SoundBox—SF Symphony’s new space for musical experimentation
The atmosphere Saturday night at the opening of SoundBox, San Francisco’s Symphony’s new experimental space for music. Ravel’s “Introduction and Allegro” performed by Alexander Barantschik, Dan Carlson, Jonathan Vinocour, Amos Young, Tim Day, Carey Bell, Doug Rioth. Video projections by Adam Larsen. Photo: courtesy SFS
Christmas started early for ARThound when a dear friend invited me to Saturday night’s unveiling of SoundBox, MTT’s (Michael Tilson Thomas’) and San Francisco Symphony’s (SFS) newest venture. SoundBox was designed to fill a gap in Bay Area music scene by providing an experimental space where anything musical can happen and to engage a younger, hipper audience with SFS and serious music. Judging from Saturday’s thrilling reception which enthralled its sellout crowd of 450, Soundbox will do all that and more. It also seems poised to give our brilliant but nerdy MTT some street swagger, the kind of coolness cred that he’s been aching for while collecting all those Grammies for classical recordings. If you haven’t heard, SoundBox is a huge refurbished music space at 300 Franklin Street (in San Francisco). Formerly known as Zellerbach A, it was one of SFS’s most dour on-site rehearsal spaces, ironically renowned for its dead sound.
With generous patron funding and the board’s desire to revision SFS’ audience outreach, the cavernous space was entirely revamped. Berkeley’s Meyer Sound was engaged to install its patented multi-speaker “Constellation” system, transforming the space into a virtual sound lab. Now, with the push of touchscreen button, the venue can seamlessly tweak its acoustics (reverberation and decay times) for various pieces in a performance allowing otherworldly sounds to emerge from its tremendously talented SFS musicians and choral members. Add state-of-the-art video projection capacity, making for an incredible visual experience, sleek quilted leather ottoman and low tables (even the furnishings will be tweaked with each performance), a fully-stocked bar serving thematic cocktails and innovative cuisine—wella! SoundBox has the grit of an European art house, the verve of a sophisticated nightclub, the acoustics of a world class concert hall, and, as if it needs to be said, the world’s best musicians playing tunes exquisitely curated by MTT.
Combining the excitement of an art happening with the verve of a sophisticated nightclub, the acoustics of a world class concert hall, and adventurous music spanning ten centuries, Saturday night’s opening of SoundBox will be long remembered. Photo: courtesy SFS.
On Saturday, 7:45PM, the crowd was already lining up on Franklin Street. The buzz: no one knew exactly what to expect but we were all excited by the program we’d read about online and the promise of road-testing something completely new. The pre-concert hour was dedicated to John Cage, who believed that every sound can be music, and featured a musical feast of his “Branches,” featuring electronically amplified giant cacti, and “Inlets” which coaxed sounds from shells filled with water that gurgled when moved and from amplified burning pinecones. As people entered the darkened foyer of Soundbox and were confronted with Cage’s music, they passed by a curious gallery space, specially curated by MTT, that included beautifully lit minimalist arrays of live cacti, a table of sea shells in a pool of water and colorful huge multi-layered projections of cacti. Wow…felt like entering one of those East European art happenings I’d covered in the 1980’s. Once we passed through a closed black door, we entered the spacious main hall, which offered a hip but relaxed atmosphere—two low wooden platforms served stages and lots of low leather seating that could be easily re-arranged. People were free to amble about and get a drink or just settle in and get busy with their phones and texting.
The inaugural run, called “Extremities,” kicked off dramatically with “Stella splendens in monte,” a brief anonymous Spanish work (local composer Mason Bates contributed the percussion arrangements.) The SFS chorus, in flowing robes, entered from the back of the hall, and made a dramatic procession to the stage, their lyrical voices swelling to fill every corner of the space. As they passed by each of us, we got a sampling of each singer’s individual voice. From there, it only got better—a very well-thought sonic and visual feast was about to unfold and we were ravenous for it. The audience snapped their fingers, clapped, yowled and tossed their exquisite locks…and the musicians beamed with pride. A glowing MTT looked like he’d dropped a decade as he engaged with the audience in a very heartfelt way, talking about musical choices and the potential of the space.
