1 00:00:02,160 --> 00:00:05,120 Speaker 1: This is Alec Baldwin and you're listening to Here's the 2 00:00:05,200 --> 00:00:09,760 Speaker 1: Thing from iHeart Radio. My guest today is the first 3 00:00:09,800 --> 00:00:12,760 Speaker 1: person I ever thought I could possibly lose my job 4 00:00:12,840 --> 00:00:18,200 Speaker 1: to thanks to his magnificent speaking voice. Anthony Parthur is 5 00:00:18,239 --> 00:00:23,159 Speaker 1: a multifaceted conductor, bassoonist, and music director. Parthur is the 6 00:00:23,280 --> 00:00:27,240 Speaker 1: music director and conductor of the San Bernardino Symphony Orchestra. 7 00:00:27,920 --> 00:00:31,240 Speaker 1: He's also the music director of the Southeast Symphony in 8 00:00:31,320 --> 00:00:35,320 Speaker 1: Los Angeles. Known for his work on major film scores, 9 00:00:35,680 --> 00:00:39,360 Speaker 1: Parth has led the scoring sessions of critically acclaimed movies 10 00:00:39,400 --> 00:00:42,600 Speaker 1: and television series such as Avatar, The Way of Water, 11 00:00:43,040 --> 00:00:47,360 Speaker 1: Black Panther, Waconda, Forever, The Mandalorian, and the Grammy Award 12 00:00:47,400 --> 00:00:51,920 Speaker 1: winning film and Canto. Parthr also led the scoring session 13 00:00:52,240 --> 00:00:55,440 Speaker 1: for Oppenheimer, which won an Oscar for Best Picture and 14 00:00:55,840 --> 00:00:59,720 Speaker 1: Original Score. Of all the instruments Anthony Parthur could have 15 00:00:59,720 --> 00:01:07,200 Speaker 1: select to play, I wondered why he chose the bassoon. 16 00:01:07,360 --> 00:01:11,800 Speaker 2: There is quite a story behind that. You know. Where 17 00:01:11,840 --> 00:01:16,560 Speaker 2: I grew up in Central Virginia, I think banned and 18 00:01:16,800 --> 00:01:20,880 Speaker 2: orchestra starts in the fourth or fifth grade. I started 19 00:01:21,120 --> 00:01:23,160 Speaker 2: around the eighth or ninth grade, and I'll tell you 20 00:01:23,200 --> 00:01:26,280 Speaker 2: why I desperately wanted to go to the theme park. 21 00:01:26,319 --> 00:01:30,320 Speaker 2: The local theme park in Richmond, Virginia is called King's Dominion, 22 00:01:31,480 --> 00:01:34,200 Speaker 2: and growing up, all you would see on television is 23 00:01:34,400 --> 00:01:37,679 Speaker 2: these happy families enjoying roller coasters. And I wanted to 24 00:01:37,680 --> 00:01:41,440 Speaker 2: be a happy family going to King's Dominion. And my parents, 25 00:01:41,440 --> 00:01:44,320 Speaker 2: who are both immigrants born in the twenties and thirties, 26 00:01:44,720 --> 00:01:47,360 Speaker 2: did not even understand the concept of a theme park. 27 00:01:47,880 --> 00:01:49,520 Speaker 2: And I'm sitting in math class one day and over 28 00:01:49,520 --> 00:01:51,480 Speaker 2: the intercom, the lady says, with all the students in 29 00:01:51,520 --> 00:01:55,160 Speaker 2: the Linkhorn Middle School band report to the buses for 30 00:01:55,240 --> 00:01:59,040 Speaker 2: their trip to King's Dominion, and lo and behold, you know, 31 00:01:59,200 --> 00:02:02,040 Speaker 2: most of the class stands up, grabs all of these 32 00:02:02,080 --> 00:02:06,320 Speaker 2: strange looking instrument cases, and bounds out the door, leaving 33 00:02:06,320 --> 00:02:11,520 Speaker 2: me behind. And that was pretty traumatizing. So my joining 34 00:02:11,639 --> 00:02:15,440 Speaker 2: ban and getting involved in music was a scam because 35 00:02:15,480 --> 00:02:17,400 Speaker 2: I knew my parents would let me go to King's 36 00:02:17,440 --> 00:02:20,080 Speaker 2: Dominion if it was a school trip, because they were 37 00:02:20,600 --> 00:02:24,400 Speaker 2: very you know, into the academics and things along those lines. 38 00:02:24,919 --> 00:02:27,960 Speaker 2: So I picked up a dictionary I saw in the 39 00:02:28,000 --> 00:02:31,600 Speaker 2: a section the accordion, and it reminded me of watching 40 00:02:31,720 --> 00:02:34,360 Speaker 2: The Lawrence Walk Show with my parents, which I hated 41 00:02:34,400 --> 00:02:38,120 Speaker 2: that show growing up, but they loved what hoping that. 42 00:02:38,240 --> 00:02:40,360 Speaker 2: I think it was like Arthur Duncan. Was that his 43 00:02:40,440 --> 00:02:43,920 Speaker 2: name the tap dancer. They waited every single episode to 44 00:02:43,919 --> 00:02:46,639 Speaker 2: see Arthur Duncan tap dance on The Lawrence walk Show, 45 00:02:46,639 --> 00:02:49,720 Speaker 2: which he only appeared, you know, every once in a while. 46 00:02:50,080 --> 00:02:53,720 Speaker 2: But I thought that the accordion seemed nerdy, so I 47 00:02:53,840 --> 00:02:56,880 Speaker 2: wanted an instrument that would accord me the respect of 48 00:02:56,919 --> 00:02:59,480 Speaker 2: my peers. So I turned to the B section of 49 00:02:59,520 --> 00:03:03,280 Speaker 2: the dictionary and there was the bassoon, and I was like, 50 00:03:03,360 --> 00:03:05,680 Speaker 2: you know what, this is my ticket to King's Dominion. 51 00:03:05,720 --> 00:03:09,440 Speaker 2: So I literally took my little Webster's Dictionary to the 52 00:03:09,480 --> 00:03:12,040 Speaker 2: middle school band director and I announced my name. I said, 53 00:03:12,040 --> 00:03:13,480 Speaker 2: my name is Anthony Parther, and I want to play 54 00:03:13,480 --> 00:03:16,440 Speaker 2: the bassoon, and he looked at me like I had 55 00:03:16,440 --> 00:03:20,200 Speaker 2: seven heads, thank God, and someone a dusted one off 56 00:03:20,240 --> 00:03:21,919 Speaker 2: in the corner that I don't think had been played 57 00:03:21,919 --> 00:03:25,400 Speaker 2: since Lyndon B. Johnson was president. And I took the 58 00:03:25,400 --> 00:03:27,799 Speaker 2: thing home and learned to play it. And they did 59 00:03:27,840 --> 00:03:30,280 Speaker 2: not go to King's Dominion. The next year, then here 60 00:03:30,320 --> 00:03:30,800 Speaker 2: I am. 61 00:03:31,240 --> 00:03:34,480 Speaker 1: Now in an orchestra. How many bassoons were on stage 62 00:03:34,520 --> 00:03:36,160 Speaker 1: with a full orchestra? Two or four? 63 00:03:36,560 --> 00:03:40,120 Speaker 2: It depends on the piece, usually two oft in three 64 00:03:40,640 --> 00:03:43,840 Speaker 2: and then in some cases four or five. You know, 65 00:03:43,840 --> 00:03:45,880 Speaker 2: you get into like a Moler symphony or the Right 66 00:03:45,920 --> 00:03:49,240 Speaker 2: of Spring Stravinsky, and you'll have four or five bassoons 67 00:03:49,360 --> 00:03:51,680 Speaker 2: quite commonly, but usually it's two or three. 68 00:03:52,480 --> 00:03:57,880 Speaker 1: So you start by playing the bassoon, and you obviously 69 00:03:57,920 --> 00:04:01,040 Speaker 1: go to schools. But do you go to these schools? 70 00:04:01,080 --> 00:04:03,880 Speaker 1: Do you any of the schools you attend, especially as 71 00:04:03,880 --> 00:04:06,000 Speaker 1: you go up the ladder? I know this sounds weird. 72 00:04:06,040 --> 00:04:11,800 Speaker 1: I'm assuming any professional performer, any artist in the classical repertoire, 73 00:04:12,120 --> 00:04:14,720 Speaker 1: you know, you deep in your relationship with that instrument 74 00:04:15,240 --> 00:04:17,400 Speaker 1: and you learn more and more about how to play 75 00:04:17,400 --> 00:04:20,560 Speaker 1: it and varieties to play it. Is that true with 76 00:04:20,640 --> 00:04:22,760 Speaker 1: any instrument? Or are there instruments where you're sitting there 77 00:04:22,839 --> 00:04:25,520 Speaker 1: going God, you know, I'd like to switch over to 78 00:04:25,560 --> 00:04:28,680 Speaker 1: the piano or the violin or something else. You marry 79 00:04:28,680 --> 00:04:30,040 Speaker 1: that instrument, correct. 80 00:04:30,680 --> 00:04:34,440 Speaker 2: Yeah, it was pretty much a marriage, deeply fraught marriage, 81 00:04:34,440 --> 00:04:39,040 Speaker 2: but a marriage nonetheless. Oftentimes to assume you know, battered 82 00:04:39,080 --> 00:04:42,200 Speaker 2: me into submission. But yeah, I spent most of my 83 00:04:42,880 --> 00:04:46,720 Speaker 2: undergraduate years really trying to learn to wrestle with and 84 00:04:46,920 --> 00:04:50,480 Speaker 2: master this instrument and hopes that I could get a job, 85 00:04:50,720 --> 00:04:52,599 Speaker 2: you know, playing the thing right. 