Monday, May 21, 2007

Techno and Classic: Frankfurt Public Hails Experiment

May 18, 2007 Frankfurt/Main

Techno meets Classic: The impact of two musical worlds was given an enthusiastic reception by the public in Frankfurt. At the first «Music Discovery Project» in the sold-out broadcasting studio hall of Hessische Rundfunk on Thursday evening, the Frankfurt Radio Symphony Orchestra played the ninth symphony «From the New World» by Antonin Dvorak. In the fourth movement, two well known DJs from the Techno and House scene mixed in sounds from their desks. Two video jockeys also added live projections on the screen behind the orchestra. Chief conductor Paavo Järvi had one hand on his earphone and directed his orchestra with his baton held in the other. The first three movements of Dvorak's "American" symphony were illustrated with video sequences including landscapes or natural forces. These images were then contrasted with controversial themes such as missiles, September 11 or the war in Iraq. The concert was above all addressed to young people. The «Music Discovery Project» is intended to become a permanent feature of the Frankfurt Radio Symphony in cooperation with the «Music and School» network.

Techno und Klassik: Experiment in Frankfurt von Publikum gefeiert

Techno trifft Klassik: DasAufeinanderprallen zweier musikalischer Welten ist vom Publikum inFrankfurt begeistert aufgenommen worden. Beim ersten «Music DiscoveryProject» spielte am Donnerstagabend im ausverkauften Sendesaal des Hessischen Rundfunks das hr-Sinfonieorchester die neunte Sinfonie«Aus der Neuen Welt» von Antonin Dvorak. Im vierten Satz mischtenzwei bekannte DJs der Techno- und House-Szene dann Klänge aus ihrenMischpulten dazu. Zwei Videojockeys sorgten außerdem für Live-Projektionen aufLeinwänden hinter dem Orchester. Am Pult hatte Chefdirigent PaavoJärvi eine Hand am Kopfhörer, in der anderen hielt er den Taktstock,mit der er sein Orchester dirigierte. Bereits die ersten drei Sätze von Dvoraks amerikanischer Sinfonie waren mit Videosequenzenbebildert worden. Dazu gehörten Landschaften oder Naturgewalten.Diesen Bildern wurden dann kontroverse Themen wie Raketen, der 11.September oder der Irak- Krieg gegenübergestellt. Das Konzert richtete sich vor allem an Jugendliche. Das «MusicDiscovery Project» soll zur festen Einrichtung des hr-Sinfonieorchesters in Zusammenarbeit mit dem Netzwerk «Musik undSchule» werden.

Thursday, May 17, 2007

Klassik & Techno Konzert

Photo courtesy of DJ-Tom Wax and VJ- Andy Belau & CO

May 17, 2007

Music Discovery Project - HR Sendesaal, Frankfurt
Do 17. Mai, 19:00 Uhr

Ein außergewöhnliches Konzerterlebnis können wir Euch für den Himmelfahrtstag ans Herz legen: dann treffen im Sendesaal des Hessischen Rundfunks sozusagen Welten aufeinander - Klassik meets Techno, House und Videokunst. Spannend!
Das hr-Sinfonieorchester ist eines der renommiersten Orchester überhaupt und sein Dirigent Paavo Järvi so etwas wie ein Star. Dazu ist der Mann offen für Einflüsse aus anderen Musikszenen und so kommt es, dass beim Music Discovery Project kein Anderer als YOU FM SOUNDS Moderator und DJ Tom Wax mitmischt! Der gehört ja zu den Pionieren der Techno- und Housemusik und hat mit zahlreichen Projekten sein musikalisches Wissen und Gespür für Rhtyhmen und Melodien unter Beweis gestellt. Nun versucht er sich an Antonín Dvořáks 9. Sinfonie. Wow!
Dvořák hat die Sinfonie vor über hundert Jahren in den USA komponiert, dabei indianische und afro-amerikanische Einflüsse in sein Werk fließen lassen und damit überhaupt klassische Musik in Amerika begründet. Tom Wax und sein Kumpel Boris Alexander haben Samples aus dem Stück genommen und sie mit ihren elektronischen Produktionsmitteln neu interpretiert. Neben einer Solonummer spielt Tom auch zusammen mit dem Orchester, mischt Klangeffekte in die Aufführung, zerstückelt und verzerrt. Dazu projizieren die Visual Artists Andy Belau und Jonathan Kunz Bilder von Amerika auf vier Leinwände. Großes Kino, großes Konzert!

Tuesday, May 15, 2007

CONCERT REVIEW: La Jolla Music Society

La Jolla Village News > Arts & Entertainment
Friday, May 11, 2007

La Jolla Music Society presented maestro Paavo Jarvi and the Cincinnati Symphony Orchestra Thursday, April 19 at Copley Symphony Hall. Violinist Leonidas Kavakos played Johannes Brahms’ Violin Concerto in D Minor, Opus 77, and the collaboration between Jarvi, the orchestra and soloist could not have been more thrilling or simpatico.
Following the interval, the orchestra played Hector Berlioz’ Symphonie Fantastique, Opus 14. Jarvi appeared to have a jolly good time with his players, exhorting, cajoling and producing breathtaking work filled with power, precision and finesse.
Individual players — especially oboe Shea Scruggs and English horn Christopher Philpotts — and sections shone, and the playing elicited such vociferous audience response that Jarvi and his considerable group played an encore to end a magnificent evening in the concert hall.

