VENUES: THE PHILHARMONIE DE PARIS –
GRANDE SALLE PIERRE BOULEZ

 by Alex Davydovich (MGBH)

Located in the Parc de la Villete at the northeastern edge of city is the Paris Philharmonic, or, as the locals call it, Philharmonie De Paris.  It consists of two parts that compliment each other – Philharmonie 2, originally named the City of Music, and Philharmonie 1, the newest addition to the complex. Philharmonie 2 opened its doors back in 1995 and was originally called the City of Music, or le Cite de la Musique. Part of François Mitterrand’s (OBM) Grands Projets, the Cité de la Musique reinvented La Villette – the former slaughterhouse district.

While both structures are interesting and host an impressive amount of inspiring and uplifting cultural events, our overview will focus on Philharmonie 1 and its Grand Hall, or Grand Salle, Pierre Boulez (OBM), named after a prominent 20th century French composer.  (Note: To avoid confusion, there is another Pierre Boulez Hall, or Boules Zaal, designed by the famous architect Frank Geahry (MGBH), located in Berlin, Germany).

 

 Please, consider donating a small amount to the author to express your appreciation.


                                                                               

 

The exterior of Philharmonie De Paris 1

 

The credit for the idea of creating this marvelous addition to the City of Music should be given to the Minister of Culture and Communications Renaud Donnedieu de Vabres (MGBH), The Mayor of Paris Bretrand Dehnoe (MGBH), and The Director of The Cite de la Musique Laurent Bayle (MGBH) who announced it back in 2006.  As the result, an international competition among the finest architects had been held.

A year later, in 2007,  a world-class architect Jean Nouvel  (MGBH), who previously designed the Lucerne Culture and Conference Centre, Copenhagen’s Koncerhuset, and the Louvre Museum in Abu Dhabi, won the competition.  This is part of his vision that he presented in his proposal:

“The word “philharmonic” easily brings to mind the love of harmony. We play successive harmonies –urban harmonies. …  First, harmony with the lights of Paris, a ray of sun among grey clouds and rain. An architecture based on measured, composed reflections, created by way of a tranquil surface in the form of cast aluminum cobblestones that sketch out Esherian graphics under our feet.  Second, harmony with the Parc de la Villette, the continuity of Tschumian themes, a horizontal garden shelter under the building, punctuated by “Tschumi’s follies”, shadows reflected in the architectural brilliance and the creation of a small hill –La Villette Hill– a walkable mineral surface which, like the Buttes-Chaumont, plays the role of an observatory, looking out over the urban landscape.  Third, harmony with the Cité de la Musique with oblique sections and paving of force lines that were already there.  Fourth, harmony with the city’s ring road and suburbs, with the creation of a sign providing a dynamic and far-reaching view; a shimmer of light in the darkness of night, punctuating the Philharmonie’s surface and its programs….The Philharmonie de Paris <…> is supported in this endeavor by powerful but serene aesthetics, marked by the single use of cast aluminum, with its pearly nuances and delicateness, adding to the mystery of the hall’s presence which, in the grey and silver folds of the building, shines through.” (1)

The project took much longer to complete than expected. It went over budget by over a hundred million dollars.  However, both the wait, the effort, and the money were worth it.   This stunning masterpiece was finished and opened its doors in January of 2015.

During its first season, Philharmonie 1 attracted such outstanding pianists as Martha Agrerich (MGBH), Daniel Barenboim (MGBH), Helene Grimaud (MGBH), and Maurizio Pollini (MGBH).

In 2016, during its 2nd season, Daniel Barenboim and Martha Agrerich came back to perform there and were joined by Christian Zacharias (MGBH), Nicholas Angelich (MGBH), Murray Perahia (MGBH), Alexandre Tharaud (MGBH), Maria Joao Pires (MGBH), Yuja Wang (MGBH), Nelson Freire (MGBH), Andras Schiff (MGBH), Maurizio Pollini (MGBH), Lang Lang (MGBH), and Mitsuko Uchida (MGBH).

 

INSIDE…….