Steve Reich’s “Music for Pieces of Wood,” performed by members of the SF Symphony
Percussion Section at SoundBox. From L to R: Tom Hemphill (from Sonoma County), James Lee Wyatt III, Victor Avdienko, Jacob Nissly, Raymond Froehlich. Photo: courtesy SFS
Highpoints for ARThound: Steve Reich’s minimalist “Music for Pieces of Wood” featured five SFS percussionists with tuned hardwood claves creating a pulsing bed of rhythmically complex continuous sound. This reminded me of the miraculous frog concerto I am treated to in my pond in Sonoma County every time a serious storm blows through. After 8 minutes of this mesmerizing sound, which was accompanied by projections of Adam Larsen’s images of a New York skyline, we were all in trance mode. When it ended, and everyone stopped playing, we were left with a very perceptible silence, a void in the acoustic atmosphere that left us all profoundly aware of the power of sound to inflate and deflate the psyche.
Ravel’s exquisite “Introduction and Allegro” (1905) shimmered and glowed when played by a small ensemble of seven SFS musicians including principal harpist Douglas Rioth and concertmaster Sasha Barantschik whose beloved 1742 Guarnerius del Gesù (“The David”) cast a spell over the audience, some of whom swept away tears. The chamber piece showcased the space’s ability to tease out nuances in the contrasting sonorities. The velvety woodwinds, the percussive harp and the warm resonance of the strings were all so clear, so distinct, that I felt I was getting a personal introduction to the possibilities of these instruments.
One of the evening’s hip visuals was the Nordic visual art pioneer, Steina’s (Steina Vasulka’s), seven minute video, “Voice Windows” (1986), featuring the voice of Joan La Barbara. The short engrossing film was co-presented by SFS and SFMOMA and points to the limitless possibilities for future collaboration in a space like this. Since the early 1970’s, Steina, in collaboration with Woody Vasulka, has explored intricate transformations of vision, space and sound, through digital technologies, mechanical devices and natural landscape. “Voice Windows” was an exquisite and haunting example of her artistry in manipulating digital and camera-generated images and layering that with “real” and altered sound.
Beaming MTT (Michael Tilson Thomas) conducts members of the SF Symphony and Chorus in Monteverdi’s “Magnificat” (1610) from “Vespro della Beata Vergine.” Photo: courtesy SFS
After two intermissions, the evening closed with Monteverdi’s glorious “Magnificat” (1610) from Vespro della Beata Vergine. It is one of the eight most ancient Christian hymns and is taken directly from the Gospel of Luke where the Virgin Mary visits her cousin Elizabeth who is pregnant with the future John the Baptist. When Elizabeth praises Mary for her faith, Mary sings the “Magnificat” in response. Talk about immersive—the 19 minute piece featured soloists, the chorus and orchestra, all in rapturous splendor with gorgeous golden-hued projections of a Venetian church enhancing the mood.
Details: The next Sound Box performance, “Curiosities,” is January 9 and 10th, 2015. Doors open at 8 PM and performance starts at 9 PM. Tickets on sale now: $25 for open seating. The space accommodates 450 and will sell out quickly. The SoundBox website is not working correctly. Call the SFS Box office (415) 864-6000 to purchase tickets. SoundBox is located at 300 Franklin Street, San Francisco, CA. Parking: (is hell) Performing Arts Garage (360 Grove Street) or Civic Center Garage (between Polk, Larkin, Grove and McAllister).
