Wednesday, November 25, 2015

The Substitute

Neeme Järvi has no title with the Philadelphia Orchestra, and never has. But if anyone were deserving of an honorific, it’s this conductor. Something like Substitute In Chief would do.

The Substitute


Neeme Järvi has no title with the Philadelphia Orchestra, and never has. But if anyone were deserving of an honorific, it’s this conductor. Something like Substitute In Chief would do.

Järvi, 71, is stepping in for an ailing Emmanuel Krivine at the orchestra this week. It is the fifth time Järvi has taken over at the orchestra’s podium while apparently feeling healthy and able when others were not.

In fact, Järvi has appeared here slight more as a substitute than as an originally scheduled conductor, five times to four respectively.

Maybe he takes some comfort in his chummy rapport with the orchestra, and perhaps also in knowing that he has replaced only the best in the business: Riccardo Muti, Riccardo Chailly and Yuri Temirkanov, among them.

An additional appearance in 1996, though, was neither as a substitute nor as the originally scheduled conductor, since no one really saw that concert coming at all. Järvi led musicians in a strike concert for that program, and technically speaking, he was working for players.

Maybe his substitute-ness was in the cards.

This is how his bio read in the program for his first Philadelphia Orchestra appearance in 1980 – his first with any U.S. orchestra: “Neeme Järvi was one of the last artists to receive permission to leave the Soviet Union before the recent freeze on cultural exchanges. He has departed permanently and plans to settle in the West. He arrived in the United States in late January and, paradoxically, was called upon to fill the Philadelphia Orchestra engagements originally scheduled for Yevgeny Svetlanov whose appearances in this country were cancelled by the Soviet government.”

His concerts with the orchestra are Thursday, Friday, Saturday and Sunday.

(Thanks to Philadelphia Orchestra associate communications director Darrin T. Britting for the research.)

Inquirer Classical Music Critic
We encourage respectful comments but reserve the right to delete anything that doesn't contribute to an engaging dialogue.
Help us moderate this thread by flagging comments that violate our guidelines.

Comment policy: comments are intended to be civil, friendly conversations. Please treat other participants with respect and in a way that you would want to be treated. You are responsible for what you say. And please, stay on topic. If you see an objectionable post, please report it to us using the "Report Abuse" option.

Please note that comments are monitored by staff. We reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable. Personal attacks, especially on other participants, are not permitted. We reserve the right to permanently block any user who violates these terms and conditions.

Additionally comments that are long, have multiple paragraph breaks, include code, or include hyperlinks may not be posted.

Read 0 comments
comments powered by Disqus
About this blog

Peter Dobrin is a classical music critic and culture writer for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Museum of Art at the Venice Biennale, expansion of the Curtis Institute of Music, the Philadelphia Orchestra's bankruptcy declaration in 2011, Philadelphia's evolving performing arts center and the general health of arts and culture.

Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. He has no time to practice today.

Arts Watch
Latest Videos:
Also on
letter icon Newsletter