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Maurice Jarre Concert (May 25, 2000)Archive of old forum. No more postings.
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Topic: Maurice Jarre Concert (May 25, 2000)
Howard L
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(I'm taking a page from Dan Brecher)Ruth Eckerd Hall in Clearwater, Florida seats 2100. The seating arrangement is more or less "coliseum-style" with no obstructions and the acoustics are simply marvelous.
The concert was slated to begin at 8pm and I arrived at 7:30 on this sweltering evening in my H Rocco-inspired-Detroit-dress-rehearsal attire: navy blue blazer, cream-colored slacks, blue-plaid open collar shirt (sans bullet-proof vest) and faux hush puppies. I went right up to the box office, looked the ticket seller straight in the eye and with my best Jim Cleveland grin informed him that "I am a party of one with a very serious interest in film music and would really appreciate it if I could have the absolutely best possible seat available." He smiled and said let's see what we can do.
He got me 3rd row from the stage directly in front of and practically within handshaking distance of the cello section. And for 1/2 the price of Detroit. Didn't have to bribe. I sat down, looked back and the place appeared to be sold-out. It's done...it's done.
While the musicians straggle in and do the tuning up routine, a flutist continually trilled about notes that I instantly recognized from the desert-crossing-to-Aqaba scene in Lawrence Of Arabia. At 8:10pm Mr. Jarre makes his entrance. He's wearing a white jacket, black slacks, red bowtie; with his shock of silvery white hair mussed about it was tempting to shout "Leopold". He kisses the hand of the Concertmistress and launches right into
GRAND PRIX OVERTURE. The piece highlighted a driving percussion section and included a few sound fx, specifically race cars whizzing around the turn. It was a rousing opener, followed by a somber but proud and dignified THE DEAD POETS SOCIETY. My goodness, the solo harp was so lovely and from somewhere came what seemed like the sound of an electric harpsichord. The piece built ever so subtly to a stunning percussive downbeat, and then just as subtly segued into the finale with a return to the harp soloist. I enjoyed this film very much but have never really gotten into the score, but here I found myself happily a part of the huge ovation at the piece's end.
Next came MAD MAX BEYOND THUNDERDOME and what a contrast to the previous works. I mean toss a synthesizer or two into the mix and wander in and out all over the place with the dynamics and you've got one mean experimental slam-banging positively schizophrenic and wholly where-else-but-only-in-the-movies piece of music. Phew! But then shift to a Middle East pastorale in the form of JESUS OF NAZARETH before getting too carried away. It came off like a mini-symphony; I havn't seen the film but what a symphonically-induced mind picture. And sharp contrast to the Mad Max piece; it had the feel of a single epic scene; start slow with the flute, bring on the rest of the woodwinds, add in the Herrmannesque lower brass, bring on a lonely trumpet--oh, just let each section of the orchestra have their say. Let's show 'em all off. But then it's "ole'!" as we make way for the bouncy Latin cadence of "Pancho Villa" (VILLA RIDES). The Frenchman really let his hair down with this one, toying with the orchestra by tucking in his baton and conducting with a bump here, a grind there and simmering with Spanish bravado. Once again but in a manner diametrically opposed to Dead Poets--oh, bring the house down, Senor Maurice!
And as he would continually do all evening, be very generous with the kudos to all the musicians. But there's something wrong about FATAL ATTRACTION. What was it? I mean it was pleasant, had a certain film noirish-appeal, but it was just too modern sounding. Eh, whatever. But how nice to hear you speak for the first time as you relate to the audience "in case you haven't seen the film" (read: Thor) that the title IS PARIS BURNING? refers to a question posed by Hitler who had given the order to destroy all that makes the city memorable. As his own last days drew near. And set the stage for the "dance of a now-liberated Paris" and then show us how you 'captured' the unbounded joy of a people no longer under Nazi occupation. Then close the first half with the positively melodic treat called PASSAGE TO INDIA. Oh, I love a catchy recurring theme and it was simply marvelous but M. Jarre, it sounds more suited to Paris than downtown New Delhi! But thanks for the Ryan's Daughter-like music memories and the interlude that was so Herrmann/Twilight Zone-ish and my oh my the myriad of risky transitions that had to be most challenging to the musicians--who pulled it off!