The Pierre Boulle Grand Hall seats 2,400 people.  The seats themselves were particularly designed to ensure the audience’s comfort: the distance between seat rows is at least 90 cm, and all seats are 52 to 55 cm, i.e. 20.5-21.5 in. wide.   Although large in size, the hall feels remarkably intimate.  This feeling can be mathematically explained: the distance between the conductor and the farthest spectator is only 32 meters.  The hall’s organic shapes and the warmth of the wood create an ambiance conducive to taking in music. One listens better in a state of well-being; such is the “psycho-acoustic” postulate of the Philharmonie. This is why certain materials are more present than others, even if they do not necessarily contribute to the quality of sound. (2)

Below you can see the chart of the Grand Salle Pierre Boulez.

 

One of the features that makes the Philharmonie unique among European concert halls is its versatility.  The aim was to be able to adapt the auditorium to different genres of music, while always providing optimal viewing and listening conditions.

 

The symphonic configuration of Grand Salle Pierre Boulez

 

In the symphonic configuration, the audience surrounds the orchestra. The tiers behind the stage can accommodate a choir if required for the work being presented, but are more often filled by spectators. These seats are popular with music aficionados, who enjoy the proximity to the musicians and being in front of the conductor. (3)

 

Cine-concert layout of Grand Salle Pierre Boulez

 

But in the case of concert-format operas or “ciné- concerts”, these seats are not used. The modular concept allows these back tiers to be eliminated and the stage to be moved back, increasing the parterre. (4)

Another innovative feature is that the seats in the parterre can be removed to leave standing room for contemporary music concerts, increasing capacity from 2,400 to 3,650 people.

The balconies of the Grand Salle Pierre Boulez

An audacious system of balconies based on cantilevers and clouds was a teamwork between Jean Nouvel, Marshall Day Acoustics and Ducks Scéno. The 283 m² stage featuring motorized platforms can accommodate any orchestral ensemble, even the most imposing. (5)  In addition to the local team, the architect employed the services of a renowned acoustics specialist Yasuhisa Toyota (MGBH) from Japan, who also worked on the Walt Disney Concert Hall in Downtown Los Angeles, CA.   The acoustic program (prepared by Kahle Acoustics) required an acoustic response that combines high sound clarity and ample reverberation.   It also required an approach that favors lateral reflection and great intimacy – and in a new type of venue.  The solution found was a daring system of floating balconies that create an intimate space and an exterior volume that prolongs the reverberation.  This new model combines lateral reflections, direct sound and reverberation, resulting in high clarity and transparency, as well as warm resonance.  The cloud-shaped reflectors, the back walls of the balconies and the parterre walls all contribute to this lateral reflection “envelope.”

The hall is soundproofed from the outside noise through the “box within a box” concept by leaving space between the walls. With the combination of two spaces that fit into each other, an interior floating room hosts the audience, creating visual and acoustic intimacy between the audience and the musicians and an outer space with its own acoustic and architectural presence. An innovation that is simultaneously architectural, scenographic and acoustic.  The architect and the hall’s main acoustic consultant, Sir Harold Marshall, designed this hall in collaborative sessions focused on combining architecture, acoustics, and scenography. (6)

 

Rieger organ at the Grand Salle Pierre Boulez.

The hall also houses a magnificent Rieger organ, 15 metres high and 20 metres wide, that was specially designed for the symphonic repertoire.

The season starts on September 1st featuring afternoon and evening performances.

One of the features unique to the Paris Philharmonie is that it offers free video concerts that are available online. Of almost 700 videos, including 50 full concerts.  If interested to watch performances online, you can find them HERE by clicking the link.

 

…..AND OUT, or THE BIRDS

The exterior of the Philharmonie 1 is as amazing as its interior. Its covering is composed of 340,000 birds, divided into seven different shapes and four shades ranging from light grey to black.  More than 200,000 birds in aluminum sheeting are installed on the facades to symbolize a grand take-off.  To adorn the Philharmonie’s esplanade, the ramp and part of the main concert hall’s acoustic roofing, the ground pavement birds are designed in cast aluminum assembled on a pre-cut granite structure.  Some of the pavement birds have been even moulded in concrete. (7)

 

The beautiful aluminum sheeting of the building exterior

 

All in all, the Philharmonie de Paris is a true destination.  If you are visiting Paris, whether you are a music aficionado or just a curious tourist,  it is definitely worthy of putting it on your list of “must go’s”.  The concerts as well as educational programs are very reasonably priced, and by visiting the complex, you will experience the true spirit of Parisian cultural life.

 

 

References:

(1) Philharmonie De Paris. Online Press Kit.
https://philharmoniedeparis.fr/sites/default/files/dp_philharmonie_-_gb_-_final_0.pdf
(2) Ibid.
(3) Ibid.
(4) Ibid.
(5) Ibid.
(6) Ibid.
(7) Ibid.