interview: ARThound talks with SFS Concertmaster, Alexander Barantschik, who plays a rare Mendelssohn Violin Concerto this Thursday at Weill Hall
Alexander Barantschik, San Francisco Symphony Concertmaster for 14 years, performs and conducts “Barantschik and Friends,” at Weill Hall on January 23, 2014 and “Barantschik leads Mozart and Mendelssohn,” at Davies Symphony Hall on January 22, 24, 25, 26. Photo: Geneva Anderson
On stage at Davies Hall, San Francisco Symphony (SFS) Concertmaster Alexander Barantschik seems to epitomize the intense and mysterious Russian. The virtuoso always looks quite serious as he juggles his orchestra leadership role with that of first violinist who plays “The David,” the illustrious 1742 Guarnerius del Gesú violin, famed for its rich dark sound. I’ve always wondered what makes Barantschik tick and about the particulars of his Russian musical upbringing. When I had the chance to interview him in conjunction with “Barantschik and Friends“—his upcoming performance at Green Music Center’s Weill Hall this Thursday (and on Wed, Fri, Sat and Sun at Davies as “Barantschik leads Mozart and Mendelssohn“)—I jumped. We chatted on the phone last Friday and he couldn’t have been warmer as he shared his amazing story.
Google Barantschik. You’ll learn that he’s nicknamed “Sasha” and that this former concertmaster of the Netherlands Radio Philharmonic and London Symphony orchestras has served under Music Director MTT (Michael Tilson Thomas) for 14 years through acclaimed cycles of Mahler, Stravinsky, and Debussy, and that he has premiered important works by André Previn and Viktor Kissine. He’s played exquisite instruments throughout his career too. The fact that Barantschik’s first auditions in the West—for a seat and then for the concertmaster position at Germany’s Bamburg Symphony—were performed with a violin he bought in a department store as he was leaving Russia, is a little known detail I nudged out of him that makes his story all the more fascinating. As we were talking, I got the impression that he’s a bit private but that didn’t stop me from asking for “a bit more detail.”
It took SFS Concertmaster Alexander Barantschik about a year to get comfortable with “The David,” the famous 1742 Guarnerius del Gesú that was Jascha Heifetz’ favorite fiddle on stage and in the recording studio. Barantschik admires the way sound projects from the violin so that, even while he is playing softly, the instrument can be heard throughout the concert hall. The violin rarely leaves Davies Symphony Hall, EXCEPT when it travels to the Green Music Center or to the Mondavi Center. Photo: Geneva Anderson
On Thursday, Barantschik returns to Green Music Center to lead the Orchestra in an irresistible program he’s put together showcasing strings. Following a lovely early Mozart “Divertimento in F major for Strings,” Barantschik takes center stage to play Mendelssohn’s “D minor Violin Concerto,” one of the Romantic master’s finest creations and a delightful surprise for concertgoers who only know its more famous sibling, the E Minor. He’ll be playing “The David,” the 1742 Heifetz Guarnerius del Gesù violin owned for many years by his idol, Jascha Heifetz. The violin, valued at over $6 million, was bequeathed to the Fine Arts Museums of San Francisco (FAMSF) in 1989 by Heifetz and offered as an extended loan to SFS in 2002, where it has been cared for and played by Barantschik. Barantschik insists that the dollar value on the instrument is “completely irrelevant” as it’s priceless and could “never be replaced.” Of course there are a few restrictions. This will be “The David’s” second appearance at Weill Hall—1 of 2 locations outside of San Francisco where he is allowed to take it, the other being the Mondavi Centerfor the Performing Arts at UC Davis. Aside from these two exceptions, the instrument never travels outside of Davies. Also on the program is Britten’s winsome “Simple Symphony,” a salute to the composer’s centenary and “Melodia-Libertango,” the sultry music of Argentine composer Astor Piazzolla, the king of nuevo tango, with guest performer Seth Asarnow on the bandoneon.
Where did you grow up in Russia and what was your first experience with the violin?
Alexander Barantschik: I was born in 1953 in St. Petersburg, Russia (then ‘Leningrad’), which was and still is the cultural capital of the country. My family wasn’t musical, no musicians except for a very distant relative, Yefrem Zimbalist, who lived in the States but I never met him because he’d emigrated at the beginning of the 20th century. It was pure coincidence that my mother tried to get me some lessons at the music school which was just across the road from our home. I could walk there by myself every day and my parents thought this would keep me busy and off the streets, which was just what happened. I was almost six when I was admitted. My first instrument was an accordion because there was no space for another violin student in the school. I don’t remember anything about that accordion but a violin spot opened up and the teacher thought I had a pretty good sense of rhythm and pitch and so I started playing the violin. After a few years, I made some progress. I can’t say I was completely dedicated to practicing or spent many hours at it but I loved music. It took quite a few years before I truly understood the importance of practice and of the violin itself. I was probably 12 or 13 when I started thinking this might be forever, this might be my life, and then I started practicing and then I started making real progress.