Friday, May 11, 2007

CONCERT REVIEW: Players soar in Jarvi's capable hands

The Plain Dealer

May 11, 2007

Cleveland Orchestra May 10, Severance Hall

By Donald Rosenberg Plain Dealer Music Critic

The Cincinnati Symphony apparently knows a winner when it has one. Last week, the orchestra extended the contract of music director Paavo Jarvi to 2011, with an evergreen clause that establishes the potential to renew the relationship annually.
The wisdom of Cincinnati's move was evident Thursday at Severance Hall, where Jarvi led an Ohio colleague, the Cleveland Orchestra, in outstanding performances of music by Jean Sibelius, Richard Strauss and Sergei Prokofiev. The Estonian conductor was joined in Strauss' Horn Concerto No. 2 by Richard King, the Cleveland Orchestra's principal horn and an old classmate from Philadelphia's Curtis Institute of Music.
Jarvi made his debut with the Cleveland musicians in July 2004 at Blossom Music Festival, but this weekend's concerts mark his Severance Hall debut. Shouldn't he be signed quickly for a return engagement? His shaping of Prokofiev's Symphony No. 5 certainly indicated that he is a conductor keenly able to communicate bold ideas to orchestra and audience alike.
Many interpreters treat the Prokofiev Fifth as an emotional catharsis dripping with bombast and sentimentality. Jarvi avoided such a stereotypical view, instead allowing the narratives to unfold with utmost inevitability and inner strength.
Every tempo Jarvi chose, including several of patient expansiveness, focused attention on the big picture. This was an account of seamless progress, with details heightened and moods evoked to soaring, exuberant and sometimes chilling effect. The macabre moments in the slow movement have rarely sounded so unsettling.
Jarvi had the Cleveland Orchestra playing with a gorgeous blend of penetrating sonority and cohesive agility. When Prokofiev asked for moonlit lyricism, the shimmer was present. When it was needed, there was plenty of explosive power and energy.
If Cincinnati knows what to cherish, so should Cleveland. Hornist King treated Strauss' Second Horn Concerto, in its Cleveland Orchestra debut, to a performance of graceful assurance, lyrical warmth and acrobatic dexterity. The composer wrote the piece at 78, almost 60 years after his First Horn Concerto, but the later work retains youthful verve even as it basks in poignant poetry.
The horn can be a notoriously uncooperative instrument. Don't tell that to King, whose confidence and security allowed listeners to dwell on Strauss' songful phrases and limber lines. The hornist's tonal suppleness in all registers pointed out the composer's affection for the human voice. J rvi and the orchestra maintained light textures and rhythmic buoyancy.
The program began with a Sibelius curiosity, "Night Ride and Sunrise," which wanders aimlessly on repeated figures until arriving at a luminous depiction of dawn. Although the orchestra was a bit fuzzy in the early pages, Jarvi and company went on to unfold ample Sibelian majesty.
The program is repeated at 8 p.m. Saturday. It will be braodcast live on WCLV FM/104.9 on Saturday.

CONCERT REVIEW: Cleveland Orchestra is extraordinarily sleek in Paavo Jarvi's hands

The Beacon Journal

Friday, May 11, 2007

Prokofiev a wild ride with guest conductor

By Elaine Guregian, Beacon Journal arts and culture critic

The conductor Paavo Jarvi was in the news recently with an announcement about his contract renewal at the Cincinnati Symphony. He has committed to being music director there through the 2010-11 season, after which he'll have what's called an evergreen contract, allowing year-by-year renewals. The editor of observed that it's the kind of arrangement conductors like to make when they want to leave themselves available for bigger jobs.
Jarvi, born in 1962 in Estonia, is at an exciting point in his career. Besides the music directorship in Cincinnati, where he has been since 2001, he is music director of the Frankfurt Radio Symphony Orchestra and the artistic director of the Deutsche Kammerphilharmonie. Then there's all the guest conducting. He debuted with the Vienna Philharmonic in November 2006 and will debut with the Philadelphia Orchestra next season.
Believe it or not, Thursday night was the first time Jarvi had conducted in Severance Hall. He made his debut with the Cleveland Orchestra at Blossom in 2004. On Thursday, his rapport and connection with the group made it seem like they had spent much more time together.
A rip-roaring performance of Prokofiev's Symphony No. 5 capped off Thursday's concert. The program opener, Sibelius' Night Ride and Sunrise, is an unusually spare work for the composer, though the plaintive, foreboding harmonies stamp it as Sibelius. The orchestra played well, though it could not turn one of Sibelius' lesser works into a a major one.
The orchestra's principal horn, Richard King, gave Richard Strauss' Horn Concerto No. 2 a workout, delivering its fanfares and soaring melodies in a way that let you appreciate once again this musician's resplendent tone and scrupulous musicianship. This late work made a good lead-in to the orchestra's two weeks focusing on Strauss at the end of the season. The final piece of the season, a performance of Strauss' opera Der Rosenkavalier, is something to look forward to.
In the meantime, what a ride Jarvi and the orchestra delivered in Prokofiev's technicolor Symphony No. 5. Triumphant trumpet solos, the menacing rat-a-tat of the snare drum and a throbbing bass line are qualities that make this score riveting, particularly when played with the drive, precision and extraordinary sleekness of the Cleveland Orchestra under Jarvi.
This conductor doesn't draw attention to himself on the podium. He gets the job done brilliantly well with a minimum of fuss. But he grinned every now and then during the Prokofiev, seemingly delighted with the perfectly calibrated, on-the-edge response from the orchestra. The crackling energy, the stinging little musical gestures devilishly well delivered, spoke of an orchestra that felt entirely comfortable in Jarvi's hands.