 

Liked the article? Please, consider donating a small amount to the author to express your appreciation.


                                                                               

The Circuit: Van Cliburn Competition

Interview by Alex Davydovich (MGBH)

The Van Cliburn Competition has been one of the most prestigious and well-organized ones in the music industry.  We reached out to Mr. Jaques Marquis (MGBH), the President and CEO of Van Cliburn Foundation to ask him a few questions.

PPM: How long have you been a president? How is Van Cliburn Competition different today from when it was originally started?
JM: I have been president and CEO of the Cliburn for four years.  The Cliburn Competition started in 1962, and the world has changed a lot since then. The main changes have been: 1) the use of technology to increase local, national, and international awareness; 2) A big increase in our artistic programming with the additions of the Amateur Competition, Junior Competition, Cliburn Concerts series, school/education programs, community concerts, etc.

PPM: Please, tell our readers a little bit about yourself.
JM: Born in Montreal, I was raised French Canadian, studied the piano and was part of a choir as a young child—including a boys choir doing the Mass every Sunday in the big church of Montreal. This is why I began to study music. After many years, I decided to get a bachelor’s degree in music (piano) and taught piano for a few years. Then I chose to get a bachelor’s degree in business — the idea was to combine these two different worlds. Today this would be the field of arts management, but at that time there were few programs for this.

After that I entered my first job with the orchestra as an accountant, then an artistic administrator, and later COO (Chief Operating Officer) (for 8 years). Next, I was hired as executive and artistic director of Jeunesses Musicales of Canada, which is an organization that promotes youth and music throughout Canada. It is also under the umbrella of Jeunesses Musicales International – a worldwide movement for youth and music. While at Jeunesses Musicales of Canada, we restarted the Montreal Competition.  I led eleven editions of the competition and also produced up to 800 concerts per year (600 for youth and 200 for young artists at the beginning of their careers). I was also head of the foundation through which we organized five different fundraising events per year.

After eleven years, I decided it was time for me to expand my horizons. I reached out to the Cliburn because it was, and still is, one of the key international arts organizations in the world, and I thought I could learn more.  I came and proposed my services as a consultant. After six months as a consultant, they offered me the position of CEO.

PPM: Let’s discuss a concept of competitiveness vs. collaboration in music and, specifically, in piano performance. Why does it have to be a competition? Why does a musician have to compete? Why pin one musician against the other instead of enjoying and appreciating everyone’s performance equally without judgment?
JM: Life is a competition! You have to be the best magazine. You have to be the best writer. Everywhere you go to have to win the audition; you have to get the job; you have to interview and when there’s a position at Exxon Mobile for the CEO, there’s only one leader.

 

Life is a competition! You have to be the best magazine. You have to be the best writer. Everywhere you go to have to win the audition; you have to get the job; you have to interview and when there’s a position at Exxon Mobile for the CEO, there’s only one leader.

 

I think that competitions are one way to gain a career. They are not the only way.  I do think it is a good way to increase awareness of these exceptional young talents. Especially with the new media opportunities, we can increase awareness, and not only of the winners. Because we webcast our competition and promote it through many media avenues, we give finalists and semifinalists exposure, as well. They become better known in their own countries, too, by being a part of the Cliburn. There are a lot of ways that the Cliburn can help the careers of these young musicians.

I don’t think it’s “Why does a musician have to compete?” I think it’s about how a musician can increase opportunities for concert engagements, establish international relationships, have the possibility of being seen or viewed by conductors, presenters, jury members. We are developing a fantastic network for them.

PPM: Why is it hard to run an organization like this and why is it also easy?
JM: I think the challenges of any organization are having the right people in the right places. Having good people is a good thing, but having good people doing the right thing is better. At the Cliburn, we have done some restructuring of staff in order to be the most efficient possible. The non-profit and especially the artistic world has this perception that we are “artists,” but we are managers of artists. We have to be extremely efficient in the way we do it. The hard part is to sell and to explain to people the importance of our mission because not everybody is aware of the importance of competition for young artists. The fun part, the challenging part, is the creative part. The thing that brings us to the office every morning is getting to work with the artists. We have to create an environment in which everyone is pushing in the same direction in order to achieve our goals and objectives.

