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Could Esa-Pekka Salonen return to the L.A. Phil? Recent appearances raise hope

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Esa-Pekka Salonen and the Los Angeles Philharmonic honored Pierre Boulez’s 100th birthday with a wealth of creative sound and dance. A group of eight LA Philharmonic musicians, consisting of individual oboe players to ensembles of winds, brass, and strings positioned onstage and near the Walt Disney Concert Hall, established a solemn atmosphere. The percussion had an exotic feel to it. Six dancers from L.A. Dance Project seemed to emerge from each of the 14 parts of Boulez’s vibrant score.

Throughout its 23-year lifespan, Disney Hall has had the opportunity to experience a wide array of events due to the Los Angeles Philharmonic’s willingness to explore grandiose (and expensive) ideas. Once more, they have outdone themselves in an extraordinary tribute concert that stands alone among others.

The question is: Now what?

On Sunday, Boulez’s “Rituel” delivered an exceptional show, serving as the finale to Salonen’s two-week guest conductorship with the L.A. Phil, a role he held as Conductor Laureate. This was also his first return to the orchestra since last year when he announced he would not renew his contract as Music Director of the San Francisco Symphony. He admitted that his views for the orchestra’s future did not align with those of its board.

There’s increasing talk about Maestro Salonen potentially coming back to the L.A. Philharmonic. As of now, no one has been officially announced as Gustavo Dudamel’s successor, who is set to depart at the conclusion of next season for the New York Philharmonic.

When Kim Noltemy assumed the role of president and CEO last summer, her appointment eased concerns that the L.A. Phil board might choose to appoint a music director themselves. It seems probable that the L.A. Phil may go without a music director for a couple of years now. The positive reactions from audiences and allegedly the musicians suggest that many would be overjoyed if Salonen were to return to lead the orchestra during this transitional phase.

We’ll need to observe if Salonen, who celebrates his 67th birthday next month, would consider such an offer. He has openly expressed his desire for relaxation after serving as a music director in Stockholm, London, L.A., and San Francisco for a long time, escaping the pressures of institutional obligations. Now highly sought-after as a composer and conductor, he enjoys the freedom to do whatever he pleases.

Despite this, his 17 groundbreaking years as music director of the L.A. Phil and his subsequent 16 years as conductor laureate have given him the opportunity to fulfill his aspirations on an unparalleled level. In Los Angeles, he has a unique venue such as Disney Hall, which he inaugurated. The L.A. Phil is an orchestra with unmatched flexibility, and in Los Angeles, Salonen has thrived under bold administrations willing to support Salonen’s endeavor to establish an orchestra for a new epoch – a commitment the San Francisco Symphony failed to, or chose not to, uphold.

The evidence of Salonen’s tribute to Boulez was clear during his performance with the L.A. Phil. The choreography for “Rituel,” created by Benjamin Millepied and performed by his L.A. Dance Project, made its debut at the Philharmonie in Paris, where Salonen conducted Orchestre de Paris on the occasion of Boulez’s 100th birthday in March. The program opened with a small octet by Stravinsky and Bartók’s Music for Strings, Percussion, and Celesta.

The tribute Salonen paid to Boulez was unmistakable during his performance with the L.A. Phil. Choreography for “Rituel,” created by Benjamin Millepied and performed by his L.A. Dance Project, had its first showing at the Philharmonie in Paris, where Salonen led Orchestre de Paris on Boulez’s 100th birthday in March. The program started with a small octet by Stravinsky and Bartók’s Music for Strings, Percussion, and Celesta.

Despite the concert taking place at the Philharmonie’s Grande salle Pierre Boulez, which was considered one of the city’s most significant homages to a prominent Parisian composer, the program only featured a single half-hour piece by Boulez. In contrast, the L.A. Phil’s extensive program at Disney started with French pianist Pierre-Laurent Aimard playing two solo “Notations” composed by Boulez. This was followed by the composer’s expansive versions that required a large orchestra, including substantial brass and wind sections, three harps, and considerable percussion.