86 00:04:53,240 --> 00:04:56,480 Speaker 1: Well, one thing I read about you and your work 87 00:04:56,880 --> 00:04:59,800 Speaker 1: that I found interesting was the LA Times hailed you 88 00:04:59,839 --> 00:05:04,160 Speaker 1: as the quintessential LA musician of our day. What does 89 00:05:04,200 --> 00:05:06,640 Speaker 1: an LA musician mean? Do you believe there is such 90 00:05:06,680 --> 00:05:08,560 Speaker 1: thing as an LA musician? What is that? 91 00:05:09,240 --> 00:05:09,520 Speaker 3: Well? 92 00:05:09,960 --> 00:05:13,240 Speaker 2: I think in Los Angeles, the big thing here that 93 00:05:13,279 --> 00:05:17,120 Speaker 2: we have that maybe other American cities don't have so 94 00:05:17,279 --> 00:05:21,400 Speaker 2: much of, is the recording studios. So I've spent almost 95 00:05:21,400 --> 00:05:25,200 Speaker 2: the last nearly twenty years working as a session musician 96 00:05:25,240 --> 00:05:29,839 Speaker 2: and session conductor on a variety of TV shows and 97 00:05:30,480 --> 00:05:33,920 Speaker 2: movies and video game scores. But you know, when I'm 98 00:05:33,960 --> 00:05:37,800 Speaker 2: not doing that, I'm also music director of a regional orchestra. 99 00:05:38,240 --> 00:05:41,039 Speaker 2: I'm also a freelance basooners, so you'll often see me, 100 00:05:41,760 --> 00:05:45,400 Speaker 2: you know, playing on various series, you know, usually new 101 00:05:45,480 --> 00:05:48,159 Speaker 2: music series throughout the city. So like every single day 102 00:05:48,240 --> 00:05:50,760 Speaker 2: is a different adventure. Sometimes I'm a bassooner, sometimes I'm 103 00:05:50,800 --> 00:05:54,320 Speaker 2: an orchestrator. Sometimes, you know, I'm conducting, So I'm doing 104 00:05:54,360 --> 00:05:57,520 Speaker 2: something different usually every single day of the week here 105 00:05:57,520 --> 00:05:57,919 Speaker 2: in town. 106 00:05:58,279 --> 00:05:59,560 Speaker 1: You're at Sam bernard Do you know, No. 107 00:06:00,080 --> 00:06:02,760 Speaker 2: Yeah, the San Bernardino Symphony. This is my sixth year 108 00:06:02,800 --> 00:06:03,880 Speaker 2: as music director there. 109 00:06:04,520 --> 00:06:09,480 Speaker 1: Now I'm assuming that everybody who ascends to the biggest 110 00:06:09,920 --> 00:06:12,520 Speaker 1: ensembles in the country of the world, they got to 111 00:06:12,560 --> 00:06:16,680 Speaker 1: start somewhere. How does your appointment in sam Bernardino happen? 112 00:06:17,120 --> 00:06:20,919 Speaker 1: Are they like all symphony orchestras, they're constantly gauging and 113 00:06:21,040 --> 00:06:23,640 Speaker 1: monitoring who's out there and where they are and the 114 00:06:23,720 --> 00:06:26,159 Speaker 1: length of their contract and so forth. Do you know 115 00:06:26,279 --> 00:06:29,280 Speaker 1: they're coming after you? Where were you conducting before Sam Bernardino? 116 00:06:30,800 --> 00:06:34,920 Speaker 2: Before the San Bernardino Symphony, I was leading two other 117 00:06:35,000 --> 00:06:38,720 Speaker 2: smaller orchestras, the Southeast Symphony, which has been in LA 118 00:06:38,880 --> 00:06:43,599 Speaker 2: for almost eighty years now. It's the oldest predominantly black 119 00:06:43,680 --> 00:06:47,080 Speaker 2: orchestra in the country. It was founded in the nineteen 120 00:06:47,120 --> 00:06:50,520 Speaker 2: forties by school teacher by the name of Mabel massingill Gun. 121 00:06:51,080 --> 00:06:53,920 Speaker 2: So I was doing that, and I was also doing 122 00:06:54,000 --> 00:06:57,080 Speaker 2: this really small orchestra out into Mecula, which is, you know, 123 00:06:57,120 --> 00:06:59,599 Speaker 2: sort of south of Orange County but north of San 124 00:06:59,640 --> 00:07:03,159 Speaker 2: Diego and doing quite a bit of guest conducting, and 125 00:07:03,320 --> 00:07:07,279 Speaker 2: I was also teaching this program at the University of California, Berkeley, 126 00:07:07,560 --> 00:07:09,960 Speaker 2: so I was doing a bunch of little things. But 127 00:07:10,200 --> 00:07:12,680 Speaker 2: I guess they had seen some of the things that 128 00:07:12,720 --> 00:07:15,960 Speaker 2: we'd done with the Southeast Symphony. They'd seen, you know, 129 00:07:15,960 --> 00:07:20,080 Speaker 2: footage of our Karmena Burana Moller Second Symphony and some 130 00:07:20,160 --> 00:07:22,560 Speaker 2: of these large scale concerts that we were putting on 131 00:07:22,680 --> 00:07:26,280 Speaker 2: that were gaining some notoriety. But I was invited to 132 00:07:26,360 --> 00:07:30,080 Speaker 2: be one of the candidates. I believe they had ten 133 00:07:30,240 --> 00:07:34,040 Speaker 2: finalist candidates from all over the world actually, and the 134 00:07:34,080 --> 00:07:36,920 Speaker 2: five conductors a year led a program. I was the 135 00:07:36,920 --> 00:07:39,840 Speaker 2: first of the ten to go over this two year 136 00:07:40,400 --> 00:07:42,520 Speaker 2: you know, music director search that they were having, and 137 00:07:42,560 --> 00:07:44,880 Speaker 2: I was like, surely they would have forgotten about me 138 00:07:44,960 --> 00:07:48,320 Speaker 2: by now, but apparently they had not, and they appointed 139 00:07:48,320 --> 00:07:51,320 Speaker 2: me music director and as soon as I started my 140 00:07:52,160 --> 00:07:55,120 Speaker 2: first season, we get in a few months in COVID began. 141 00:07:56,960 --> 00:07:59,840 Speaker 2: It was really challenging first year. I think are so 142 00:08:00,080 --> 00:08:03,640 Speaker 2: port system out in San Bernardino is good and getting 143 00:08:03,680 --> 00:08:07,920 Speaker 2: better by by the month. San Bernardino is a city 144 00:08:08,160 --> 00:08:13,320 Speaker 2: that is seventy five percent Latino and black. It's not 145 00:08:13,360 --> 00:08:17,280 Speaker 2: your typical city. It's very diverse. Now, I will tell 146 00:08:17,280 --> 00:08:20,920 Speaker 2: you that when I first saw the San Bernardino Symphony perform, 147 00:08:21,160 --> 00:08:24,600 Speaker 2: actually subbed in the San Bernardino Symphony, I think ten 148 00:08:24,680 --> 00:08:27,520 Speaker 2: years before I became the music director, or five years 149 00:08:27,640 --> 00:08:31,640 Speaker 2: or however many years before. The audience. The first time 150 00:08:31,640 --> 00:08:34,160 Speaker 2: that I went, the average age of the audience, I 151 00:08:34,160 --> 00:08:37,440 Speaker 2: want to say, was eighty and white. Now I went back, 152 00:08:37,480 --> 00:08:40,240 Speaker 2: you know, the first year as music director, maybe five 153 00:08:40,320 --> 00:08:42,480 Speaker 2: years after that, the average age of the audience was 154 00:08:42,520 --> 00:08:47,079 Speaker 2: eighty five and white. But it's diversified. I mean, you'll 155 00:08:47,120 --> 00:08:51,440 Speaker 2: go and you'll see people of all ages, all skin colors, 156 00:08:51,520 --> 00:08:55,240 Speaker 2: all backgrounds there. It's become very diverse and not very 157 00:08:55,280 --> 00:08:58,280 Speaker 2: many empty seeds anymore. You had a good board, We've 158 00:08:58,320 --> 00:09:01,920 Speaker 2: got a great we have a savvy and devoted board. 159 00:09:02,240 --> 00:09:05,640 Speaker 2: They're very serious about they're all proud of San Bernardino 160 00:09:05,800 --> 00:09:09,240 Speaker 2: and they really want the best for that region. And 161 00:09:09,520 --> 00:09:13,720 Speaker 2: the San Bernardino Symphony is really seen as one of 162 00:09:13,760 --> 00:09:19,040 Speaker 2: the few unifying sort of elements of that region, you know, 163 00:09:19,600 --> 00:09:22,559 Speaker 2: and it's the one place where you see so many 164 00:09:22,600 --> 00:09:26,480 Speaker 2: diverse corners of the community come together especially our big 165 00:09:26,520 --> 00:09:29,520 Speaker 2: summer concert. We have many thousands of people at this 166 00:09:29,559 --> 00:09:32,000 Speaker 2: concert that we've developed a couple of years ago, and 167 00:09:32,040 --> 00:09:36,199 Speaker 2: you see everybody there, and so it's growing, it's growing rapidly. 