{"id":812,"date":"2026-07-04T11:37:02","date_gmt":"2026-07-04T11:37:02","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=812"},"modified":"2026-07-04T11:37:02","modified_gmt":"2026-07-04T11:37:02","slug":"sublime-fury-at-the-ojai-festival","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=812","title":{"rendered":"Sublime Fury at the Ojai Festival"},"content":{"rendered":"
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On a recent Saturday morning in Ojai, California, a venerable bohemian enclave northwest of Los Angeles, the clarinettist Anthony McGill stood beneath a sycamore tree and played \u201cAbyss of the Birds,\u201d the third movement of Olivier Messiaen\u2019s \u201cQuartet for the End of Time.\u201d McGill, the flutist Rose Lombardo, and the accordionist Hanzhi Wang were giving a free concert at the Ojai Meadows Preserve, a restored wetlands area. More than four hundred people had assembled for the occasion, some seated on folding chairs and some reclining on blankets. McGill\u2019s superbly nuanced calls, runs, and trills elicited commentary from a second audience, perched in the trees above\u2014a colloquium of finches, towhees, titmice, kingbirds, juncos, and Eurasian collared doves. (A bird-watcher was seated behind me.) This pre-summer idyll could not have been more different from the setting in which the Quartet was first heard. Messiaen completed the score while he was being held at a German prisoner-of-war camp, and it had its premi\u00e8re there on an icy winter night in 1941. Perhaps the composer dreamed of a future performance like the one in Ojai; his music rejects the nightmare of history and goes in search of ultimate serenity.<\/p>\n

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Once again, the Ojai Music Festival was summoning sonic bliss, as it has been doing for the past eighty years. No gathering of its kind is mellower in mood or keener in attitude. The general rule is that programs should focus on twentieth- and twenty-first-century composers, although musicians won\u2019t be reprimanded if they leap back to the twelfth century, as the violinist Geneva Lewis and the cellist Jay Campbell did at another crowded morning event this year, when they played an arrangement of Hildegard of Bingen\u2019s chant \u201cO Virtus Sapientie.\u201d The Ojai audience, having been molded over the decades by the likes of Igor Stravinsky, Pierre Boulez, Michael Tilson Thomas, and Mitsuko Uchida, is not easily fazed. No one blinked an eye when, during a concert at the Ojai Valley School, the percussionist Jonathan Hepfer filtered a Beatles tune through an amplified teapot, in a rendition of Alvin Lucier\u2019s \u201cNothing Is Real.\u201d In 2015, Steven Schick scheduled Morton Feldman\u2019s five-hour-long \u201cFor Philip Guston\u201d for the mad time of 5 A.M.<\/em>, and about a hundred hardy souls showed up.<\/p>\n

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Each year, Ojai has a different music director. When I first visited, in 1999, the composer-conductor Esa-Pekka Salonen, then forty, brought in a gang of avant-garde Finns, the Toimii Ensemble, and unleashed Magnus Lindberg\u2019s anarchic masterpiece \u201cKraft,\u201d from 1985. While the Los Angeles Philharmonic thundered apocalyptically, members of Toimii ran up and down the aisles of the Libbey Bowl, Ojai\u2019s main venue, to bang on car parts and strike gongs that were hanging from trees. Salonen was back this year, a bit less rambunctious than before, secure in his status as one of the major musical figures of our time. He is now old enough to have seen many mentors and colleagues fall away: Messiaen, Gy\u00f6rgy Ligeti, Luciano Berio, Franco Donatoni, Oliver Knussen, Witold Lutos\u0142awski, Steven Stucky, Kaija Saariaho. All were present in Salonen\u2019s programs, in sound and spirit. To some extent, the 2026 festival was a retrospective of the late twentieth century, when modernist strictures were loosening and a more expansive, pluralistic mentality was taking hold.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Nostalgia isn\u2019t an Ojai virtue, however, and younger composers kept things current. Messiaen\u2019s nature-consciousness found a counterpart in Gabriella Smith\u2019s \u201cAnthozoa,\u201d for violin, cello, piano, and percussion, which evoked the microscopic bustle of coral reefs, with clicks and rustlings giving way to oceanic hymnal chords. Anna Thorvaldsdottir\u2019s \u201cR\u00f3\u201d (\u201ctranquillity,\u201d in Icelandic) unfurled a not dissimilar soundscape of organic tendrils growing from sustained drones. Meanwhile, the pianist Conor Hanick played two new pieces by John Adams, the most boyish of near-octogenarians; one of them, \u201csong without words,\u201d offered a transfixing instance of Adamsian endless melody, at once radiant and bittersweet.<\/p>\n