Historically, was there a “Russian style” of music playing and was that around when you were studying and is it still around today? Who were there big mentors that you looked up to, or, perhaps, wanted to topple?
Alexander Barantschik: When we think of a Russian school of violin, we should think about Leopold Auer, basically the first teacher who could claim that he was important for the whole process of teaching great players. His students, apart from Heifetz, were phenomenal violinists. He wasn’t Russian but a Hungarian Jew who came to Russia (in 1868) and his Russian wasn’t perfect but he was teaching his students in a unique way—they all had something special in common. That tradition of playing was very deeply appreciated after he left and went to live in New York for the last part of his life. I cannot say there is a Russian tradition of violin playing that exists right now. The world is smaller, faster, and within one week, you can be in three different continents, so things are not as personalized. There are great players of the past who are impossible to imitate…Jascha Heifetz, Yehudi Menuhin—great players who were absolutely unique.
How do you feel about David Oistrakh’s playing and did you ever happen to meet him?
Alexander Barantschik: I loved his playing and heard him play much more than any other violinist as he was in Russia and played regularly with the St. Petersburg Philharmonic. I was dreaming of becoming his student at the Moscow Conservatory and was able to audition with him when he was performing in St. Petersburg. I met with him in his hotel room and I played for him for about 20 minutes and he was extremely nice and accommodating and sympathetic. He listened and made some corrections and tried to see how I reacted to his comments. His last question after I had played was simple—’Do you think you really love violin?’—and he looked straight into my eyes as he asked me that. I think I said, ‘I dearly love violin.’ After a second, he said, ‘Ok… I will accept you into my class.’ I couldn’t have been happier than I was at that moment. As I was preparing to take other exams at the conservatory, I heard the tragic news that he been on tour to the Netherlands and had died in Amsterdam after his concert. I never became his student and that was the end of my training but I’m so glad I have this wonderful memory of playing for him.
What were the circumstances that brought you to the West?
Alexander Barantschik: By the time I was in my mid-twenties, I was a member of the St. Petersburg Philharmonic Orchestra and toured regularly. I had visited Western Europe and Japan but I felt that, for my musical development, I needed to absorb different cultures and traditions and that the only way to achieve this was to emigrate from Russia, which I did at 26. My first country was Germany, where I was concertmaster with the Bamberg Symphony Orchestra. This was my first job and I spent three years there learning all about German traditions—Beethoven, Bückner, Haydn—and I broadened my view and I’m still learning from different traditions today.
How difficult was it to get out of Russia to Germany?
Alexander Barantschik: It was not easy and, let’s say, it was made difficult. I left Russia with one suitcase—no money, no job, no references and almost no violin. My violin was not a Guarneri but it was a nice little violin from Tirol, Austria, and at the last minute, I was not allowed to take it with me. I ended up going to a department store, to the music section and buying a simple violin that had been made in a furniture factory. It looked horrible and sounded accordingly. I played my first audition, for the section, on that. Afterwards, the committee came to me and said they were happy to offer me a job with the orchestra but that in one week they would have another audition for concertmaster and they asked me if I’d like to participate. I didn’t think about it and just said yes. They then asked me about my violin which was very bright red and said they’d never seen anything like it before. One week later, I returned for the concertmaster audition and played all the solos and concerti and I got that position. That was when they presented me with a very beautiful Guadagnini violin made in Cremona and the legend was that it has belonged to a famous German violinist Joseph Joachim who was a close friend of Brahms and who wrote cadenzas to almost every important classical violin concerto.
Do you still have that red violin?
Alexander Barantschik: No. I lent it to someone and this person never returned it and for that I am very sorry. I would love to frame it and hang it on the wall for my students at the conservatory to see what my beginnings were.