168 00:09:36,240 --> 00:09:38,200 Speaker 1: I would say, what's the name of the hall there 169 00:09:38,240 --> 00:09:38,880 Speaker 1: in San Bernis. 170 00:09:39,160 --> 00:09:42,400 Speaker 2: It's the California Theater, which is it's a ninety five 171 00:09:42,480 --> 00:09:46,560 Speaker 2: year old movie palace that they've converted into you know, 172 00:09:46,600 --> 00:09:52,000 Speaker 2: a multipurpose stage of sorts. It's about eighteen hundred Yeah, 173 00:09:52,040 --> 00:09:55,120 Speaker 2: it's not small, not huge either, but it's the perfect 174 00:09:55,200 --> 00:09:55,920 Speaker 2: size for us. 175 00:09:56,640 --> 00:10:00,560 Speaker 1: I find that people are so attached. You know, the 176 00:10:00,559 --> 00:10:04,320 Speaker 1: people that I've spoken to in Cleveland, they love Sefernce Hall. 177 00:10:04,520 --> 00:10:06,679 Speaker 1: Oh it's the best, so exactly. They're so proud of 178 00:10:06,720 --> 00:10:09,080 Speaker 1: Seffernce Hall. And the debate over what to do with 179 00:10:09,080 --> 00:10:12,040 Speaker 1: the Philharmonica with Avery Fisher here and going into the 180 00:10:12,080 --> 00:10:14,720 Speaker 1: David Geffen face it with something people just agonized over. 181 00:10:14,800 --> 00:10:18,120 Speaker 1: They really wanted a great hall. You've guests conducted. I've 182 00:10:18,120 --> 00:10:21,080 Speaker 1: seen here and I can't even believe all the places 183 00:10:21,120 --> 00:10:27,719 Speaker 1: I've seen you've gets conducted. I had no idea New York, Chicago, Cleveland, Philly, Cincinnati, 184 00:10:27,880 --> 00:10:34,360 Speaker 1: La Atlanta, San Francisco, Detroit, Baltimore, Washington, Rochester, Calgary, La Opera, 185 00:10:34,440 --> 00:10:39,600 Speaker 1: Houston Symphony, Pittsburgh, Saint Louis, Indianapolis, San Diego, Vancouver, Buffalo. 186 00:10:39,640 --> 00:10:43,360 Speaker 2: I mean, my god, it's still surreal to me to 187 00:10:43,400 --> 00:10:45,079 Speaker 2: step on some of these podiums. You know. It was 188 00:10:45,120 --> 00:10:47,720 Speaker 2: like here I am conducting the Cleveland Orchestra at Blossom. 189 00:10:47,760 --> 00:10:50,719 Speaker 2: It's like George Zell once stood on this podium, and 190 00:10:51,080 --> 00:10:53,680 Speaker 2: you know, here I am like, how dare I wave 191 00:10:53,720 --> 00:10:57,480 Speaker 2: a batonat this you know, group of story musicians anywhere 192 00:10:57,480 --> 00:11:01,440 Speaker 2: in this room? Yeah, exactly exactly. It was like I 193 00:11:01,440 --> 00:11:05,400 Speaker 2: should be the case. It's like, man, would you like 194 00:11:05,400 --> 00:11:07,520 Speaker 2: your rot or oils? I can take care of that 195 00:11:07,520 --> 00:11:08,199 Speaker 2: for you. Thank you. 196 00:11:08,640 --> 00:11:11,280 Speaker 1: What's the place you performed? Is there a hole you 197 00:11:11,320 --> 00:11:13,959 Speaker 1: went to that suited you? You said, I could hang 198 00:11:13,960 --> 00:11:15,840 Speaker 1: out here for a while. I could become the maestro 199 00:11:15,960 --> 00:11:19,319 Speaker 1: of this facility. You just really really was fun. It 200 00:11:19,480 --> 00:11:21,240 Speaker 1: sounded the way you wanted it to sound. 201 00:11:21,640 --> 00:11:23,600 Speaker 2: You know, there's been several of those. It was, you know, 202 00:11:23,840 --> 00:11:26,600 Speaker 2: and of course I think as a conductor, you always fantasize, Man, 203 00:11:26,640 --> 00:11:28,160 Speaker 2: what would it be like if I was the music 204 00:11:28,200 --> 00:11:33,760 Speaker 2: director here? You know, I must say a recent experience 205 00:11:33,800 --> 00:11:36,520 Speaker 2: that I had. I had conducted the orchestra a number 206 00:11:36,520 --> 00:11:40,960 Speaker 2: of times outdoors, but they finally let me indoors a 207 00:11:40,960 --> 00:11:44,440 Speaker 2: few months ago. But it was the Philadelphia Orchestra. And 208 00:11:44,600 --> 00:11:48,120 Speaker 2: you want to talk about ideal, you know, I think 209 00:11:48,160 --> 00:11:50,840 Speaker 2: the first time or the last time I remember being 210 00:11:50,880 --> 00:11:53,720 Speaker 2: intimidated by stepping in front of a group was the 211 00:11:53,720 --> 00:11:58,920 Speaker 2: first time, probably I stepped up to conduct the Hollywood 212 00:11:58,960 --> 00:12:01,960 Speaker 2: Studio Symphony or or what we call the Hollywood Studio Symphony, 213 00:12:02,000 --> 00:12:05,480 Speaker 2: the body of musicians that record all of these you know, 214 00:12:05,559 --> 00:12:07,960 Speaker 2: soundtracks that we've enjoyed for the last, you know, almost 215 00:12:08,000 --> 00:12:10,520 Speaker 2: one hundred years. I think the first time I had 216 00:12:10,520 --> 00:12:14,080 Speaker 2: a major session for that, I was like, oh my goodness. 217 00:12:14,120 --> 00:12:16,160 Speaker 2: I've been listening to many of these musicians since I 218 00:12:16,200 --> 00:12:19,520 Speaker 2: was a child. But I think if you can survive 219 00:12:20,160 --> 00:12:23,000 Speaker 2: in that room, and I think that's a tough room, 220 00:12:23,400 --> 00:12:27,480 Speaker 2: I think that working with even our great American orchestras 221 00:12:27,480 --> 00:12:31,080 Speaker 2: and orchestras abroad is a bit of a cinch in comparison. 222 00:12:31,480 --> 00:12:35,280 Speaker 1: But when you talk about you bring up the Hollywood 223 00:12:35,440 --> 00:12:39,360 Speaker 1: community there and recording scores and things in that community 224 00:12:39,400 --> 00:12:42,000 Speaker 1: of people, you know, beyond Bernard Herman, beyond all the 225 00:12:42,000 --> 00:12:44,720 Speaker 1: classic stuff. Where do they come from? Do they live 226 00:12:44,840 --> 00:12:48,120 Speaker 1: there and there's a steady stream of work doing that 227 00:12:48,200 --> 00:12:51,439 Speaker 1: and perhaps other things they can supplement their income. But 228 00:12:51,520 --> 00:12:55,520 Speaker 1: does the Hollywood orchestral community live in LA and come 229 00:12:55,559 --> 00:12:58,240 Speaker 1: from La? Is that their home or they come from everywhere? 230 00:12:59,000 --> 00:13:04,280 Speaker 2: For most recording sessions, the community of players are local. 231 00:13:05,000 --> 00:13:08,040 Speaker 2: So you know, when you're looking down the violin section, 232 00:13:08,720 --> 00:13:12,800 Speaker 2: you'll see quite a number of concertmasters of various California 233 00:13:12,920 --> 00:13:17,120 Speaker 2: orchestras and opera companies. You'll see well known and well 234 00:13:17,160 --> 00:13:21,760 Speaker 2: respected chamber musicians and soloists, so you'll see people from 235 00:13:21,800 --> 00:13:24,960 Speaker 2: the La Philharmonic, the Pacific Symphony, the La Opera, the 236 00:13:25,120 --> 00:13:28,760 Speaker 2: La Chamber Orchestra, as far away as the San Diego Symphony. 237 00:13:29,080 --> 00:13:33,160 Speaker 2: So it's an amalgamation of all of these extraordinary musicians 238 00:13:33,480 --> 00:13:35,839 Speaker 2: in the same room. You look into the cello section 239 00:13:35,920 --> 00:13:38,880 Speaker 2: and you'll see, you know, a bunch of really highly 240 00:13:38,920 --> 00:13:43,920 Speaker 2: regarded cellists or soloists or principal musicians in the various 241 00:13:44,160 --> 00:13:49,240 Speaker 2: Southern California orchestras all in one place. It's a remarkable 242 00:13:49,280 --> 00:13:50,320 Speaker 2: collection of talent. 243 00:13:51,280 --> 00:13:54,760 Speaker 1: Does that collection of talent do those individuals who come 244 00:13:54,800 --> 00:13:58,480 Speaker 1: into recording studios, at movie studios and so forth, do 245 00:13:58,520 --> 00:14:01,960 Speaker 1: they how are they different different any way from the 246 00:14:02,000 --> 00:14:04,800 Speaker 1: normal core of people who play in the repertoire. 