PPM: How does one get to compete in this event?
JM: To compete in the Cliburn you first have to have an extremely high level of piano playing. You send in an application including video so we can hear you play and see you perform.  From this application, we decide whether to invite you to the live Screening Auditions — and these are crucial to the Cliburn. It’s a live audition in front of five screening jurors, and you will play for 40 minutes. These jurists are highly competent and are also concert pianists who know what it takes to remain relevant in the classical world.

If you progress beyond the Screening Auditions, you are invited to the Competition, which consists of Preliminary, Quarterfinal, Semifinal, and Final Rounds. The Cliburn is one of the most demanding competitions, but we also are one of the best in what we give to our winners. We are looking for the best of the best!

PPM: Who selects the judges? What criteria are used in their selection? Is there a set number of the judges on the panel or does it vary by year?
JM: I select the judges. I want them to be pianists — it’s essential that they know the repertoire. I want people who have been playing and struggling to play the repertoire, who know the tricks and the traps and the problems that can be found in these scores.  So when a contestant is playing, jurors can know that they are tricking with the pedal or they are trying to avoid a certain part or going slower because they cannot play that section well. I want jurors who truly know the repertoire.

I also look for open-minded individuals to be on the jury. I need people who are able to listen to young pianists and think, perhaps, “I would never play it like this, but I can buy this proposal.” I don’t want someone who always says, “Oh, no. That’s not the way to do it.” In music, there are a lot of ways to express yourself. There is respect for the repertoire. There is respect for the history, the ways of playing at the time a piece was written, etc. But there are also a lot of places for interpretation. So I want my jury members to be very open to these young musicians. I also want them to share the important attitude that we want the contestants to succeed and not that we are there to cut them off.

Naturally, I need an odd number for voting purposes. I like the number nine, for a big jury with a good representation of American, European, Russian, and Asian pianists, since we always have quite an international group of competitors.

 

 

In music, there are a lot of ways to express yourself. There is respect for the repertoire. There is respect for the history, the ways of playing at the time a piece was written, etc. But there are also a lot of places for interpretation.

 

 

PPM: What prizes are there and what criteria are used in awarding them?
JM: The prizes are awarded based on the voting of the jury members.  Yes, we have prize money, but I believe the most important prize for the Cliburn Competition is publicity/awareness and, secondly, the wealth of engagements booked for them based on their placement. We open a lot of doors for the winners in launching their careers.

PPM: How is Van Cliburn competition promoted? Is there an outreach program?
JM:  We have an extensive marketing and promotions plan for the Competition that ranges from contestant recruitment and branding internationally to local/national/international promotion to encourage people to attend the Competition in person, to campaigns designed to attract people to all the other ways to enjoy the Competition and its artists—the webcast, the Fathom event in theaters across the United States, etc.

PPM: What happens to the winners after the competition? Does the organization follow up with them? Are they involved in the organization in the future? Does the organization help promote their talent?
JM: Yes, we assist our three winners with a career management plan for three years, and after that we help in securing a manager. We help them by booking engagements and concerts, managing their website, helping with their bios, providing photo shoots. Beyond that, we help them develop their repertoire. Through our networks, we help them talk to the people who can advance their careers.

 

PPM: Are there any interesting stories that happened during the last few competitions?
JM: Many of the anecdotes would probably involve the host family process.  Each competitor in the main Cliburn competition is housed for three weeks in the home of a Fort Worth family.  Our thirty families—who all have Steinway grand pianos installed and tuned in their homes before the competition—become like second families to the competitors.  In 2013, one local family who did not intend to participate signed up again when they realized that they had hosted one competitor’s father back in the 1970s. This was Nikita Mndoyants of Russia, who became one of our six finalists in 2013, and his father, Alexander Mndoyants, who was a finalist in 1977—representing the USSR!  This particular Fort Worth family became quite close to two generations of Mndoyants.

Many other anecdotes would involve the woman we call the “backstage mother” – Kathie Cummins.  She is the last person our contestants see in those important moments before they go onstage. These musicians are often quite young and less experienced. Kathie keeps food on hand — you’d be surprised how many pianists need a banana right before they go on. But she’s also ready for other emergencies. The sewing kit comes in handy a lot. One young man had obviously purchased a new shirt for his recital but hadn’t tried it on. The sleeves were so long, down to his knuckles, that they would have gotten in the way of his playing! So Kathie brought out the safety pins and sewing kit and fixed things up really quickly. That kind of thing happens so often that we almost don’t think of them as anecdotes.

