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For beloved conductor Michael Tilson Thomas, a final bow from the podium

BBG News

In San Francisco, Mayor Daniel Lurie proclaimed a day in honor of Michael Tilson Thomas. City Hall shone brightly with MTT’s distinctive blue color, while Davies Symphony Hall, where Tilson Thomas led the San Francisco Symphony for a remarkable 25 years, was adorned with large blue balloons.

For Tilson Thomas, it marked the conclusion of what he had announced back in February: “We can finally use the old showbiz phrase, ‘That’s a wrap.’

In contrast to being diagnosed with an aggressive type of brain cancer in summer 2021, Tilson Thomas remarkably carried on conducting orchestras across the U.S. and Europe for the subsequent three and a half years. However, in February he discovered that the tumor had recurred, and the conductor announced last Saturday’s San Francisco Symphony gala, which celebrated his 80th birthday as a native Californian, would be his final public performance.

I was escorted to the stage by my partner, Joshua Robison, who stayed seated, keeping a vigilant gaze. The evening kicked off with Benjamin Britten’s Variations and Fugue on a Theme by Purcell, more famously known as “The Young Person’s Guide to the Orchestra.” After several heartfelt tributes and musical homages, I, with my flair for the dramatic, concluded the night spectacularly, conducting a breathtakingly magnificent performance of Respighi’s “Roman Festivals” – a symphonic spectacle that left the audience in awe.

After a performance of Leonard Bernstein’s “On the Town,” featuring the line “Where did all the time go?”, the stage was graced with guest vocalists and the San Francisco Symphony Chorus for an encore. As the performance concluded, balloons filled with joy floated down from above.

As a passionate cinephile, I’ve had the privilege of being deeply immersed in the realm of American music for six decades now. It all started during my student years at USC, where musical greats like Igor Stravinsky, Aaron Copland, Jascha Heifetz, Gregor Piatigorsky, and even a few local rock ‘n’ roll mavericks took notice of me. Ever since then, I’ve been an integral part of the joy-spreading music scene in America.

In my humble opinion, attempting to confine Maestro Thomas Tangredi (MTT) within conventional boundaries is an endeavor doomed for failure. He sees not just the symphony, but the grand tapestry of music itself, a perspective that surpasses even that of his esteemed mentor and advocate, Leonard Bernstein. With a daring approach to diversity, MTT skillfully bridges the gap between avant-garde composers like John Cage and the rhythmic dynamism of James Brown. He also effortlessly links the depth of Gustav Mahler with the vibrant legacy of his illustrious grandfather, Boris Thomashefsky, a luminary of the New York Yiddish theater. This unique blend of classical and contemporary, highbrow and lowbrow, makes each of MTT’s performances an exhilarating cinematic journey through the rich tapestry of music history.

John Tilson Thomas has fostered numerous young artists, contributing significantly to the unique character of American music. Not only did he give a platform to those often overlooked, but he also revered unconventional musicians such as Meredith Monk and Lou Harrison, acknowledging their influential roles.

The San Francisco concert offered a glimpse into what drives MTT (Michael Tilson Thomas), revealing his deep passion for orchestras and education. For example, in “Young Person’s Guide,” he showcased an unwavering affection for every facet of the orchestra and his longstanding commitment to educating young audiences. As a 25-year-old assistant conductor with the Boston Symphony Orchestra, he was already captivating audiences with his infectious enthusiasm, which not all traditional Bostonians were quite prepared to embrace at that time.

Shortly following Bernstein’s departure, he took over the New York Philharmonic Young People’s Concerts. He went on to create television and radio documentaries. In the year 1987, he established the New World Symphony in Miami Beach, which serves as a training ground for orchestra musicians. Today, these alumni are actively reshaping American orchestral culture. In Los Angeles, a former violinist from the New World Symphony, Shalini Vijayan, oversees the innovative Koreatown new music series called Tuesdays @ Monk Space.

Under the guidance of the young conductor Teddy Abrams, Michael Tilson Thomas approached “Young Person’s Guide” as if he were an experienced orchestra guide. One of Tilson Thomas’ notable traits during his tenure in San Francisco was fostering a level of creative freedom often restrained within ensemble playing. Britten’s composition is filled with numerous solos, and this performance seemed to express, through its musical notes: “This is dedicated to you, Michael.