247 00:14:05,480 --> 00:14:09,120 Speaker 2: I think in the studios perhaps in a way that 248 00:14:09,320 --> 00:14:14,960 Speaker 2: a tenured orchestra may not. There's no tenure or audition 249 00:14:15,160 --> 00:14:19,160 Speaker 2: to get into the Hollywood studios, so to speak. You're 250 00:14:19,240 --> 00:14:22,600 Speaker 2: usually invited into this core. There's quite a lot of 251 00:14:22,640 --> 00:14:25,200 Speaker 2: mystery about well, how does one become a player on 252 00:14:25,240 --> 00:14:29,440 Speaker 2: these soundtracks and scores and so forth. But there's also 253 00:14:29,520 --> 00:14:32,160 Speaker 2: this joke that you're a whole note from being kicked out, 254 00:14:32,640 --> 00:14:37,120 Speaker 2: you know, so you know, one bad session and people 255 00:14:37,160 --> 00:14:39,600 Speaker 2: start whispering, and that's the last thing that you want. 256 00:14:39,720 --> 00:14:40,640 Speaker 1: Why do you think that is? 257 00:14:42,160 --> 00:14:44,720 Speaker 2: It's because you know, a lot of money is being 258 00:14:44,800 --> 00:14:48,760 Speaker 2: spent to make sure that and as condensed the time 259 00:14:48,800 --> 00:14:52,440 Speaker 2: as possible, that this product is out and perfect, and 260 00:14:52,480 --> 00:14:55,760 Speaker 2: it's going to be out there forever. It's you know, 261 00:14:55,800 --> 00:14:58,640 Speaker 2: what you're playing is going to be in that movie forever. 262 00:14:59,200 --> 00:15:02,640 Speaker 2: Another little that I used to make is that you know, well, 263 00:15:03,000 --> 00:15:04,880 Speaker 2: the vorjak is just tonight, it rings in the hall 264 00:15:04,920 --> 00:15:06,640 Speaker 2: and it's over. But you know, you're working on a 265 00:15:06,680 --> 00:15:09,360 Speaker 2: Disney film and people will be hearing you play for 266 00:15:09,400 --> 00:15:12,120 Speaker 2: the next fifty sixty, seventy or more years, So it 267 00:15:12,160 --> 00:15:13,680 Speaker 2: has to be right, and it needs to be right 268 00:15:13,800 --> 00:15:16,440 Speaker 2: the first time, you know, because one thing that a 269 00:15:16,440 --> 00:15:18,480 Speaker 2: lot of people might not realize about what we do 270 00:15:18,520 --> 00:15:22,400 Speaker 2: as studio musicians is that we are site reading just 271 00:15:22,520 --> 00:15:25,480 Speaker 2: about everything that we play, and most of the things 272 00:15:25,480 --> 00:15:28,120 Speaker 2: that you hear, like in a Star Wars or Indiana 273 00:15:28,200 --> 00:15:31,600 Speaker 2: Jones movie or any of these television shows, is the 274 00:15:31,640 --> 00:15:34,720 Speaker 2: second or third time through or read through it the 275 00:15:34,720 --> 00:15:38,040 Speaker 2: first time, make some adjustments, and it very well, maybe 276 00:15:38,600 --> 00:15:41,240 Speaker 2: you know, the second or third read through. On some 277 00:15:41,280 --> 00:15:44,120 Speaker 2: shows that I work on, like you know American Dad, 278 00:15:44,160 --> 00:15:48,040 Speaker 2: for instance, a animated series, a lot of times what 279 00:15:48,080 --> 00:15:50,600 Speaker 2: you hear is us the first time, and that's it. 280 00:15:50,720 --> 00:15:53,600 Speaker 2: We move on to the next queue. So it moves 281 00:15:53,800 --> 00:15:57,000 Speaker 2: very quickly, so there's really no time for dawdling around 282 00:15:57,160 --> 00:16:00,680 Speaker 2: or fixing intonation or rhythmic errors. That just isn't put 283 00:16:00,760 --> 00:16:02,960 Speaker 2: up with in that room at all. 284 00:16:03,200 --> 00:16:05,640 Speaker 1: I used to go early on when I was in 285 00:16:05,720 --> 00:16:09,080 Speaker 1: Los Angeles, I'd see John Mocherry at the Hollywood Brob. 286 00:16:09,120 --> 00:16:11,400 Speaker 1: I mean, he was basically considered the father of the 287 00:16:11,480 --> 00:16:14,520 Speaker 1: live to picture clip pieces. Godfather, what have you on? 288 00:16:14,600 --> 00:16:17,520 Speaker 1: John Williams. When I was on the board and working 289 00:16:17,560 --> 00:16:20,560 Speaker 1: with the programming department there at the Philharmonic, we proposed 290 00:16:20,560 --> 00:16:23,520 Speaker 1: to the meistro them was Alan Gilbert, and we proposed 291 00:16:23,520 --> 00:16:25,480 Speaker 1: to him doing live to picture and just to get 292 00:16:25,480 --> 00:16:27,520 Speaker 1: your feet wet, we'd pick like a real, you know, 293 00:16:27,560 --> 00:16:29,520 Speaker 1: the real basic one, which is of course two thousand 294 00:16:29,520 --> 00:16:32,200 Speaker 1: and one a Space Odyssey. And he wasn't very excited. 295 00:16:32,280 --> 00:16:34,280 Speaker 1: Quite frankly, he was like, ah, well, you know, but 296 00:16:34,320 --> 00:16:35,720 Speaker 1: we get him to do it. We do two thousand 297 00:16:35,720 --> 00:16:38,080 Speaker 1: and one Live to picture and he comes off the 298 00:16:38,080 --> 00:16:40,240 Speaker 1: stage He's like, that was fun. He really liked it, 299 00:16:40,640 --> 00:16:43,240 Speaker 1: and thus birthed this thing art of the score that 300 00:16:43,320 --> 00:16:45,600 Speaker 1: we do with the Philharmonic, which is also then turned 301 00:16:45,640 --> 00:16:47,640 Speaker 1: into kind of a cash cow for them by showing 302 00:16:47,880 --> 00:16:50,400 Speaker 1: new films. Are you doing much live to picture or no? 303 00:16:50,800 --> 00:16:52,840 Speaker 2: I am doing some live to picture. Last time I 304 00:16:52,920 --> 00:16:56,040 Speaker 2: conducted the New York Philharmonic, I was actually conducting John 305 00:16:56,040 --> 00:17:00,320 Speaker 2: Williams's score. It's a job. Yeah, that was a I 306 00:17:00,360 --> 00:17:04,520 Speaker 2: think in September of twenty twenty four, and do. 307 00:17:04,480 --> 00:17:07,000 Speaker 1: You know all that gang there, I do, yes, are 308 00:17:07,040 --> 00:17:09,440 Speaker 1: you doing more of that in the coming months years? 309 00:17:09,760 --> 00:17:12,800 Speaker 2: I am. I just returned from the Seattle Symphony where 310 00:17:12,840 --> 00:17:16,600 Speaker 2: I was doing Black Panther, which was composed by my 311 00:17:16,680 --> 00:17:19,000 Speaker 2: dear friend Ludvig Gorens, and he won an Oscar for that. 312 00:17:19,800 --> 00:17:21,440 Speaker 2: I do have some more of that coming up, and 313 00:17:21,480 --> 00:17:22,680 Speaker 2: it's always a blast. 314 00:17:23,320 --> 00:17:26,960 Speaker 1: What about composers, Who's someone do you favor? Who named 315 00:17:26,960 --> 00:17:29,080 Speaker 1: three or four of that? You sit there and go, oh. 316 00:17:29,040 --> 00:17:33,600 Speaker 2: Yes, I really composers. For me as a conductor, coming 317 00:17:33,640 --> 00:17:37,200 Speaker 2: back to the music of Schumann and Beethoven has not 318 00:17:37,280 --> 00:17:40,000 Speaker 2: been matched by any other composer really, end of story. 319 00:17:40,359 --> 00:17:41,600 Speaker 2: You know. I went through a period where I want 320 00:17:41,680 --> 00:17:43,840 Speaker 2: to conduct all the large scale you know, the things 321 00:17:43,840 --> 00:17:45,560 Speaker 2: that call for one hundred and twenty people, you know. 322 00:17:46,040 --> 00:17:49,200 Speaker 2: But I think my motivation there was not necessarily musical. 