 

Kathie keeps food on hand — you’d be surprised how many pianists need a banana right before they go on. But she’s also ready for other emergencies.

 

PPM: Are Van Cliburn and Van Cliburn Foundation separate organizations? What is the primary function of Van Cliburn Foundation? What activities is it involved in?
JM: Van Cliburn Foundation is the legal name of the organization. We simply call it “the Cliburn” — much as we all refer to “the Chopin” and “the Tchaikovsky.”

PPM: What are the repertoire requirements for the contestants?
JM: There are very few requirements. They can do whatever they want, with a couple of exceptions (they must perform the commissioned work by Marc-Andre Hamelin as part of their Preliminary Round program, and they choose from a list of piano quintets to perform with the Brentano String Quartet in the Final Round).  What is interesting about this is that we get to see how they program. If you want to play Liszt in every round, you’d better play it really, really well!  A young pianist has to have a lot of repertoire, actually. A program that is well thought-through shows some depth and reveals a young competitor’s artistic vision.

PPM: Please, tell us about the Amateur Competition. What is the idea behind it? Why and when was it introduced?
JM: There are a lot of pianists out there who studied music when they were young but decided to become doctors, lawyers, educators, programmers, etc.  Recently, we have increased the exposure our Amateur competitors get, with a fully produced live webcast and by bringing the orchestra in for the closing portion of the Competition … all to get the best amateur pianists in the world to come to the Cliburn to compete. It also further increases our international presence during the off year before the big Cliburn. The Cliburn Amateur was the first of its kind in the United States when it was created in 1999.  The idea is to encourage the love of classical music through all stages of life. It is open to non-professionals over the age of 35.

PPM: Who were some of the most unexpected contestants of the Amateur Competition?
JM:  The great thing about the Amateur Competition is the variety of the contestants—they typically range in age from 35 to 70s and have a great variety of careers (though there seem to always be a lot of doctors). They’re from all around the world and have various levels of professional training, but they come together in Fort Worth for their love of the piano. Once we had a British contestant who designed race cars!

PPM: What criteria are used in deciding who gets the Press Award?
JM: Members of the press who are in attendance vote for their favorite.

PPM: Let’s talk about the Junior Competition. It was launched in 2015. What motivated you to start this subdivision and what were the challenges?
JM: Firstly, to have a link to the best juniors in the world and ignite them with the Cliburn when they are young. If a pianist is excellent at age 20 or 25, then he or she was already very good at age 15, since most begin when they are 4 or 5 years old. So, one goal was to have very young pianists know about the Cliburn.  Secondly, to keep our brand alive in schools, among presenters, and in the media.  And, finally, the more competitions we organize, then the better we get as a team. Because it is a four-year cycle for the big Competition, we can have staff changes.  With the addition of another competition, we as a staff have the opportunity to get better as a team as we work together using the same software and the same production routines on each competition.

PPM: With many child prodigies out there, why is the cut off age for the Junior Competition is 13, and not 6 or 7?
JM: Six or seven are too young. They can be very good, but they have not developed as individual musicians yet.  Thirteen to seventeen is a crucial time for young pianists, and our goal is to create a warm, convivial atmosphere as part of the training process for the competitors. They attend seminars, lectures, master classes with teachers, master classes with conductors, master classes with former Cliburn winners. They live in dormitories during the competition — another goal is to establish international friendships with others in the piano world.  Also, the Junior Competition is a training process, not a final process like the big international competition.

The great thing about the Amateur Competition is the variety of the contestants—they typically range in age from 35 to 70s and have a great variety of careers (though there seem to always be a lot of doctors). They’re from all around the world and have various levels of professional training, but they come together in Fort Worth for their love of the piano. Once we had a British contestant who designed race cars!

PPM: Where do you see the Van Cliburn Organization in 10 years?
JM: In ten years, I would like to see the endowment doubled — that will be key to sustaining growth and financial responsibility.  Along with this, an increase in local education programs. As arts in the schools are threatened, we can increase our presence. We will be promoting and supporting career management for young exceptional pianists in the world.  In ten years I hope that the Cliburn is the competition that can address music markets on every continent at once—all in one competition.

PPM: What would be your tips for prospective contestants?
JM: Talk to your teacher. Programming is the key — work on this. Be wise. Do not put all your big guns at the beginning. Don’t play for the jury or the award. Play because you believe in your artistic voice.