INTERVAL
(the rest--including my encounter with The Frenchman--to follow)
[This message has been edited by Howard L (edited 30 May 2000).]
posted 05-26-2000 10:17 AM PT (US) Howard L
Standard Userer
At the beginning of the Interval I struck up a friendly conversation with the elderly couple right next to me. Turns out they've been on holiday from Manchester, England for the past 3 weeks. They tell me that there's no acoustics like those at Bridgewater Hall where they cherish concerts by the Holle Orchestra and if I'm in the area I positively must attend a concert there.Perhaps one of our friends across the Atlantic can expound a tad on all this. The only thing Manchester means to me is a football club and Daphne Moon--not necessarily in that order. Anyway, the 20-minute Interval ended at 9:30 at which point M. Jarre reappeared but now wearing a black bowtie in place of the red. After regaling the audience with tales of trials & tribulation endemic to the film-composing world, he launched the orchestra into DR. ZHIVAGO. You don't need me to say much--hey, Zhivago is Zhivago, right?--except to say you either love it or hate it and that's that. We loved it. There followed a few more tales and then another "in case you haven't seen the film" (read: Thor) preface before we found ourselves enthralled by "Building the Barn" from WITNESS. Let me tell you that this marvelous piece takes on a whole new life when you discard the 8 synthesizers and give it the real-life Amish-dreaded acoustical touch. The recipe calls for a string bass opening followed by a dash of the higher strings; then mix-in a generous portion of woodwinds and a touch of lower brass and then the upper brass and before you know it you've got a sterling example of the tasty dish best known as orchestral coloration. Ou-la-la, c'est magnifique but notice Chef Maurice tender his own compliments to the brass section with a hearty thumbs-up!
So far it's been one huge treat listening to these gems from the past, and for something completely different he next introduces a brand-new suite from the newly-released I DREAMED OF AFRICA. How new is the suite? Well, M. Jarre tells us we will be hearing the first performance ever. --That's right, here in little old Clearwater we're being treated to an honest-to-goodness World Premiere!
Truthfully, I felt that the honor fully outweighed the piece, however. It was nice, perhaps derivative-sounding from others of his work...no great shake. And yet it had me realizing that if he were some new up-and-coming talent I probably would be saying hey, this guy definitely deserves some looking into. And that, my friends, is the difference between a rookie and an accomplished veteran: relative expectations. And the fact is that what this veteran has just spat out and what I call "no great shakes" still ranks head and tails above a lot of the output in this site's so-called "greatest decade" poll or alternatively exemplifies, as another 'boarder put it, "sensible music" vs. "music sensibilities."
And yet how much sense did it make in the real greatest decade to credit Sir Adrian Boult as conductor of LAWRENCE OF ARABIA when he didn't conduct a note? Not...a...note. M. Jarre humbly explained the circumstances surrounding the faux film credit and confirmed that he himself was the baton wielder there, too, and not just on the soundtrack album.
The 95-minute program concluded with LAWRENCE.
And after a few hearty rounds of applause laced with valentines, it was time for Plan B to kick into action. Let a good portion of the crowd file out, HL...that's right, no rush, he's probably trading thank-yous with the musicians, just find someone with a look of authority, not an ancient usherette...aha, someone with a badge and walky-talky; Security!...give it the old charming yet humble grin and
HOWARD: Pardon me, ma'am, but I have been a long-time admirer of Mr. Jarre's work and would it be possible, perhaps, for me to meet him privately for just a few moments and maybe shake his hand?
SECURITY PERSON: I don't know, I've never been asked this before.
HOWARD (without laying it on too thick): Oh, it really would mean a lot to me...
SECURITY PERSON: Let me check.
(She walks back toward the auditorium entrance, turns left just prior and disappears through a door)Well, 5 or so minutes later she emerges, beckons, and I find myself entering the dressing rooms-area; she points me to a lady who says he'll be out shortly, he's just finishing changing and cleaning up. Turns out she was waiting to take him to his hotel. To cut a long non-fact-or-fiction story short, he came out, I mentioned my name and introduced myself once again as a serious film music appreciator, we shook hands, I thanked him for his career, related that I was so happy to see him return to his orchestral roots with A Walk In The Clouds and yet continue to adore his wholly electronic The Year Of Living Dangerously; he seemed genuinely surprised and delighted (nobody brings up TYOLD?) exclaiming "THAT was a long time ago!" at which point I countered with a friendly "Oh, come on, not THAT long ago" and we laughed together.
