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LaborFest

LaborFest

LaborFest was established in 1994 to institutionalize the history and culture of working people in an annual labor cultural, film and arts festival.

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9 hours ago
LaborFest

S.F. Symphony’s struggles take center stage in Fauré’s Requiem
datebook.sfchronicle.com/classical/review-s-f-symphony-s-struggles-take-center-19914225?_gl=1*167…..
Rebecca Wishnia November 17, 2024Updated: November 18, 2024, 4:24 pm
The San Francisco Symphony Chorus in a performance at Davies Symphony Hall.

As contract tensions between talent and management escalate, it’s hard to see what the immediate future holds for the San Francisco Symphony. But one thing is clear: Musicians stick together.

Long before any notes of Gabriel Fauré’s Requiem were sung at Davies Symphony Hall on Saturday, Nov. 16, the orchestra’s instrumentalists led a long ovation in support of their colleagues in the Symphony Chorus. It was a heartening show of solidarity in an evening that otherwise felt disjointed.

These fine performers have had much to contend with over the past many months. After a three-day strike in September that canceled what were to be the season’s opening performances of Verdi’s Requiem, the Chorus’ 32 union members remain without a contract.

SF Symphony: Renewed protests over wage and budget cuts
Members of the San Francisco Symphony Chorus in a 2022 performance at Davies Symphony Hall.

The choristers made their case, via leaflets distributed outside the hall before the weekend’s concerts, for a multiyear agreement that preserves the current performing minimums and provides for compensation growth. During the program’s first performance on Friday, Nov. 15, Symphony management sent an email to ticket holders detailing its position of maintaining current wage rates for choristers and reducing the Chorus performances from 26 to 23 in the current season. (The American Guild of Musical Artists, which represents the union singers, has since published its response.)

Meanwhile, the orchestra members’ own contract is set to expire on Sunday, Nov. 24. As if this weren’t enough, the musicians are also mourning the loss of soprano Aimée Puentes, a longtime Chorus member who died last month.

In stressful times, the first line of defense is a good leader. Guest conductor Kazuki Yamada had the unenviable task of uniting everyone for these first concerts back for the Chorus, and he unfortunately seemed to struggle in the role during Saturday’s performance. The 45-year-old conductor got his start as a choirboy in his native Japan; he’s now music director of the City of Birmingham Symphony Orchestra, a position once held by the great Simon Rattle. Yamada surely knows this music well, yet under his leadership, Fauré’s Requiem — and the rest of the pieces on the program — failed to cohere.

Guest conductor Kazuki Yamada led the San Francisco Symphony in works by Gabriel Fauré, Maurice Ravel and Dai Fujikura.

Indeed, in this performance of an inherently beautiful piece, it was difficult to find much beauty. From Yamada’s first downbeat — a gesture too ambiguous for the unison declamation to land — the ensemble pulled apart. The textures were muddy, phrases were directionless and tempos were punishingly slow. The Chorus, prepared by Director Jenny Wong, sang with inconsistent vowels and, shockingly, the occasional insistence of individual voices. It sounded like a first reading.

The other pieces on the program had their bright spots, and in Maurice Ravel’s Piano Concerto in G Major, that light was soloist Hélène Grimaud.

To be sure, circumstances weren’t ideal. In the slow movement, Yamada couldn’t quite get the strings to move; in the finale, his conducting seemed to weigh the music down. The balance was off. But when Grimaud played alone, she revealed herself to be the same musician audiences have admired ever since her Symphony debut in 1993 (the same year she released her magnificent first recording of this piece). She phrased with utmost rhythmic nuance, especially in the unaccompanied aria of the slow movement and in her encore, the Bagatelle Op. 1, No. 2, by contemporary Ukrainian composer Valentin Silvestrov. Her technique was flawless as ever; the first-movement piano cadenza, a fluent cascade of virtuosic arpeggiation and trills, was a joy.

Pianist Hélène Grimaud was the soloist in Maurice Ravel’s Piano Concerto in G Major.

The program had another highlight in the U.S. premiere of “Entwine” by London-based composer Dai Fujikura. In this short 2021 work, Fujikura takes fleeting gestures of not entirely unfamiliar sounds — the woodwinds playing flutter-tongue, the trumpets fanning their mutes — and reconfigures them in rich new harmonies. At first, the instrumental consorts seem to be in their own worlds, but gradually, the music connects them.

Some of the entrances were unintentionally blurry, but with the help of Yamada’s introductory spoken remarks, the piece’s premise — a composer’s longing for community during the height of the COVID-19 pandemic — came across. Put yourself back in that time: no gathering, certainly no touching.

“Maybe,” Yamada said, “through music we can do something.”

Correction: An earlier version of this story misstated when the current contract was set to expire. It expires Nov. 24.