PPM: Thank you for your time in sharing this valuable information with our readers, Jaques.
JM:  It’s my pleasure.

 

 

Enjoyed the interview? Please, consider donating a small amount to the author to express your appreciation.


                                                                               

VENUES: DISNEY HALL

Article by Alex Davydovich (MBGH)

 

Built relatively recently, the Walt Disney Concert Hall downtown Los Angeles, CA opened its doors on September 24th, 2003. It catches the eye not only with its sail-like exterior, but also with the beautiful and breezy interior.  It’s no surprise as the hall was designed by the two very talented men – the architect Frank Gehry (MGBH) and a master acoustician Matsuhiso Toyota (MGBH).  It seats 2,265 people and serves, among other purposes, as the home of the Los Angeles Philharmonic orchestra and the Los Angeles Master Chorale.  The walls and ceiling of the hall are finished with Douglas-fir and Alaskan yellow cedar while the floor is finished with oak.  The round auditorium features a sailing ship motif that the architect Frank Gehry likens to Noah’s Ark.  Columbia Showcase & Cabinet Co. Inc., based in Sun Valley, CA, produced all of the ceiling panels, wall panels, and architectural woodwork for the main auditorium and lobbies. (1) The Hall’s reverberation time is approximately 2.2 seconds unoccupied and 2.0 seconds occupied. (3).

The Library of Congress/Ira Gershwin Gallery, housed inside Walt Disney Concert Hall, was designed by Hodgetts and Fung Design Associates and made possible by a generous gift from the Ira and Leonore Gershwin Trust for the Benefit of the Library of Congress.  The gallery is situated on the second floor of Walt Disney Concert Hall and rotates its collection bi-annually. (3)

With the initial donation of $50 million made by the widow of Walt Disney, Lilian Disney, in 1987, the County of Los Angeles added $110 million and sold bonds in order to build the garage.   The Disney family later added $34.5 million with another $25 million from the Walt Disney Company.

 

Disney Hall consists of the Main Performance Hall and two smaller performance spaces.

Walt Disney Main Performance Hall

 

BP Hall is an intimate space with chairs, wood floors, walls, and ceilings that hosts pre-concert talks, musical performances, receptions, and private events for up to 500 guests.

BP Hall at Walt Disney Performance Hall

The Walt Disney Concert Hall Founders Room features a signature Frank Gehry sculptured plaster ceiling which rises 50 feet to reveal a skylight. This 4,800-sq. ft. dining room includes custom lighting, millwork, private dining patio with travertine stone, and landscaping of the exterior patio area.  The exclusive Founders room hosts pre- and post-concert parties for major donors.

 

Walt Disney Hall Founder’s Room

 

A REDCAT Theater performance space holds avant-garde and experimental music, dance, theater, movies, and art.

Walt Disney Hall Map

 

Since its opening, such pianists as Lang Lang (MGBH), Pierre-Laurent Aimard (MGBH), Daniil Trifonov (MGBH), Armen Guzelimian (MGBH), Keith Jarrett (MGBH), Helene Grimaud (MGBH), Benjamin Grosvenor (MGBH), Garrick Ohlsson (MGBH), Alessio Bax (MGBH), Murray Perahia (MGBH), George Li (MGBH), Krystal Zimerman (MGBH), Scott, Dunn (MGBH), Alpin Hong (MGBH), Emanuel Ax (MGBH), Eduardo Delgado (MGBH), and Yundi (MGBH) graced the stage of the main hall with their performances.

 

 

Frank Gehry’s Sketch of Disney Hall

 

 

In an interview with Deborah Borda (MGBH), Frank Gehry shares his experience of working on Disney Hall.

DB: It’s fair to say that the Walt Disney Concert Hall has changed the way how a concert hall should involve people.  When I first saw the design, I was absolutely blown away hoping to be a part of it.  When you worked on it, did you design the hall inside out of from the outside in?”
FG: Inside out. When people look at the buildings I designed, they assume I designed from the outside in.  That I make a form and jam stuff in.  And I think a lot of my colleagues do that, maybe.  But I don’t.

DB: What’s the one thing that stands out in your memory the most about the opening concert?
FG: I can’t help to remember taking the bow with Esa-Pekka […Salonen, the Music Director of Los Angeles Philharmonic] and the confetti and all that stuff.  I never experienced that before. Architects don’t do that very often.