Of the half-dozen Ojai festivals I\u2019ve attended, this one was perhaps the most perfectly executed. The excellence of the programming and music-making testified not only to Salonen\u2019s magnetism but also to the behind-the-scenes dexterity of the veteran arts administrator Ara Guzelimian, who has been associated with Ojai for decades and has led its operations since 2020. The ovation that erupted when Guzelimian walked out to introduce the festival\u2019s closing concert was a fitting acknowledgment that golden-age concerts do not happen by themselves.<\/p>\n

That final concert, featuring the student orchestra of the Colburn School, in L.A., at once exemplified Ojai\u2019s ethos and jolted its laid-back atmosphere. Salonen led a buoyant, mercurial ninetieth-birthday tribute that he wrote for the late Frank O. Gehry, titled \u201cFog.\u201d He also presented Stravinsky\u2019s ironic-bucolic ballet \u201cPulcinella,\u201d a bracing prelude to summer. In between came Ligeti\u2019s towering, terrifying Violin Concerto, written between 1989 and 1993. Leila Josefowicz, for whom both Salonen and Adams have written concertos, essayed the solo part for the first time in her career, and she delivered it with such sublime fury that afterward the customarily reserved Salonen did something quite uncharacteristic: he slapped his forehead with his palm and gestured at Josefowicz in happy disbelief.<\/p>\n

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I had been waiting more than thirty years to hear this concerto done so intensely. In 1993, when I was a neophyte critic, I went to Boston to report on a Ligeti festival at the New England Conservatory. The composer was in attendance, holding forth in lectures and discussions, his arachnid mind spinning webs across music history. At one point, he gave a virtuosic disquisition on motifs of lament, citing Gesualdo, Monteverdi, Bach, Schubert, and Purcell (he sang an excruciating version of \u201cDido\u2019s Lament\u201d), not to mention flamenco, Roma music, and funeral songs he\u2019d heard in Transylvania as a child. He also discussed the Violin Concerto, which he was still revising. He related the piece to his attempt to develop a new kind of tonality, one that would absorb tradition without becoming trapped by it. He said, \u201cI am in a prison\u2014one wall is the avant-garde, the other wall is the past, and I want to escape.\u201d Only Ligeti could find himself in an Escher-like prison with just two walls.<\/p>\n

The concerto is less than half an hour long, yet it contains a universe of possibilities. Folkish ditties dance through fractal textures; standard equal-tempered tuning is juxtaposed with the archaic practice of just intonation; rhythms ricochet against one another; influences of Central African forager music and Indonesian gamelan are audible; the ancient lament resounds. Because of its extreme complexity, the work is seldom programmed, and when it is the realization can fall short of the conception. In 2000, I heard it at Carnegie Hall, with Christian Tetzlaff, Pierre Boulez, and the London Symphony. The notes glittered in place, but the piece came across more as a cerebral design than as a living thing.<\/p>\n