It took only around 10 minutes of performance time to need an additional 15 musicians. When I inquired about this cost from Noltemy, she chuckled and remarked that budget had never stopped the L.A. Philharmonic from pursuing their creative aspirations.

In my recent review, I had the pleasure of attending a performance that showcased Esa-Pekka Salonen’s masterful conduct at the helm. The program included Bartok’s Piano Concerto No. 3, brilliantly performed by Aimard, and Debussy’s “La Mer,” works that Salonen had recorded with the L.A. Phil back in the 1990s. I must say, these recordings continue to shine for their pristine sound quality and energetic zest.

However, what stood out during this live performance was not just the retention of those qualities but a newfound depth and overwhelming grandeur. It felt as if the music had matured, much like a fine wine, and the result was an experience that was simply breathtaking.

Indeed, conductor, orchestra, repertoire and hall all were simply made for one another.

Boulez’s music is intricately detailed and has often left audiences baffled over time. Yet when listened to appropriately, it can evoke the vibrant hues and flavors of Debussy’s masterpieces. Aimard performed the small-scale “Notations” pieces (the fourth and seventh) with great care for subtle details, while Salonen ensured that the orchestral bursts were filled with a myriad of colors amidst controlled chaos. As an encore to his heartfelt, powerful rendition of Bartok’s concerto, Aimard included more “Notations,” particularly shining in the captivating middle movement.

Rituel” was a tribute to the Italian composer and conductor Bruno Maderna, who passed away in 1973. At first glance, Boulez and Maderna appeared to be quite distinct personalities – the analytical Boulez contrasting with the sensual Maderna. However, “Rituel” powerfully demonstrates that they shared many similarities beneath their differences. Boulez’s composition, filled with Asian and Indonesian percussion, has a sonic intensity comparable to anything created by Maderna. Furthermore, it serves as an effective bridge to the revolutionary impact of Japanese music on Debussy’s “La Mer,” which later influenced Boulez, who became renowned for conducting this piece.

In the production “Rituel”, each distinct ensemble plays unique, meticulously arranged music. Guided by the conductor, they harmonize in a manner reminiscent of nature’s spontaneity. Similarly, Millepied’s accomplished dancers moved independently but often intersected and clustered, displaying both fierce and sensual dynamics. Notably, there isn’t much dance choreographed to Boulez’s compositions. However, Millepied demonstrates that even with complex rhythms, there is still room for further exploration.

Last week with the L.A. Phil, Salonen started off playing Debussy’s “Prelude to the Afternoon of a Faun,” filling the auditorium with its melody. The latest Violin Concerto by Bryce Dessner was highlighted by Pekka Kuusisto’s dynamic bowing, producing remarkable acoustic effects using harmonics. To conclude, Salonen performed Beethoven’s “Eroica,” giving it a fresh feel as if it had been composed after Dessner’s concerto rather than over two centuries ago.

Next up for Salonen is his last series of concerts with the San Francisco Symphony, scheduled for next month, unless there’s a potential strike by the orchestra.

This summer is packed for him; it kicks off with a tour of the New York Philharmonic to Korea and China. He’s also scheduled to perform alongside the Boston Symphony at Tanglewood. There’s a collaboration with director Peter Sellars in Salzburg on the cards, followed by world premieres of his Horn Concerto in Lucerne. To round off, he has a European tour planned with the Orchestre de Paris.

In early autumn, Salonen will perform “Rituel” again with the New York Philharmonic, a joint commissioner of the choreography alongside Los Angeles and Paris. The performance continues almost without pause for the remainder of the year. He returns to Los Angeles in January with an even more ambitious lineup of programming.

It doesn’t seem like a compulsory move for Salonen back to L.A., but there are prospects here that could be considered nothing short of dreams in other places.

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2025-05-14 21:31

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