Rebecca Wishnia is a freelance writer. This article has been provided in partnership with San Francisco Classical Voice.
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2 weeks ago
LaborFest

Book on SF Coit Tower murals offers lessons on contemporary conversations about public art

datebook.sfchronicle.com/books/coit-tower-murals-robert-cherny-19844998?_gl=1*tbn3j2*_ga*MTE2MTE1….

Brandon Yu November 4, 2024Updated: November 4, 2024, 4:10 am
Robert W. Cherny’s new book details the history of the Coit Tower murals.

Photo: Sarah Cherny
In 2017, the retired art historian Robert W. Cherny found himself unwittingly thrust into the maelstrom of a national controversy.

Amid a public battle over whether a series of murals — some of which depicted America’s history of slavery and its genocide of Indigenous peoples — at George Washington High School ought to be removed and destroyed, Cherny had been called to take part in the San Francisco school board’s discussions. He had written a book on Victor Arnautoff, the late artist behind the murals, and could offer perspective on Arnautoff’s intent behind the works. When he did at the meetings, he was met with heated resistance.

“My book came out the same year that that whole thing erupted,” Cherny, a professor emeritus of history at San Francisco State University, told the Chronicle. “And I was absolutely in the middle of it.”

The controversy, which invited significant national media attention and ultimately resulted in the murals staying intact, still baffles Cherny to this day. But it also, in some ways, led him to and foreshadowed the ideas in his latest book, “The Coit Tower Murals: New Deal Art and Political Controversy in San Francisco.”

Shortly before Arnautoff created the works at George Washington High in the mid 1930s, he had been the technical director of and one of the artists behind the Coit Tower murals, the sprawling works of art that adorn the inside of the iconic building. Cherny’s book details their creation, and also their own strikingly similar brush with controversy and calls for destruction.

S.F. State professor Robert W. Cherny has a new book, “The Coit Tower Murals: New Deal Art and Political Controversy in San Francisco,” out Tuesday, Nov. 12.

An officially designated San Francisco landmark and part of the National Register of Historic Places, the Coit Tower murals were created over several months in 1933 and 1934 by a collection of artists that had been commissioned through the Public Works of Art Project, a Depression-era federal initiative meant to employ artists and help democratize art as part of President Franklin D. Roosevelt’s New Deal.

“It produced just an incredible outpouring of public art,” Cherny said of the initiative. “That’s a key part of it: that the art was supposed to be in places where members of the public could easily see it, and it was supposed to be art that members of the public could easily relate to.”

The Coit Tower murals, in particular, became one of the crowning achievements of New Deal art. Featuring 28 murals created by some two dozen local artists, the project provides an immersive tableau of Depression-era life, depicting everything from agricultural labor to city living, the San Francisco harbor to the Chronicle newsroom.

“Just about anything you can think about, whether it’s work life or recreation life, is depicted there,” said organizer Jon Golinger, a friend of Cherny’s who spearheaded the efforts that resulted in the city’s restoration of the Coit Tower murals in 2014. “And that’s by design. The artists were given a theme of California life.”

Cherny’s book, though, also focuses on the controversy that the murals were plunged into after politicians and the media seized upon small portions of the murals that the artist Clifford Wight had painted. The outcry predominantly circled around a hammer and sickle image that, facing accusations of Communist propaganda, was ultimately removed.

At the time, San Francisco was caught up “in the middle of this enormous waterfront strike and then a general strike with all kinds of allegations that Communists were behind the strikes,” Cherny said. “Without that strike and without the accompanying red scare, some of (the mural’s imagery) would probably have just coasted right through, and nobody would’ve particularly noticed it.”

The uproar, reignited more than once across the years amid subsequent red scares, is just one iteration of an evergreen issue regarding public art, including Arnautoff’s murals at George Washington High School. Cherny noted that seeing the controversy over the Coit Tower murals with a sense of distance can offer a more clear-eyed lesson about contemporary responses to public art.

“Those controversies now seem something that tells us more about the time that the controversy took place than it tells us about the art,” he said. In that sense, Cherny adds, “art has to be understood as this kind of a historic artifact that is going to tell us interesting things about the time in which it was created and perhaps about ourselves today. But if we destroy it, it can never have that function.”

If not with Wight’s portions at Coit Tower, it’s a stance that, despite a messy battle in public, ultimately prevailed at George Washington High School, where Arnautoff’s murals remain untouched.

“The best of public art is not designed to make your eyes glaze over,” Golinger said. “It’s designed to make you think, and sometimes that might make you sad, might make you happy or laugh, but also could make you mad. And if it’s making you mad, it’s because it’s showing you reality, at least through the artist’s eyes.”

Brandon Yu is a freelance writer.
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