323 00:17:49,240 --> 00:17:50,320 Speaker 2: I think I just want to see a bunch of 324 00:17:50,359 --> 00:17:53,800 Speaker 2: people on stage. But coming back to a Beethoven symphony, 325 00:17:53,840 --> 00:17:57,280 Speaker 2: even if it's for a tenth time, it has not 326 00:17:57,440 --> 00:18:00,960 Speaker 2: gotten more exhilarating than that. For me. I got to 327 00:18:01,000 --> 00:18:05,080 Speaker 2: conduct Beethoven's Fourth Symphony, which is I think my favorite 328 00:18:05,240 --> 00:18:09,840 Speaker 2: of all of the nine. At the proms two years ago, 329 00:18:10,200 --> 00:18:13,440 Speaker 2: which was terrifying, but it's one of the few times 330 00:18:13,480 --> 00:18:18,160 Speaker 2: where I'm actually smiling because I'm enjoying the process of it. Also, 331 00:18:18,480 --> 00:18:21,840 Speaker 2: I've conducted I think last year I conducted the Rhinish Symphony, 332 00:18:21,880 --> 00:18:25,480 Speaker 2: the Third Symphony of Schumann three times, and I think 333 00:18:25,520 --> 00:18:29,760 Speaker 2: some of that music is better than our ability to 334 00:18:29,840 --> 00:18:32,879 Speaker 2: perform it. Like I think there, you know, I think 335 00:18:33,160 --> 00:18:37,000 Speaker 2: with certain composers, I think if you achieve all of 336 00:18:37,040 --> 00:18:39,720 Speaker 2: the directions that have been given to you, you get 337 00:18:39,760 --> 00:18:43,440 Speaker 2: pretty close. But that's not the case with certain composers 338 00:18:43,440 --> 00:18:46,840 Speaker 2: like Beethoven and Schumann. I think it is a constant 339 00:18:46,960 --> 00:18:50,160 Speaker 2: search to dig in. There's an absoluteness about the music, 340 00:18:50,200 --> 00:18:52,840 Speaker 2: but there's also a flexibility where you can do so 341 00:18:52,920 --> 00:18:55,119 Speaker 2: much or say so much, or express so much with 342 00:18:55,200 --> 00:18:59,320 Speaker 2: Beethoven and Schumann that you maybe you can't with other artists. 343 00:19:03,760 --> 00:19:08,800 Speaker 1: Conductor and bassoonist Anthony part If you enjoy conversations with 344 00:19:08,880 --> 00:19:12,320 Speaker 1: the giants of the classical repertoire, check out my interview 345 00:19:12,359 --> 00:19:13,880 Speaker 1: with pianist Long Long. 346 00:19:14,880 --> 00:19:17,840 Speaker 3: One thing good about competition is that it kind of 347 00:19:17,920 --> 00:19:22,479 Speaker 3: pushes you to play better than you normally does because 348 00:19:22,520 --> 00:19:26,359 Speaker 3: you try to play without wrong notes. You try to 349 00:19:26,440 --> 00:19:29,840 Speaker 3: be one hundred percent concentrate on what you do. But 350 00:19:30,000 --> 00:19:32,919 Speaker 3: also in the same time, if you are too serious 351 00:19:32,920 --> 00:19:36,399 Speaker 3: about competition, you lose your soul. You know me that 352 00:19:36,440 --> 00:19:40,000 Speaker 3: you are afraid to do something wrong. And as you 353 00:19:40,080 --> 00:19:43,880 Speaker 3: know in art, sometimes when you really do something unique, 354 00:19:44,040 --> 00:19:47,040 Speaker 3: you are actually not really on the page. You are 355 00:19:47,080 --> 00:19:50,920 Speaker 3: actually doing something. But that is a really great moment. 356 00:19:53,880 --> 00:19:56,960 Speaker 1: To hear. My conversation with Long Long go to Here's 357 00:19:57,040 --> 00:20:01,760 Speaker 1: the Thing dot org. After the break, Anthony Parther shares 358 00:20:01,800 --> 00:20:06,359 Speaker 1: the most unprofessional but hilarious incident he's ever experienced on 359 00:20:06,440 --> 00:20:18,640 Speaker 1: the podium. I'm ALC. Baldwin and this is Here's the Thing. 360 00:20:19,640 --> 00:20:23,199 Speaker 1: As a musician and conductor, Anthony Parther has worked on 361 00:20:23,440 --> 00:20:27,320 Speaker 1: iconic film franchises such as Star Wars, Rogue One, and 362 00:20:27,440 --> 00:20:30,960 Speaker 1: Indiana Jones in The Dial of Destiny. Growing up, he 363 00:20:31,000 --> 00:20:34,840 Speaker 1: honed his craft by practicing John Williams' scores on his bassoon. 364 00:20:35,600 --> 00:20:39,119 Speaker 1: He credits Williams for inciting his early interest in music. 365 00:20:39,680 --> 00:20:42,840 Speaker 1: I was curious how classical music came to inspire him 366 00:20:43,040 --> 00:20:44,080 Speaker 1: as a child. 367 00:20:44,840 --> 00:20:49,439 Speaker 2: I remember my Christmas present that year was a tape player, 368 00:20:50,160 --> 00:20:53,280 Speaker 2: and of all places we were at a grocery store 369 00:20:53,359 --> 00:20:57,520 Speaker 2: chain called food Lion. I had just enough money to 370 00:20:57,640 --> 00:21:03,040 Speaker 2: buy this tape of Betsos's fifth Symphony. And I must 371 00:21:03,119 --> 00:21:05,200 Speaker 2: have listened to that tape and I and I'm really 372 00:21:05,240 --> 00:21:09,000 Speaker 2: not exaggerating, probably a thousand times in such a way 373 00:21:09,080 --> 00:21:10,720 Speaker 2: it was. It was kind of bad for me at first, 374 00:21:10,760 --> 00:21:12,960 Speaker 2: because I don't I can't think of Beethoven five any 375 00:21:13,000 --> 00:21:15,040 Speaker 2: other way. But the way that it goes and that tape, 376 00:21:15,080 --> 00:21:19,800 Speaker 2: it's that the interpretation is cemented, you know, in my court, No, 377 00:21:19,880 --> 00:21:22,600 Speaker 2: it has to be young Tantanta, you know, at this 378 00:21:22,640 --> 00:21:25,880 Speaker 2: particular moment. And then for some reason, the Food Lion 379 00:21:26,160 --> 00:21:28,880 Speaker 2: had a new tape like every month. So I went 380 00:21:28,960 --> 00:21:33,040 Speaker 2: back and I bought Tchaikovsky's Fifth Symphony, and then I 381 00:21:33,080 --> 00:21:36,520 Speaker 2: bought Mozart's Basoon. Concerned. I don't know who was stalking 382 00:21:36,680 --> 00:21:39,439 Speaker 2: the classical music tape section, but it was just like, 383 00:21:39,480 --> 00:21:41,239 Speaker 2: you know, right when you go to the check out, 384 00:21:41,440 --> 00:21:44,920 Speaker 2: was this little I have the Food Lion tape collection 385 00:21:45,280 --> 00:21:49,280 Speaker 2: of classical music. I have to have everything. I'm gonna 386 00:21:49,280 --> 00:21:49,600 Speaker 2: looked at. 387 00:21:49,720 --> 00:21:53,040 Speaker 1: My ex wife's family was from Athens, Georgia, and we 388 00:21:53,160 --> 00:21:57,760 Speaker 1: go on vacation and they called it food line, food line, 389 00:21:57,800 --> 00:22:01,520 Speaker 1: now no line, and I go she goes no line 390 00:22:01,720 --> 00:22:03,120 Speaker 1: like roar line. 391 00:22:03,760 --> 00:22:05,600 Speaker 2: I am a Southerner, so you know, I have a 392 00:22:05,640 --> 00:22:08,280 Speaker 2: little bit of a Southern accent myself. But this reminds 393 00:22:08,320 --> 00:22:10,720 Speaker 2: me of a very funny and entertaining story. The first 394 00:22:10,800 --> 00:22:14,880 Speaker 2: time I ever conducted an opera, the first time ever 395 00:22:14,920 --> 00:22:19,280 Speaker 2: conducted an opera, I was somehow enlisted to lead. I 396 00:22:19,280 --> 00:22:21,520 Speaker 2: had done a little bit of opera singing way back 397 00:22:21,520 --> 00:22:24,480 Speaker 2: in the day. I came to soprano, lyric soprano. But 398 00:22:24,640 --> 00:22:28,640 Speaker 2: I was enlisted to conduct Jean Carlo Monatti's A Mall 399 00:22:28,680 --> 00:22:29,480 Speaker 2: in the Night Visit. 400 00:22:31,280 --> 00:22:35,200 Speaker 1: That when I was in eighth grade. Yeah, the telephone, the. 401 00:22:35,200 --> 00:22:40,280 Speaker 2: Medium exactly a Mall and the Night Visitors. And something 402 00:22:40,400 --> 00:22:45,199 Speaker 2: had happened where Balthazar, the Nubian king, had to be 403 00:22:45,280 --> 00:22:49,080 Speaker 2: replaced at the last moment, and the powers that be decided. 404 00:22:49,520 --> 00:22:53,120 Speaker 2: The woman who sort of had the most influenced decided, well, 405 00:22:53,200 --> 00:22:56,960 Speaker 2: my husband will be singing in the row of Balthazard, 406 00:22:57,760 --> 00:23:00,399 Speaker 2: and that's just the way it's going to be. So 407 00:23:00,600 --> 00:23:03,240 Speaker 2: we're here at the sitzprobe and this person has done 408 00:23:03,240 --> 00:23:05,439 Speaker 2: no blocking and so forth, and there's this one scene 409 00:23:05,680 --> 00:23:09,440 Speaker 2: where Bathosar says, thank you good friends for your dances 410 00:23:09,440 --> 00:23:11,720 Speaker 2: and your gifts. But now I must bid you good night. 411 00:23:12,080 --> 00:23:14,800 Speaker 2: And it's a dramatic little moment, and so forth, and 412 00:23:14,840 --> 00:23:18,520 Speaker 2: we get to the little bring. And now there were 413 00:23:18,520 --> 00:23:23,680 Speaker 2: two problems with this particular individual. Bathazar is the Nubian king, 414 00:23:24,800 --> 00:23:28,640 Speaker 2: and you know, typically opera is sung by opera singers. 