Salonen has dug deeper. He esteemed Ligeti from an early age and worked closely with the composer from the nineteen-eighties onward. When the Sony Classical label launched a recorded survey of Ligeti\u2019s music, in the nineties, Salonen was chosen to oversee the project. Alas, Ligeti proved to be an extraordinarily difficult collaborator, his manic perfectionism colliding with practical reality and leading to unpleasant scenes. One day, Salonen received a fax from him that read, \u201cI promise to be relatively nice tomorrow.\u201d Nonetheless, Salonen never stopped admiring the music, and he bore in mind the psychic pressures that weighed on the man himself. Messiaenic serenity was not within Ligeti\u2019s reach. When I spoke with Salonen at Ojai, he told me, \u201cHere was a man who lost almost all of his family in the Holocaust, and then fled from Hungary to Austria in 1956, in the middle of the night, with dogs chasing him at the border. When that is your starting point, it creates a very bleak world view.\u201d What fascinates Salonen now, however, is not the darkness of Ligeti\u2019s art but its aliveness and freshness: \u201cThe vitality of a piece like the Violin Concerto reminds me of the \u2018Symphonie Fantastique\u2019\u2014it will always surprise you.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Josefowicz, in her decathlon of a performance, brought Ligeti\u2019s savage discontinuities to the surface. She applied a thick, bristling tone and dispatched swirls of notation with meticulous abandon. At the same time, she attended to the primeval lyricism that shimmers through the work\u2019s kaleidoscopic visions. The second movement, \u201cAria, Hoquetus, Choral,\u201d begins with a seventy-four-bar melody that is played entirely on the G string. Josefowicz lent it a desperate warmth, as if she were the last survivor of a destroyed village. Most stupendous of all was her cadenza in the fifth movement\u2014a tour de force of disciplined chaos that she composed herself, responding to an invitation that Ligeti extends to the soloist. \u201cIt should be hectic throughout,\u201d he writes, and so it was. Salonen guided the Colburn Orchestra with flexible authority, imposing order or inciting wildness as the moment required. The youthful musicians chattered away like creatures of the Transylvanian night.<\/p>\n

The Violin Concerto ends with an elegant shock. The orchestra delivers a rapid-fire series of thwacks, grunts, yelps, and honks, marked \u201cffffff\u201d<\/em> and \u201cffffffff<\/em>.\u201d The flutes follow with flutter-tongued E\u2019s that fade to silence\u2014a quivering, alarm-like effect that Ligeti derived from Shostakovich\u2019s doom-laden Fourth Symphony. Salonen told me, \u201cThere are elements of a triumphant finish, but it kind of falls apart. With Ligeti, you often don\u2019t know if it\u2019s playful, or tragic, or, most likely, both. It makes me think of the final scene of Verdi\u2019s \u2018Falstaff\u2019\u2014\u2018All the world is a jest.\u2019\u00a0\u201d In some ways, Ligeti\u2019s ending doesn\u2019t even sound like an ending. The buzzing of the flutes could be a signal to wake up and keep going. In the twilight of the twentieth century, with the shadows of history all around, Ligeti cleared the stage for an infinite musical future.\u00a0\u2666<\/p>\n

Read more Misophonia Fireworks<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Alex Ross reviews an event that included powerful performances of music by Olivier Messiaen, Gy\u00f6rgy Ligeti, John Adams, and others.<\/p>\n","protected":false},"author":1,"featured_media":811,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-812","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musical-events"],"yoast_head":"\nSublime Fury at the Ojai Festival - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=812\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sublime Fury at the Ojai Festival - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Alex Ross reviews an event that included powerful performances of music by Olivier Messiaen, Gy\u00f6rgy Ligeti, John Adams, and others.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cityrelocationnews.com\/?p=812\" \/>\n<meta property=\"og:site_name\" content=\"City Relocation News\" \/>\n<meta property=\"article:published_time\" content=\"2026-07-04T11:37:02+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=812#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=812\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/#\\\/schema\\\/person\\\/3e7ce0c0c60d21e12a5ac61fb2b786d4\"},\"headline\":\"Sublime Fury at the Ojai Festival\",\"datePublished\":\"2026-07-04T11:37:02+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=812\"},\"wordCount\":1679,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=812#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityrelocationnews.com\\\/wp-content\\\/uploads\\\/2026\\\/07\\\/97ea0cfa057b4aea861205b4311be4b5.webp\",\"articleSection\":[\"Musical Events\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/cityrelocationnews.com\\\/?p=812#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=812\",\"url\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=812\",\"name\":\"Sublime Fury at the Ojai Festival - 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