Just when you think you've heard it all
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.
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Amanda Ameer left her position as Publicity Manager at IMG Artists in June 2007 to start First Chair Promotion. She currently represents Hilary Hahn, Gabriel Kahane, The King's Singers, David Lang, Eric Owens, Michael Gordon, Hélène Grimaud, Sondra Radvanovsky and Julia Wolfe, and serves as a consultant to Chamber Music America.
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