415 00:23:29,080 --> 00:23:33,480 Speaker 2: This person was not Nubian. Minor problem, but the more 416 00:23:33,480 --> 00:23:36,280 Speaker 2: major problem is that they were not an opera singer. 417 00:23:36,320 --> 00:23:40,399 Speaker 2: They were a country singer. So we get but bring, 418 00:23:40,920 --> 00:23:46,480 Speaker 2: and it goes, thank you good friends for your dances, 419 00:23:47,119 --> 00:23:52,080 Speaker 2: your dances, for your dances and your gifts. But nya 420 00:23:52,400 --> 00:23:56,359 Speaker 2: two syllables on now but Nia, I must bid you 421 00:23:56,480 --> 00:24:01,280 Speaker 2: good night. Now that was not what anybody was expecting 422 00:24:01,320 --> 00:24:06,480 Speaker 2: to hear. But some viola player snorted very loudly, and 423 00:24:06,520 --> 00:24:10,280 Speaker 2: the orchestra descended into utter chaos. It was one of 424 00:24:10,359 --> 00:24:12,600 Speaker 2: the most unprofessional moments in my career. But I am 425 00:24:12,880 --> 00:24:17,520 Speaker 2: conducting and laughing in this man's face, and I will 426 00:24:17,560 --> 00:24:20,040 Speaker 2: never forget the next night. Are you ready for this? 427 00:24:20,040 --> 00:24:23,520 Speaker 2: This story gets worse. The concert master, who's bouffont I 428 00:24:23,520 --> 00:24:26,640 Speaker 2: will never forget it. This very act of Bouffont when 429 00:24:26,640 --> 00:24:29,440 Speaker 2: she played the violin. She comes to my dressing room 430 00:24:29,480 --> 00:24:32,760 Speaker 2: she says, I cannot believe that they have this guy 431 00:24:33,080 --> 00:24:36,960 Speaker 2: playing the role of Balthazar. But what she didn't realize 432 00:24:36,960 --> 00:24:41,479 Speaker 2: that in full costume and black face. 433 00:24:43,200 --> 00:24:44,040 Speaker 1: But I'm sorry I. 434 00:24:44,040 --> 00:24:50,520 Speaker 2: Missed this was at mastro. Do you have a problem 435 00:24:50,560 --> 00:24:53,640 Speaker 2: with my execution of the role? And so, I mean, 436 00:24:53,640 --> 00:24:56,640 Speaker 2: so this person got caught gossiping about the you know, 437 00:24:57,000 --> 00:25:00,000 Speaker 2: person playing the role of Balthazar. But anyways, what an adventure. 438 00:25:00,000 --> 00:25:03,240 Speaker 2: So that was my foray to preducting opera. I will 439 00:25:03,400 --> 00:25:04,760 Speaker 2: never forget that. 440 00:25:04,760 --> 00:25:07,439 Speaker 1: That's very funny. Pat Riley was the coach of the 441 00:25:07,680 --> 00:25:11,199 Speaker 1: New York Next for years Lakers Miami. Pat Riley's in 442 00:25:11,200 --> 00:25:13,320 Speaker 1: New York and I became a little bit friendly with 443 00:25:13,400 --> 00:25:15,120 Speaker 1: him and his wife Chris. To go to his home 444 00:25:15,119 --> 00:25:16,880 Speaker 1: and we have lunch, and I say to him, what's 445 00:25:16,960 --> 00:25:18,919 Speaker 1: the job? What do you do? What do you do 446 00:25:19,040 --> 00:25:21,560 Speaker 1: for a living? He said, these guys have been playing 447 00:25:21,560 --> 00:25:24,359 Speaker 1: at a championship role. They've been the greatest players in 448 00:25:24,359 --> 00:25:27,240 Speaker 1: their league since they were eight years old. Then they 449 00:25:27,240 --> 00:25:28,959 Speaker 1: go to high school, then they go to college, then 450 00:25:28,960 --> 00:25:30,959 Speaker 1: they get into the pros. They get paid millions of dollars, 451 00:25:31,200 --> 00:25:33,840 Speaker 1: and my job is to make them care one more time, 452 00:25:34,000 --> 00:25:36,600 Speaker 1: because when they care, they're unstoppable. Oh yeah, but by 453 00:25:36,640 --> 00:25:38,360 Speaker 1: the way, he said, but I gotta get into care. 454 00:25:38,680 --> 00:25:40,320 Speaker 1: Is that the same for you? What is your job 455 00:25:40,359 --> 00:25:42,160 Speaker 1: when you're up there on that podium? 456 00:25:42,680 --> 00:25:46,160 Speaker 2: That is a tough question. I have always felt as 457 00:25:46,160 --> 00:25:50,080 Speaker 2: a player, all of the conductors that I've really admired 458 00:25:50,359 --> 00:25:55,879 Speaker 2: working for created an environment that made you want to 459 00:25:55,920 --> 00:26:00,679 Speaker 2: play at your utmost. And I'm not sure that that 460 00:26:00,880 --> 00:26:04,960 Speaker 2: is explainable. I'm not sure if there's a formula for that. 461 00:26:05,680 --> 00:26:09,360 Speaker 2: Sometimes your job when you step into an orchestra is 462 00:26:09,400 --> 00:26:12,240 Speaker 2: to not get in the way of the music making, 463 00:26:13,320 --> 00:26:15,120 Speaker 2: and that could be the atmosphere as well. But then 464 00:26:15,160 --> 00:26:19,240 Speaker 2: sometimes you also have to drag the orchestra along a 465 00:26:19,240 --> 00:26:21,520 Speaker 2: little bit, if you know, because the room is different 466 00:26:21,520 --> 00:26:23,399 Speaker 2: every time you go into it. Sometimes the musicians are 467 00:26:23,440 --> 00:26:26,280 Speaker 2: just not in the mood, and sometimes the musicians are 468 00:26:26,359 --> 00:26:28,240 Speaker 2: very passionate about what you're doing. You just want to 469 00:26:28,240 --> 00:26:31,840 Speaker 2: step back and let the bus move forward in a 470 00:26:31,880 --> 00:26:34,840 Speaker 2: particular way. But what you have to do is figure 471 00:26:34,840 --> 00:26:37,320 Speaker 2: out what it is that they need at any given 472 00:26:37,359 --> 00:26:40,040 Speaker 2: moment and give it to them. One thing you should 473 00:26:40,040 --> 00:26:43,800 Speaker 2: always be as a conductor is clear. That is the 474 00:26:43,840 --> 00:26:48,080 Speaker 2: main thing that musicians that the highest echelon want from 475 00:26:48,080 --> 00:26:51,080 Speaker 2: a conductor is clarity. They can take care of most 476 00:26:51,119 --> 00:26:54,040 Speaker 2: of the rest of it, but you should be very clear. 477 00:26:54,720 --> 00:26:57,680 Speaker 2: I think a lot of musicians have worked with conductors 478 00:26:58,040 --> 00:27:01,440 Speaker 2: who have the hand gestures of an eel. I mean, 479 00:27:01,520 --> 00:27:07,199 Speaker 2: you have no idea but escaping octopus. Yeah, but it's interesting. 480 00:27:07,240 --> 00:27:07,919 Speaker 2: I watched people. 481 00:27:08,119 --> 00:27:10,720 Speaker 1: Well, one thing I got hooked on was my own 482 00:27:10,800 --> 00:27:13,520 Speaker 1: sense of what I liked in the music I was downloading. 483 00:27:13,960 --> 00:27:17,399 Speaker 1: I started becoming kind of nutty about timings. So I 484 00:27:17,440 --> 00:27:21,679 Speaker 1: have nine mallar ninths in my phone. I have seven 485 00:27:21,880 --> 00:27:25,720 Speaker 1: mallar fourths, an eight mallar six and you know, and 486 00:27:25,880 --> 00:27:29,240 Speaker 1: and a high tink pastes it up and a mozelle 487 00:27:29,240 --> 00:27:32,320 Speaker 1: with the neuor film adds five or six minutes to 488 00:27:32,400 --> 00:27:35,280 Speaker 1: the final movement of the mallar nine. The guy adds 489 00:27:35,400 --> 00:27:38,600 Speaker 1: five minutes. How the hell do you add five minutes 490 00:27:39,000 --> 00:27:41,400 Speaker 1: to the symp But you slow, you squeeze every drop 491 00:27:41,440 --> 00:27:43,080 Speaker 1: out of that lemon rind, you know what I mean? 492 00:27:43,880 --> 00:27:47,040 Speaker 1: And I love that. I love slow down as slow 493 00:27:47,080 --> 00:27:48,439 Speaker 1: as you can go you know what I mean. I 494 00:27:48,440 --> 00:27:51,520 Speaker 1: love it in that sense. Do you tend to put 495 00:27:51,560 --> 00:27:53,520 Speaker 1: yourself in a category, or you like a paste or 496 00:27:53,560 --> 00:27:55,640 Speaker 1: you like to squeeze it. 497 00:27:55,640 --> 00:27:59,320 Speaker 2: It depends, It really depends. I think it just depends 498 00:27:59,359 --> 00:28:01,639 Speaker 2: on where you are in your life, because the music 499 00:28:01,680 --> 00:28:04,200 Speaker 2: may just have different meaning to you. I just conducted Eroika, 500 00:28:04,920 --> 00:28:07,760 Speaker 2: and I had not conducted aroika before that. I did 501 00:28:07,760 --> 00:28:10,520 Speaker 2: it with the Eastman Philharmonia, the top orchestra at the 502 00:28:10,520 --> 00:28:13,320 Speaker 2: Eastman School of Music. They had me in as a 503 00:28:13,359 --> 00:28:16,919 Speaker 2: guest conductor, and we did a bunch of moler on 504 00:28:16,960 --> 00:28:20,040 Speaker 2: the first half, and on the second half was the eroika, 505 00:28:20,840 --> 00:28:24,760 Speaker 2: and it just felt right for the march to be 506 00:28:25,240 --> 00:28:28,639 Speaker 2: a bit more pronouncedly slower than I had done it previously, 507 00:28:29,160 --> 00:28:30,720 Speaker 2: and I felt for some of the other stuff to 508 00:28:30,720 --> 00:28:33,880 Speaker 2: be a little bit more exaggerated. So it really changes. 