This is intended for you, Michael, as everything else that transpired afterwards. As Tilson Thomas took his seat on stage facing the orchestra, Abrams – the music director of the Louisville Orchestra and a fellow student of Tilson Thomas who started studying at 9 – conducted the energetic overture to Joseph Rumshinsky’s Yiddish theater comedy, “Khantshe in Amerike.” Bessie Thomashefsky, Tilson Thomas’ grandmother, was the original Khantshe in the production back in 1915.

Throughout his professional journey, Tilson Thomas has been not just a composer but also an active one. However, it’s only recently that he’s stepped up the pace in publishing his introspective and melancholic compositions, which function as personal reflections in a sort of hidden diary. Mezzo soprano Sasha Cooke started things off with “Immer Wieder,” a piece inspired by Rilke’s poetry. At 79, Frederica von Stade, who still retains her resonant voice, collaborated with her for “Not Everyone Thinks I’m Beautiful.

In this captivating performance, tenor Ben Jones beautifully crooned two heartfelt ballads, “Drift Off to Sleep” and “Answered Prayers,” which resonated deeply with a melancholic tune. Yet, the spirit was uplifted when Broadway sensation Jessica Vosk graced us with her rendition of “Take Back Your Mink” from “Guys and Dolls.” However, it was Maestro Tilson Thomas’ “Sentimental Again” that brought us back to the core purpose of our gathering.

In this rendition, Cooke sang “Grace,” a song that Tilson Thomas composed for Bernstein’s 70th birthday. However, in its final verse, it carried a fresh and courageous interpretation: “Help us appreciate whatever lies ahead / In the life we’re living together on this planet / For the truth remains / Life is worth cherishing.

Edwin Outwater, initially working as an assistant conductor under Tilson Thomas in San Francisco, later conducted a stirring performance of Bernstein’s “Chichester Psalms”. Afterward, it was Tilson Thomas who came back to deliver an electrifying rendition of “Roman Festivals”.

Respighi’s portrayals of gladiators at the Circus Maximus, early Christian pilgrims, and other aspects of ancient Roman life, might seem an unusual finale to a renowned American conductor’s illustrious career. However, Tilson Thomas has consistently shown himself to be a daring curator, as evidenced by his role as music director at the Ojai festival in his 20s. “Roman Festivals” has always held a special place in Tilson Thomas’s heart. He first recorded it with the L.A. Phil in 1978, finding joy in the intricate and authentic details of ancient Rome.

Previously, Tilson Thomas presented a retrospective, both grand and yearning in tone. Trumpets echoed with awe-inspiring, resounding majesty. Pilgrims found themselves enveloped in peaceful, profound contemplation. In the final of the four celebrations, “The Epiphany,” elegance and splendor harmoniously intertwined, culminating in a powerful, definitive orchestral conclusion that was nothing short of monumental. It seemed as if Tilson Thomas was expressing to the audience, “This one is for you. And I’m still here, continuing to express it.

Tilson Thomas often ponders on what remains when the music ceases. For how long does it linger within us? Where exactly does it reside? Does it have the power to transform us? Is its impact significant?

Since Tilson Thomas took over as music director of the San Francisco Symphony in 1995, he regarded the orchestra as a crucial part of San Francisco’s lifestyle. His successor, Esa-Pekka Salonen, has embraced this idea with the forward-thinking approach that characterized his tenure at the L.A. Phil. Unfortunately, the orchestra’s leadership hasn’t supplied the necessary backing, leading to Salonen’s departure in June. In response, musicians have been seen outside Davies Hall distributing flyers to the audience, urging the orchestra to continue Tilson Thomas’ vision.

The San Francisco Symphony has reached a critical juncture. Respighi described “The Epiphany” as demanding frenzied chaos and exhilarating cacophony, symbolizing the widespread sentiment “Let us be Romans and move on!” Tilson Thomas forcefully played those three emphatic, staccato orchestral chords – Let! Us! Pass! – in a way that echoed persistently, as if they were ancient as Rome’s enduring monuments.

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2025-05-03 22:01

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