And that was basically it. He was positively upbeat, charged with energy; I mean he looked a lot older up there on the podium; not up close and in-person here now, no sireee. What a glint in his eyes. And what a difference with that silvery-white hair all mopped back and slicked. He radiated with the appearance of one who really enjoyed himself tonight. At that I said I wouldn't keep him any longer, he was probably tired (sure didn't look it for a guy in his 70s; then again, he didn't look like he was in his 70s to begin with) but
"Oh, one last thing. I'll be up in Detroit, Michigan for another film music concert next week. May I send your best regards to Monsieur Goldsmith with me?"
"Oh yes, we know each other very well!"
His smile and that French accent and all were tops.
Helluva night.
Couldn't have scripted it better.
Gotta do this again real soon--say, in another week or so?
posted 05-26-2000 03:48 PM PT (US) joan hue
Standard Userer
To quote Howard: "Gotta do this again real soon..say in another week or so?"You lucky guy. (rub,rub,rub.) I'm absolutely green with envy.
Excellent write up. Loved the details. Nice model for your H'ness.
NP Best of the West.
posted 05-26-2000 08:04 PM PT (US) H Rocco
Standard Userer
something to live up to ... ACES, Mr. L.
posted 05-26-2000 08:52 PM PT (US) Chris Kinsinger
Standard Userer
...if you want to know what REALLY happened when the concert was over, check out MY report in Howard L's first thread about this concert!posted 05-26-2000 08:56 PM PT (US) Howard L
Standard Userer
Oh, I forgot to mention that:1. the orchestra has 84 musicians
2. while M. Jarre spoke they were quite rapt
3. the flute trill showed up in Grand Prix
4. when I said "modern" re Fatal Attraction, I meant to connote that the piece seemed an odd fit within the entire billLooking back, I think I was taken by surprise at M. Jarre's friendliness toward what I figured he would consider Just Another Fan Freak. Must be an inbred cynicism I have that they're all Herrmanns and/or temperamental artists. Not this guy. Here it is 3 days later & I still smile when I think of our encounter. The whole thing's rather funny and damn me if I can figure out why!
posted 05-28-2000 03:09 PM PT (US) H Rocco
Standard Userer
It's a HUGE kick in the head meeting your idols and finding out they find you likable, that's why, Mr. L. When I first interviewed Akira Ifukube in 1987, I kind of assumed that would be my last-ever shot at it, so I went a bit nuts, taking endless photographs and finally, at the gate, blurting in extremely broken Japanese what my favorite works of his were (at the time). He's a shy fellow, but he was bemused by this kid, I guess (I was just eighteen), and just over a year later, a record producer mentioned that he had just met Ifukube for the first time himself, and Ifukube actually MENTIONED ME! I guess I was one of the first Americans who wanted to visit him (he was not as widely interviewed then as he would be in later years), and certainly the youngest. Blown away that he remembered me, and realizing he HAD, after all, given me his business card complete with home phone number, I got my nerve up to use it. He remembered me, we scheduled another interview right away, and hence began as close a thing to a friendship as an ancient Japanese fellow and a callow American kid could ever have. I rarely telephone him (especially from America), but he always sounds psyched when I do, which is infinitely flattering.NP: SALOME (Akira Ifukube, symphonic adaptation of 1950s ballet) (coincidentally, I assure you, it was more than half over before I even visited this thread)
posted 05-28-2000 04:37 PM PT (US) Thor
Standard Userer
Congrats, Howard, with that short "walk in the clouds" of yours. At least now you have an excuse to prolong your upcoming conversation with Jerry in Detroit.I went beyond the stage of "green envy" long ago...
posted 05-30-2000 09:58 AM PT (US) JJH
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is there anyone else here that loves his Jacob's Ladder ?posted 05-30-2000 10:12 AM PT (US) Old Infopop Software by UBB