509 00:28:34,240 --> 00:28:36,800 Speaker 2: I can't speak for other conductors, but I remark my 510 00:28:36,880 --> 00:28:38,800 Speaker 2: score every single time. There are some people who have 511 00:28:38,840 --> 00:28:42,080 Speaker 2: their markings, you know, from nineteen seventy three, and that 512 00:28:42,200 --> 00:28:43,400 Speaker 2: is the score that they use for the rest of 513 00:28:43,440 --> 00:28:45,960 Speaker 2: their career. But I actually go back and remark it 514 00:28:46,040 --> 00:28:49,600 Speaker 2: every single time, and I find that I find something 515 00:28:49,600 --> 00:28:51,840 Speaker 2: completely different every time I go back to it. 516 00:28:52,160 --> 00:28:55,360 Speaker 1: Now, I'm told that you don't like to take vacations. 517 00:28:55,400 --> 00:28:57,720 Speaker 1: You're like a workaholic and you don't take vacations. Is 518 00:28:57,760 --> 00:28:58,160 Speaker 1: that true. 519 00:28:59,000 --> 00:29:01,560 Speaker 2: I tried to take five days off in Big Bear, 520 00:29:01,880 --> 00:29:03,240 Speaker 2: and I came back the second day. 521 00:29:05,120 --> 00:29:05,360 Speaker 1: Why. 522 00:29:06,280 --> 00:29:09,120 Speaker 2: I just I you know, it was like so quiet 523 00:29:09,200 --> 00:29:12,959 Speaker 2: and peaceful and relaxing, and I couldn't stand it, right, 524 00:29:14,080 --> 00:29:17,440 Speaker 2: I just strength to be. I think for those who 525 00:29:17,640 --> 00:29:20,680 Speaker 2: are not accustomed to relaxation, it has to be practiced. 526 00:29:21,240 --> 00:29:23,760 Speaker 2: I just feel that. I you know, I was on 527 00:29:23,800 --> 00:29:26,200 Speaker 2: the road forty one weeks last year with I think 528 00:29:26,240 --> 00:29:29,040 Speaker 2: fifty orchestras, and then when I'm not doing that, I'm 529 00:29:29,040 --> 00:29:31,400 Speaker 2: here in the studios in La and you know, five 530 00:29:31,480 --> 00:29:34,400 Speaker 2: six weeks with my orchestra in San Bernardino and playing 531 00:29:34,400 --> 00:29:36,640 Speaker 2: my bassoon on very you know, so I every hour 532 00:29:36,640 --> 00:29:39,880 Speaker 2: of the day I'm consumed with doing something. Maybe I 533 00:29:39,880 --> 00:29:42,160 Speaker 2: also have some guilt about like not working. Both of 534 00:29:42,200 --> 00:29:44,960 Speaker 2: my parents were super hard workers. You know, they really 535 00:29:45,000 --> 00:29:47,720 Speaker 2: instilled my father. You know, he was born in nineteen 536 00:29:47,760 --> 00:29:49,720 Speaker 2: twenty nine and he came to America nineteen forty nine 537 00:29:49,720 --> 00:29:52,160 Speaker 2: and fought in Korea. You know, you'd always I swam 538 00:29:52,160 --> 00:29:54,560 Speaker 2: through shark infested waters for you to have a good life. 539 00:29:54,920 --> 00:29:56,840 Speaker 2: So you've got to get out there and work. And 540 00:29:57,120 --> 00:29:59,920 Speaker 2: just imagine the tears when I came down his face. 541 00:30:00,120 --> 00:30:02,880 Speaker 2: And now, what is it, my son, that I am 542 00:30:02,920 --> 00:30:06,520 Speaker 2: so proud of? What will you contribute to this country 543 00:30:06,520 --> 00:30:08,640 Speaker 2: that I had fought for? Well, I want to play 544 00:30:08,640 --> 00:30:12,440 Speaker 2: the bassoons that didn't go over so well. Yeah, but 545 00:30:12,640 --> 00:30:14,040 Speaker 2: you know, I think I've done. Okay. 546 00:30:16,880 --> 00:30:22,040 Speaker 1: Conductor and bassoonist Anthony Parther, If you're enjoying this conversation, 547 00:30:22,160 --> 00:30:24,720 Speaker 1: tell a friend and be sure to follow Here's the 548 00:30:24,760 --> 00:30:29,200 Speaker 1: Thing on the iHeartRadio app, Spotify or wherever you get 549 00:30:29,240 --> 00:30:33,440 Speaker 1: your podcasts. When we come back, Anthony Parther shares why 550 00:30:33,480 --> 00:30:37,320 Speaker 1: without hesitation, he considers et to be one of the 551 00:30:37,360 --> 00:30:53,400 Speaker 1: greatest film scores of all time. I'm Alec Baldwin and 552 00:30:53,440 --> 00:30:57,000 Speaker 1: this is Here's the thing. In addition to his robust 553 00:30:57,040 --> 00:31:01,640 Speaker 1: career as a conductor and bassoonist, Anthony Parnther also plays 554 00:31:01,680 --> 00:31:06,840 Speaker 1: the contra bassoon, baritone saxophone, and contra bass clarinet. He 555 00:31:06,920 --> 00:31:10,719 Speaker 1: also refers to himself as a semi retired opera singer. 556 00:31:11,320 --> 00:31:14,840 Speaker 1: I was curious about his aforementioned opera career and whether 557 00:31:14,960 --> 00:31:17,120 Speaker 1: or not he still performs as a singer. 558 00:31:18,640 --> 00:31:22,960 Speaker 2: I am not singing opera any more, but I have 559 00:31:23,080 --> 00:31:26,880 Speaker 2: been called upon to sing on a few scores, you know, 560 00:31:26,960 --> 00:31:30,320 Speaker 2: but as part of a choir and as a party trick. 561 00:31:30,360 --> 00:31:32,560 Speaker 2: I sang you know, the Grinch song last year with 562 00:31:32,600 --> 00:31:35,560 Speaker 2: my orchestra as the soloist. So you know, I wouldn't 563 00:31:35,600 --> 00:31:37,360 Speaker 2: touch you with a thirty nine and a half foot pole, 564 00:31:37,640 --> 00:31:39,360 Speaker 2: you know. So I pulled that out of the bag 565 00:31:39,400 --> 00:31:41,760 Speaker 2: and the lights turned grain and that was a real 566 00:31:41,800 --> 00:31:45,040 Speaker 2: gas for the audience and the orchestra. I was actually 567 00:31:45,280 --> 00:31:46,479 Speaker 2: very nervous to do that. 568 00:31:47,360 --> 00:31:51,960 Speaker 1: Now, pronounce it me, Ludvig Gorenson. Yes, won the Oscar 569 00:31:52,000 --> 00:31:55,080 Speaker 1: last year for the Oppenheimer's score that you conducted, and 570 00:31:55,120 --> 00:31:58,120 Speaker 1: he thanked you from the stage. What does it feel 571 00:31:58,200 --> 00:32:00,280 Speaker 1: like to be so deeply involved in a score like 572 00:32:00,320 --> 00:32:04,160 Speaker 1: that and see it recognized with the highest of honors? 573 00:32:04,200 --> 00:32:06,719 Speaker 1: I mean, the Oppenheimer juggernaut was kind of thrilling, actually, 574 00:32:07,080 --> 00:32:08,240 Speaker 1: and then you're a part of it. 575 00:32:08,680 --> 00:32:12,680 Speaker 2: I had just finished conducting the Saint Louis Symphony and 576 00:32:12,800 --> 00:32:15,400 Speaker 2: Stefan de Nev actually came to the concert and I 577 00:32:15,400 --> 00:32:17,200 Speaker 2: didn't know that I felt there was a rabbit knock 578 00:32:17,240 --> 00:32:19,560 Speaker 2: at the door, and I'm like, who is knocking? You know, 579 00:32:21,040 --> 00:32:24,120 Speaker 2: Stephan de nev is standing there. And after the concert 580 00:32:24,200 --> 00:32:26,440 Speaker 2: I had gone out for ice cream. I always asked 581 00:32:26,440 --> 00:32:28,520 Speaker 2: where's the best ice cream? I never asked where the 582 00:32:28,560 --> 00:32:30,880 Speaker 2: best salad is in any of these cities that I conducted. 583 00:32:30,920 --> 00:32:33,440 Speaker 2: I was like, where's the best ice cream in Saint Louis? 