“Sasha” Barantschik has compared “The David,” his 1742 Guarnerius del Gesú, to the mysterious Italian film star Claudia Cardinale—”dark, rich and complex.” Bequeathed to the Fine Arts Museums of San Francisco in 1989 by Jascha Heifetz, this masterpiece of spruce and maple, was named after Ferdinand David, the violinist who owned it in the mid-19th century and for whom composer Felix Mendelssohn wrote his famous violin concerto in E minor. Heifetz died in 1987 and stipulated in his will that it be played only by “worthy performers.” Itzhak Perlman, Gil Shaham, Stuart Canin, and Barantschik are among the very few who have since passed their bows over its venerable strings. Image: FAMSF
What did it feel like the first time you had Jascha Heifetz’s fiddle in your hands? How long has it taken you to become truly comfortable with the fact that this is now your violin?
Alexander Barantschik: Of course, the very first time I held it, I was speechless because the sound of Heifetz had been with me in my ear since I was a child…I’ve listened to his recordings all of my life. The violin is legendary, with a very special history of ownership and craftsmanship but it is not easy to play. Players need to find the way to produce the sound it’s capable of and that requires a special technique. It took me many months, perhaps a year, to meet its demands and to make it my friend so it started to like me as well.
Do you think that Guarneri has a unique voice? One of your SFS colleagues mentioned that he thought he heard a familiar voice from the Heifetz recordings when he heard you play it.
Alexander Barantschik: I never tried to imitate Heifetz’s sound. First of all that’s impossible as there was only one Heifetz and there will never be another. So it’s not my intention but it does have a unique dark-colored sound and maybe some low notes sound a little familiar for those who are familiar with his recordings.
detail, “The David” made by Giuseppe Antonio Guarneri (del Gesú). Photo: Stewart Pollens
You were MTT’s concertmaster in London Symphony Orchestra right? You obviously have a special rapport. What clicks? Do you and MTT ever share a vodka before or after a performance?
Alexander Barantschik: We met in London. I joined the London Symphony Orchestra in 1989, the same year he started as principal conductor. We met in the recording studio when the orchestra was recording Richard Strauss’ “Ein Heldenleben,” which has a huge important violin solo. We had just one rehearsal and we didn’t have time to discuss things or work out the details—it was spontaneous—we both just trusted each other as musicians. After this very important and stressful recording session, we immediately became friends. I still have the cd and it’s one of the best I ever made. Our collaboration has continued for a little over 30 years now.
As for the vodka, usually, we are both pretty exhausted after a performance and we don’t have any vodka with us. Maybe, on a couple of occasions, when it was the end of the season, we shared a drink.
SFS Concertmaster Barantschik and Music Director Michael Tilson Thomas in Cologne, Germany, in 2002.
What’s the most stressful aspect of being the concertmaster?
Alexander Barantschik: It is a stressful job but maybe a better word is complex. The most stressful period was when I first started my career as a concertmaster and I had to basically learn the entire orchestral repertoire, an endless body of work. I’m still learning new pieces and relearning old pieces and forced to make important decisions. It’s not only about playing—it’s about preparing sheet music, working with guest conductors, auditioning musicians and all of that is very complex in this huge organization.
Historically, the SFS concertmaster has been the only musician not to have tenure. In the last SFS contract, you were given tenured status and all concertmasters, hereafter, were given the chance to be tenured. Was that important to you?
Alexander Barantschik: I think the most important aspect was the recognition of me being an integral part of the orchestra, not as being slightly different from the others.
Why did you select the Mendelssohn Violin Concerto in D Minor and what sets it apart from his Concerto in E Minor, one of the five great violin concertos?
Alexander Barantschik: The D Minor that I will be playing is written for violin and strings whereas the E Minor is written for the whole orchestra with wind and brass. This program is dedicated to SFO strings and that was my main reason. It is also rarely played and, in fact, was completely ignored until Yehudi Menuhin found it in the 1970’s and edited the score and performed it for the first time in a couple of hundred years. So, this is not so popular but it was a master work when Mendelssohn wrote it as a 13 year old and it has all the qualities of the works he composed in his advanced age. You can hear from hear very first few bars that it is Mendelssohn—it is youthful, beautiful, dramatic and it speaks to my heart.
