsay, tenor; Dean Elzinga, bass-baritone.
• Beethoven: Piano Concerto No. 5 (Emperor); Symphony No 9
• Sat., Jan. 10; 7:30 p.m.
• Pasadena Civic Auditorium; 300 E. Green St., Pasadena
• Tickets: $20-$60. Children ages 5-17: $10. Rush tickets are $10 for students and seniors (65+) on Saturday at the Civic box office.
• Information: 626/793-7172; www.theorchestras.org
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Like a gymnast who suffers a hard fall, the Pasadena Symphony will climb back on the balance beam Saturday night in the Pasadena Civic Auditorium when it resumes its interrupted 81st season with what might easily be termed a “Resurrection” concert.

“We actually considered doing Mahler’s ‘Resurrection’ Symphony,” says Paul Jan Zdunek, new chief executive officer of The Orchestras of Pasadena, the umbrella organization that sponsors the PSO, Pasadena Pops Orchestra and Pasadena Youth Symphony. “In the end we decided that it just requires too many players at this stage of our life.”

Instead, Music Director Jorge Mester will lead an all-Beethoven concert: Piano Concerto No. 5 (Emperor) and Symphony No. 9. British pianist Howard Shelley returns to the PSO as soloist in the concerto. Joining Mester and the orchestra in the symphony’s final Ode to Joy movement will be four vocal soloists and the Pasadena Master Chorale. “The parallels between Beethoven’s struggles to overcome his afflictions, particularly deafness, and ultimately triumphing is a metaphor that seemed appropriate for this concert,” says Zdunek

The orchestra’s need for a “resurrection” came after the fallout from the nation’s economic collapse in September. Shortly before the PSO’S opening concert in October it cancelled four concerts, laid off several staff members, disclosed that its endowment had fallen so dramatically that no income could be drawn from it, and feared that it was teetering on the brink of oblivion.

Zdunek was originally hired as a consultant because of his background that combines crisis management and organization turnaround with music (he trained as a conductor). He came to Pasadena after leading the Modesto Symphony Orchestra out of financial difficulties.

“After things came crashing down here,“ says Zdunek, “we essentially went through what Elisabeth Kübler-Ross called the seven stages of grief: sadness, denial, anger and so forth. However, in the last month, our people have finally come around to the idea that we can get through this and emerge as a stronger organization. There’s a lot of positive energy flowing from within and outside TOP as people begin to regain faith that we will be here in the future.”

Saturday’s concert is both a sign of rebirth and part of the ongoing fund-raising efforts. Mester and all of the orchestra’s musicians are donating their services for the evening. “In the range of work that all of the musicians do, this is their favorite job,” says Andrew Malloy, second chair trombone player with almost 25 years with the PSO who also serves on the liaison group between the musicians and management. “We look forward to working with this orchestra so much that we juggle our schedules to make it happen.

“These people love working for this orchestra and love playing for Jorge Mester,” continues Malloy, “so we wanted to find some way we could participate in saving the orchestra.” Their participation is so extensive that those musicians who cannot be present for the concert are paying to hire their own substitutes. “I’ve never heard of that happening,” says Zdunek.

Those attending the concert will be offered the opportunity to get in the giving spirit. “Buying tickets is, of course, one way to give money,” says Zdunek, “but those attending will be encouraged by board members and the mayor to donate even more to help us recover. I’ve never seen anything like this except, perhaps, for a disaster relief concert — which is, of course, sort of what this is!”

Whither the future? For Zdunek, it’s a tricky balancing act between artistic vision and financial reality. “As an organization — the musicians and all of the rest of us who work to support them — and the audience, we’re on an artistic journey,” explains Zdunek, “but we have to balance that journey with the realization that we have to sell tickets, as well.

“There’s no question,” continues Zdunek, “that right now the economy is having a profound impact on everyone; there’s simply less disposable income. So people want to be ‘guaranteed’ that when they come to a concert, a play, a movie, whatever that they’re going to have an uplifting experience. That means finding a balance between programming that moves the artistic journey forward and programs that sell tickets.”

Exhibit No. 1 is Saturday’s concert. Even considering the metaphors, the simple fact remains that Beethoven, in general, and the ninth symphony, in particular, tends to sell well.

How this all plays out in the future is less clear. The previously announced dates for this year (March 14 and April 18) will remain but the programs may not be the same. “Some of that,” admits Zdunek, “is because we need to economize on the expenses of putting on concerts; some of it is to make sure the concerts sell. That may not be ideal, but it is what is today.”
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(c) Copyright 2009, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.