584 00:32:33,440 --> 00:32:36,360 Speaker 2: And everybody said that you have to go to whatever 585 00:32:36,400 --> 00:32:40,000 Speaker 2: this place was. And I'm literally sitting there staring at 586 00:32:40,120 --> 00:32:46,040 Speaker 2: the wall, and my phone explodes with texts and calls 587 00:32:46,040 --> 00:32:48,160 Speaker 2: and this that and the other and so forth. And 588 00:32:48,320 --> 00:32:51,800 Speaker 2: it wasn't a surprise to me that Oppenheimer had won 589 00:32:51,880 --> 00:32:55,240 Speaker 2: the Oscar. I mean, Ludwig wrote an incredible score, but 590 00:32:55,480 --> 00:32:58,560 Speaker 2: I was shocked that he actually mentioned my name in 591 00:32:58,640 --> 00:33:02,360 Speaker 2: his Oscar speech and so forth. So, you know, for 592 00:33:02,400 --> 00:33:05,640 Speaker 2: the next week, I had like an iPad around my 593 00:33:05,880 --> 00:33:09,240 Speaker 2: neck on a necklace that showed the speech, told repeat it, Yes, 594 00:33:09,280 --> 00:33:13,720 Speaker 2: that is me that he was talking about. That was 595 00:33:13,720 --> 00:33:17,320 Speaker 2: a challenging score to put together. We were really it was. 596 00:33:17,360 --> 00:33:21,880 Speaker 2: It was pretty stressful. There's this one particular queue where 597 00:33:22,040 --> 00:33:26,040 Speaker 2: the tempo continues to ratchet higher and higher and higher, 598 00:33:26,520 --> 00:33:29,400 Speaker 2: and we approached it. I remember we recorded for five 599 00:33:29,480 --> 00:33:32,200 Speaker 2: days at Warner Brothers at the Eastwood scoring stage. Over 600 00:33:32,200 --> 00:33:34,800 Speaker 2: at Warner Brothers, thank god, because Warner Brothers is like 601 00:33:34,840 --> 00:33:36,680 Speaker 2: five minutes for my house. And I think that's the 602 00:33:36,680 --> 00:33:39,080 Speaker 2: reason that Ludwig records there, like he could go to 603 00:33:39,120 --> 00:33:41,880 Speaker 2: find this money, but it's around the corner from his house. 604 00:33:42,240 --> 00:33:44,320 Speaker 2: So we're recording that for five and we had to. 605 00:33:44,600 --> 00:33:47,840 Speaker 2: It took five days of recording it from different angles 606 00:33:48,280 --> 00:33:51,400 Speaker 2: because there are parts of the score that are almost 607 00:33:51,720 --> 00:33:56,080 Speaker 2: unplayable except for with virtuosa players. But it was it 608 00:33:56,120 --> 00:33:59,040 Speaker 2: was really gratifying to see it be as successful as 609 00:33:59,080 --> 00:34:01,680 Speaker 2: it was now. I we'll say, my agent as soon 610 00:34:01,720 --> 00:34:04,400 Speaker 2: as that movie came out started getting calls, you know, 611 00:34:04,600 --> 00:34:07,400 Speaker 2: do you think Anthony and Ludwig will will bring this 612 00:34:07,440 --> 00:34:09,560 Speaker 2: as a live to picture event? And I was like, 613 00:34:09,719 --> 00:34:13,319 Speaker 2: absolutely not. That score is ridiculously hard, and it's you know, 614 00:34:13,320 --> 00:34:16,480 Speaker 2: the movie's like seven hours long, and Ludvig calls me 615 00:34:16,560 --> 00:34:19,680 Speaker 2: up three hours later and literally it's like, Anthony, let's 616 00:34:19,719 --> 00:34:22,799 Speaker 2: do this thing live. And so we actually did do 617 00:34:22,880 --> 00:34:23,319 Speaker 2: it live. 618 00:34:24,640 --> 00:34:26,799 Speaker 1: Name one, and I know it's impossible to name one. 619 00:34:27,400 --> 00:34:30,960 Speaker 1: But among your favorites, what's a score you think is 620 00:34:31,000 --> 00:34:33,200 Speaker 1: among the greatest in terms of how it fits into 621 00:34:33,200 --> 00:34:35,120 Speaker 1: the film? Et Et. 622 00:34:35,800 --> 00:34:40,280 Speaker 2: I have seen Et without the music, like that opening 623 00:34:40,400 --> 00:34:44,359 Speaker 2: sort of like forest scene is as dry as one 624 00:34:44,400 --> 00:34:48,520 Speaker 2: could imagine, But there's something about when you insert John 625 00:34:48,560 --> 00:34:52,279 Speaker 2: Williams's score into that, it just becomes a religious experience. 626 00:34:52,960 --> 00:34:55,880 Speaker 2: I heard a story about Et now, of course, like 627 00:34:55,880 --> 00:34:58,279 Speaker 2: one of the most iconic moments in all of cinema 628 00:34:58,520 --> 00:35:01,799 Speaker 2: is when Et lips off off in that bicycle. But 629 00:35:02,000 --> 00:35:05,920 Speaker 2: I heard a story that that scene almost didn't have 630 00:35:06,360 --> 00:35:08,839 Speaker 2: hardly any score in it. You know, when you get 631 00:35:08,880 --> 00:35:11,440 Speaker 2: to the dubbed stage, you know, everybody's you know, balancing, 632 00:35:11,480 --> 00:35:13,600 Speaker 2: you know, the sound effects, the dialogue and the score. 633 00:35:14,200 --> 00:35:17,880 Speaker 2: And John Williams normal music editor, was not working on this. 634 00:35:18,160 --> 00:35:20,759 Speaker 2: I think that the the music editor working on this 635 00:35:20,880 --> 00:35:24,520 Speaker 2: was Jerry Goldsmith's music editor. Kenny Hall was the music 636 00:35:24,640 --> 00:35:27,920 Speaker 2: editor on that. And they get to that scene when 637 00:35:27,960 --> 00:35:30,959 Speaker 2: you know, when elliottlefts off of the bike and John 638 00:35:30,960 --> 00:35:36,040 Speaker 2: Williams has written this very Straussian dom, bad bomb and 639 00:35:36,080 --> 00:35:38,040 Speaker 2: so forth. But when they get there, all you can 640 00:35:38,080 --> 00:35:42,080 Speaker 2: hear is the bike spokes and the crunch of a 641 00:35:42,160 --> 00:35:44,520 Speaker 2: leaf under the bike, and the hoot of an owl 642 00:35:45,000 --> 00:35:48,160 Speaker 2: and the subtle wind going through you know, his his 643 00:35:48,239 --> 00:35:51,720 Speaker 2: hoodie or whatever. And what I heard is that Kenny 644 00:35:51,800 --> 00:35:53,799 Speaker 2: was said this to the dub score mixer. He said, 645 00:35:53,840 --> 00:35:55,920 Speaker 2: what the hell is this and he said, that's the 646 00:35:55,960 --> 00:35:57,799 Speaker 2: mix of the score. Here the music is getting in 647 00:35:57,800 --> 00:36:01,200 Speaker 2: the way of the sound effects. And from the accounts 648 00:36:01,200 --> 00:36:06,520 Speaker 2: that I've heard, he actually pushes, physically pushes the mixer 649 00:36:06,560 --> 00:36:09,560 Speaker 2: out of the way. Jack's the score up to ten. 650 00:36:10,280 --> 00:36:13,920 Speaker 2: Spielberg walks into the room and it is so loud 651 00:36:14,280 --> 00:36:16,799 Speaker 2: in that moment that like everybody's hair is moving back. 652 00:36:17,480 --> 00:36:19,880 Speaker 2: And that's the mix that you now have the movie, 653 00:36:20,280 --> 00:36:22,360 Speaker 2: and he said, this is perfect, and I mean it 654 00:36:22,440 --> 00:36:24,279 Speaker 2: was like to the point of distortion and so forth. 655 00:36:24,280 --> 00:36:27,040 Speaker 2: But if you watch the movie during that very moment, 656 00:36:27,040 --> 00:36:30,719 Speaker 2: you will notice that the music rushes in at that 657 00:36:30,840 --> 00:36:34,120 Speaker 2: very moment. And again, yeah, you'll have to have to 658 00:36:34,160 --> 00:36:36,880 Speaker 2: watch that. But I think EAT is one of the 659 00:36:36,920 --> 00:36:41,400 Speaker 2: greatest examples of how a score elevates a film way 660 00:36:41,480 --> 00:36:43,040 Speaker 2: beyond what it would have been without. 661 00:36:43,320 --> 00:36:45,600 Speaker 1: Well done. So thank you very much. I hope I 662 00:36:45,640 --> 00:36:48,000 Speaker 1: get to see you out there. When I do see you, 663 00:36:48,000 --> 00:36:51,360 Speaker 1: you are going to record my outgoing voicemail. Okay done perfect, 664 00:36:51,760 --> 00:36:53,680 Speaker 1: My very best to you and thank you sir, thank you. 665 00:36:53,680 --> 00:36:54,759 Speaker 2: Thank you, take care. 666 00:36:59,160 --> 00:37:04,480 Speaker 1: My thanks to conductor and bassoonist Anthony part We're produced 667 00:37:04,480 --> 00:37:08,560 Speaker 1: by Kathleen Russo, Zach MacNeice and Victoria de Martin. Our 668 00:37:08,640 --> 00:37:13,239 Speaker 1: engineer is Frank Imperial. Our social media manager is Danielle Gingrich. 669 00:37:13,440 --> 00:37:16,080 Speaker 1: I'm Alec Baldwin. Here's the thing. Is brought to you 670 00:37:16,120 --> 00:37:17,640 Speaker 1: by iHeart Radio