Author Archive: Steven Kruger

Steven Kruger

Steven Kruger is a former classical concert agent. For a number of years he supervised the roster of conductors at Shaw Concerts in New York City, representing such artists as Sir Andrew Davis, Sir Neville Marriner, David Atherton, Rafael Fruhbeck De Burgos, Jose Serebrier and Robert Shaw.

Born in New York City in 1947 to a German immigrant father and an American mother, Kruger is a descendant of Bach biographer Phillip Spitta. He was educated at Phillips Exeter and Princeton, and received his degree in Philosophy, but turned to music administration after a brief career as a military officer and as a stockbroker.

Early in his exposure to music, Kruger developed a special fondness for the British Symphonists, and as a concert agent was able to play a part in the revival of such composers as Elgar, Bax, Walton and Vaughan Williams during the late 1970s.

He continues today as an advocate for these and other great 19th and 20th century symphonic composers, such as D’Indy, Magnard, Schmidt and Tubin, who were at one time eclipsed by the mid-century fashion for academic music.
Now retired and living in California, Steven Kruger regularly
attends The San Francisco Symphony and reports upon those and other Davies Hall symphonic events. Since 2011, he has written program notes on a continuing basis for the Oregon Symphony, including their recent CD, “Music for a Time of War,” and has become a regular reviewer for Fanfare.

A Crop Of Recordings VI: Symphonic Works by Strauss, Prokofiev, Mahler and Sibelius

Gustav Mahler.

There is nothing more cozy and comfortable in the symphonic canon than the harmless narcissism of Strauss’s “domestic” symphony, originally titled “My home. A symphonic portrait of myself and my family.” Just how tasteful it all is has been a subject of debate ever since 1903, of course. As Peter Ustinov famously said of the composer: “I knew I wouldn’t like his wallpaper.” As it turned out, he didn’t.

Alan Gilbert Conducts the New York Philharmonic at Davies Hall, San Francisco

Alan Gilbert conducts New York Philharmonic. Photo © Chris Lee.

Davies Hall , San Francisco The New York Philharmonic Alan Gilbert, conductor May 6, 2016 Beethoven—Egmont Overture, Opus 84 Beethoven—Symphony No. 7 in A major, Opus 92 ***** Sibelius——-Symphony No. 7 in C major, Opus 105 Sibelius——-Finlandia, Opus 26 “My…
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A Crop Of Recordings V: French Rarities by Emmanuel, Saint-Saëns, Chausson, Bizet, Magnard, Duparc and Berlioz

Maurice Emmanuel in the 1930s. Photo from Bibliothèque Musicale Mahler, fonds Maurice Emmanuel

Every so often a release comes along which serves to remind listeners that a particular national repertory is not always so well known to us as we think. Not all beloved works cross the pond. This has a lot to do with immediacy and easily recognizable, iconic tunes.

Edwin Outwater Conducts the San Francisco Symphony in Weber, Saint-Saëns, Busoni and Hindemith

Edwin Outwater. Photo © edwinoutwater.com.

Davies Hall, San Francisco January 29, 2016 The San Francisco Symphony Edwin Outwater, Conductor Stephen Hough, Piano Weber — Oberon Overture (1826) Saint-Saëns — Piano Concerto No. 5 in F major, Opus 103, Egyptian, (1896) Busoni — Music from Turandot Suite, Opus 41 (1905)…
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A Crop of Recordings IV: Enescu, Suk, Poulenc, Martinů, Tchaikovsky

George Enescu and violin. From romaniapozitiva.ro

As collectors know, exploring outside the basic repertory is often both frustrating and rewarding.  The search for significant neglected music, one learns early, is not so easy as it appears. Many worthy pieces one falls in love with turn out to be partial works of genius, with uninspired moments we choose to forgive, defects of length and proportion, or performing requirements condemning them to obscurity.

The San Francisco Symphony: Herbert Blomstedt, conductor; Maria João Pires, piano, in Beethoven and Bruckner

Pianist Maria João Pires

It was a surrealistic night. Every so often a trip to the symphony is like that. It had oddities—both nice and annoying.

First-off, I thought, ninety seems to be the new seventy. And seventy surely is the new fifty. As Herbert Blomstedt came onstage, he didn’t look eighty-nine, that’s for certain! Just slightly snowier than last time. Tall, eager, ambassadorial as ever—Blomstedt led the evening without baton and the symphony from memory—an incredible feat with this edition.

The Royal Philharmonic Orchestra with Pinchas Zukerman, conductor and violinist, at Davies Hall

Sir Edward conducts an acoustic recording session.

I missed hearing the Royal Philharmonic last February in London. But while there, I found myself often reminded of the problems British orchestras and audiences face. Festival Hall, which once sounded like a pretty good hi-fi system, disposed of its Helmholtz “resonators” in a recent renovation and in so doing lost half its reverberation time, however artificial. It now sounds like NBC’s late unlamented Studio 8H.

Recordings III: Ives, Copland, and Ginastera

Charles Ives

What does the music of Charles Ives sound like with an Australian orchestra and a British conductor? Different, one is tempted to to say, but not really. We’ve become used to our Ives done New York style, with Broadway snap and brass. No one gets that wrong. But Ives was a New Englander, and the disruptive elements in his music have perhaps been overstressed. He always explained that bits of band marches and Americana in the Second Symphony were present to remind him of his youth, not shock Horatio parker, his music teacher. And the famous razzy “non-chord” at the end was meant to evoke dance bands sending everyone home with a screech–not annoy the professor!

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