DB: But you must have also had a special pride. We had designed those programs together.  You were the artist. That’s why you were up on a stage. I don’t know if people know, but you are one of the most regular concert attenders I know. What do you think now looking back ten years later, is the most successful aspect of the hall? From your point of view.
FG: Well, I think the clarity of the sound has got to be number one.  And the relationship between audience and performer is right up there. It’s subtle.  So when the orchestra is full on, they feel a receptive audience, because the audience can hear them. They feel it. It’s like a theater. You feel how you are coming across.  And when the orchestra hears that, it makes them play better, believe it or not. I think.

 

Disney Hall Pipe Organ, “The French Fries”

Inside the main concert hall we can see a beautifully designed 6,134-pipe organ, sometimes referred to as “French Fries.” Composer Terry Reily called it “Hurricane Mama.”

The organ was built by the German organ builder Caspar Glatter-Götz (MGBH) under the tonal direction and voicing of Manuel Rosales.  It cost $ 3 million to build, which was a gift to the County of Los Angeles from Toyota Motor Sales, U.S.A., Inc.  How many instruments have a building attached to them?  The building not only didn’t exist, its design kept changing.  “There were many hurdles that had to be overcome.  And they were civic hurdles and architectural hurdles,” Deborah Borda (MGBH), the President and CEO of LA Philharmonics.  “We studied all organs that we could find in history and did a thorough analysis of what they looked like,” said Frank Gehry. “And it seemed like there were a lot of variations possible.”  Mr. Gehry went back and worth with Manuel Rosales on the shape of the tubes. “I was told to walk off this project. This would ruin my career. This was insane.  The organ would be a complete disaster. Nobody would pay any attention to it.  It took two and a half years to reach this design and well over forty different models.[…] The organ went through many hoops to please the artistic sense of Frank Gehry.  I had to make sure that whatever he designs, works ultimately as a musical instrument,” shares Manuel Rosales in an interview.  “Because in the room like this, you don’t put sculpture, it’s focusing on the music, so we thought there was a rationale for the organ to have some spunk,” shared Frank Gehry in his conversation with Deborah Borda.

The concert hall houses celebrity chef Joachim Splichal’s (MGBH) landmark fine dining restaurant Patina designed by Belzberg Architects.  Open for dinner and late-night supper, French-born and trained executive chef Tony Esnault’s exquisite dishes are made from the best ingredients available from local and regional farmers, ranchers and fishermen.  Chef Esnault also offers a special tasting menu at the private Chef’s Table for nine, which offers guests an unobstructed, behind-the-scenes view into kitchen dynamics.

Accommodating 240 seated guests, including a private dining room for up to thirty, Patina welcomes guests into a warm, inviting interior undulating with organic ceiling curves and ripples of carved walnut walls. Patina also features an impressive bar display where guests can unwind before dinner or enjoy a late-night cocktail on the patio. (4)

 

Walt Disney Hall Community Garden, the Famous “Rose for Lily” Frank Gehry Fountain

On the third level of the building, visitors will find the community garden that features outdoors performance space and beautiful Southern California landscaping. The community garden is open for public and can be a cozy refuse from the loud noises of the busy city life.  In the middle of the garden is a beautifully carved fountain in the shape of a rose, subsequently named, “A Rose for Lily” in honor of the main donor for the Disney Hall – Lilian Disney.

A concert hall, an educational space, a park, an office, and a cultural landmark – all rolled into one.  Walt Disney Hall represents the best of the city of Los Angeles and the performing arts, an LA’s Phil is proud to call it home. (5)

 

 

 

REFERENCES:

(1) http://www.woodworkingnetwork.com/articles/columbia_showcase__cabinet_co_inc_-_an_acoustical_journey_127691448.html#sthash.S9HM2Erb.dpbs – retrieved March 16th, 2017
(2) http://www.nagata.co.jp/e_sakuhin/factsheets/wdch.pdf – retrieved March 16th, 2017
(3) https://www.musiccenter.org/about/OUR-VENUES/Our-Theatres–Concert-Halls/ – retrieved March 16th, 2017

(4) http://www.laphil.com/visit/patina-walt-disney-concert-hall – retrieved March 16th, 2017

(5) https://www.youtube.com/watch?v=pAEd1uDOZJE – timing 7:00 – retrieved March 16th, 2017

 

 

Enjoyed the interview? Please, consider donating a small amount to the author to express your appreciation.