In 1984, Members of The LA Philharmonic played in the Ojai Music Festival at the Bowl in Libbey Park to a capacity crowd. Maestro/Composer Pierre Boulez was to conduct his âĂ©clatâ, which means brilliance. It was written for 12 solo violas and piano; I sat Principal Violist. When we first saw the music, all of the violists kind of freaked out because it was the most difficult music we had ever seen. In fact, when I had listened to a recording of the music while watching the notation, I still couldnât figure out when to come in; no one could. We had 13 rehearsals for one performance. We were having so much trouble, Boulez patiently broke it all down for us and only then did it start to make sense. There was a spot where he told me that he was going to cue me with his left hand, so when I saw his left hand go out I started to come in. He said, "Please excuse me. The left-hand cue was for viola number 4. Your cue, Jerry, is when your see my left elbow go up.â
We all stayed on stage even during our breaks to ask questions, which the Maestro greatly appreciated. One of the reasons that piece was so difficult was that each player had a different part; not one of us could depend on anyone else as far as when to come in. The piece was extremely atonal and rhythmically intricate. It was like the title suggested; little bursts of energy from each player at different times. I had the one slow melodic part, where I was the only one playing. Days later, I received a beautiful letter from Maestro Boulez, thanking me for my collaboration and what a joy it was to work with me because most orchestras wonât take the time or effort to learn his piece.
I had an idea; I had 13 black T-shirts made with white writing on it that said "I survived Ă©clatâ. We victoriously played the performance, The enthusiastic audience went wild with a 3 minute vigorous applause and standing ovation while Maestro Boulez acknowledged the prominent viola section, giving me a bow, and then we joined them in warmly applauding the maestro. Following the performance, all of the viola players gathered backstage and we took off our white tux jackets and white dress shirts, revealing the surprise "I survived Ă©clatâ black T-shirt underneath and returned to the stage. Boulez was very touched by this. We presented the 13th T-shirt to him. We all captured the moment in a photograph, on which he signed, âI too survived Ă©clatâ I found out, that he actually took the shirt, had it framed and hung it in his office in Paris.
In the Fall of 1995, The LA Philharmonic had an Artiste in Residency at Theatre du Chatelet in Paris. Guess who came to visit. Just in case, I made sure I had my âsurviveâ shirt with me to put on if Maestro Boulez came to visitâŠand he did! (photo by Rebecca Dru)
Weeks later, we had just completed our final concert and were celebrating with a big party thrown in our honor. To my pleasant surprise, in walked, Maestro Boulez, right up to me. I introduced him to my daughter Jami and my wife Rebecca Dru (behind the lens capturing the moments). It was a lovely way to end the Tour. (Photo by Rebecca Dru)
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