Any contemporary music for violin that you find intriguing?
Alexander Barantschik: Of course, it depends what we’re talking about…in terms of the 20th century, which is already the last century, I love Stravinsky, Prokofiev, and Shostakovich the most. If we are talking later, and more avant-garde, then there are very interesting pieces that have a new language. The only way to encourage young composers to write is to perform their works. Without performing, we’ll never know where music is going. On two occasions (2003 and 2012), I played the “Concerto No. 4 for Violin and Orchestra” (written in 1984 as a commission for the Berlin Festival) by the Russian composer Alfred Schnittke (1934-1998). I was a little nervous about how the audience would react as it’s a very complicated piece, not easy listening, but he’s one of my favorite composers and this is one of my favorite concertos. The audience and the orchestra loved it in 2003 and when I played it nine or ten years later, it was the same story…successful. Now, I am learning and I hope to play a concerto by John Adams.
Concertmaster Alexander Barantschik will play Mendelssohn’s “D Minor Violin Concerto” (1822), written when the composer was just 13, this Thursday at Weill Hall. About one third of Mendelssohn’s music (270 of roughly 750 works) remains unpublished and mostly unperformed. The D minor concerto hasn’t been heard much since Yehudi Menuhin gave its premiere in 1952. Photo: Lowres, SFS
Where else aside from Russia, London and CA have you lived and which place do you consider “home”?
Alexander Barantschik: Without any doubt, home is where my family is— my wife Alena and son Benjamin—and we’ve been here since 2001, 13 years already. I am very happy to call CA, the Bay Area, specifically San Mateo, where I live, my home. After I left Russia, I lived in Germany for three years and then in Amsterdam for 22 years where, for 16 years, I combined my job as concertmaster with the Netherlands Radio Philharmonic with my concertmaster position at LSO. I then moved to California and started my job here at SFS.
Does your son have any interest in pursuing music?
Alexander Barantschik: He’s a high school junior now. He loves math, science, and computer science and he plays piano for his pleasure and loves classical music but he has no desire to pursue music professionally.
Russians have a marvelous and highly creative form of cursing. What’s your favorite Russian curse?
Alexander Barantschik: Honestly, I don’t curse so much. We do have a saying, ‘Ni puha ni pera,’ which is something like ‘break a leg,’ which is what you say to every musician or performer about to go on stage. The reply to that is always ‘K chortu,’ which is ‘Go to hell,’ a good omen for Russians.
How do you feel about performing at Weill Hall?
Alexander Barantschik: We are used to our hall, Davies, where we perform and rehearse every day and it’s challenging to leave that. Weill Hall is much smaller than Davies, has a completely different shape, and is very different acoustically from Davies. Since we don’t have any rehearsals at Weill Hall, or at the Mondavi Center, it’s always challenging to get the sound just right. We don’t have any experience just sitting in the hall and listening either. On stage, we are hearing things that are so different from what you’re hearing and we have to adjust immediately without even hardly having a chance to play. This time, we’ve got a small ensemble. I will come a bit early and check out the acoustics to make sure I remember what it’s like there.
Details: Alexander Barantschik and SFS perform “Barantschik and Friends” at Green Music Center’s Weill Hall, Thursday, January 23, 2014 at 8 p.m. AND “Barantschik leads Mozart and Mendelssohn” at Davies Symphony Hall on Wed (Jan 22, 8 p.m.), Fri (Jan 24, 6:30 p.m.), Sat (Jan 25, 8 p.m.) and Sun (Jan 26, 2 p.m.). Tickets at Green Music Center are $20 to $156 (click here to purchase) and are $15 to $109 at Davies (click here to purchase.) For more information, call (415) 864-6000. For more information about San Francisco Symphony’s four concerts this season at Weill Hall, click here.
ARThound 