Sunday, May 06, 2007

A conversation with Jarvi about CSO's future

May 4, 2007

Cincinnati Post

By Mary Ellyn Hutton Post music writer

On April 22, music director Paavo Järvi and the Cincinnati Symphony Orchestra returned from a week-long tour of Southern California.
It was revelatory from the viewpoint of the audiences and critics they "bowled over" (one critic's words), gratifying for Järvi and his band, and capstone of their sixth season together.
"I felt that the orchestra played in many ways the best I've heard them play," said Järvi, whose uncommon rapport with the orchestra was noted at every stop.
"I thought we were on a different level of interaction than we've been before. It's a very impressive sight to see them trying to get their point across to a new audience. I felt that this is the basic level of the orchestra now, and it's high."
On Wednesday the CSO announced that Järvi has extended his contract through August 2011, after which it will become "evergreen," renewing automatically each season unless cancelled by either party.
Without tipping his hand in advance, the Estonian-born conductor, 44, shared some of his thoughts and concerns about the CSO last week at Music Hall.
At the top of his list is Music Hall itself, the home the CSO has shared with the May Festival, Cincinnati Opera and Cincinnati Ballet since moving from the Emery Theater on Walnut Street in 1936.
There is no longer disagreement with the other tenants that the 3,516-seat hall (largest concert hall in the U.S.) should be refurbished and re-configured (i.e. "downsized") for symphony concerts, he said.
"The arts organizations here, the May Festival, the Opera and the CSO, have found common ground. I am impressed that they are willing to work together to do something."
The question mark now is political, he said. "A new problem has come up, a realization that the hall needs substantial infrastructure work. It's an old hall and so is the plumbing, the electricity and basic things. This is very expensive and the city owns the hall. We would be investing money in a place we don't own.
"If we could reach an understanding with the city that the city is going to give us $20 million to do the infrastructure work, it would be a sign that they really want us to stay here. If not, at least they should give us the hall," he said.
"If we could own the hall, or at least if we could own it for $1 a year from the city, which is done in many places, in essence the price tag would be $20 million," Järvi said. "We would need to invest that money into it before we do anything else. We can't do anything unless we fix the electricity and plumbing and all the infrastructure things. Otherwise, everything needs to be torn up later to fix them.
"Time is moving on," he said. "We're entering our seventh season and coming back from California seeing all those wonderful halls being built, in some cases in the middle of nowhere. This is somewhere. We cannot be talking about this three years from now."
Järvi said he would "love nothing more than to have this square (in front of Music Hall) be kind of the arts district. We have the school (the new School for Creative and Performing Arts, approved for construction between Washington Park and Central Parkway beginning next fall). The Opera and May Festival would be here, we'd be here. Maybe we could bring the Playhouse near here somewhere."
The pace of things, "even basic Over-the-Rhine conditions," said Järvi, "is not changing that much. We can talk about less or more shootings, but if anything is happening, we don't see it. I don't know if there is political will in the city to do something about Over-the-Rhine, but it's not just about a concert hall. It's about people's lives. It's about having a historic, most beautiful area in the city that is basically a war zone.
"If we're not going to see some results," Järvi stressed, "then maybe there are other options. Maybe we should not be in Over-the-Rhine. Maybe we should be somewhere else."
Artistically, the CSO must continue "to introduce the orchestra and capitalize on the success that we've had." Touring is vital, he said, alluding to the orchestra's 2008 European tour, announced in March. "It doesn't get better than this. The venues are unbelievable, Vienna, Paris, the Concertgebouw (Amsterdam), Munich, Hamburg."
The CSO is developing its "own sound" under Järvi. He received a reminder of this on the California tour when his conducting teacher at the Curtis Institute of Music in Philadelphia, Otto-Werner Mueller, paid a post-concert visit in San Diego. "He (Mueller) said, 'I've never heard an American orchestra that has so much dynamic contrast.' That's the kind of thing you want to hear, and is exactly what we are trying to do, to have more subtlety and be more sensitive to nuances, not big heavy machinery that plays mezzo-forte and nothing below."
Key to maintaining the CSO is, of course, money, Järvi said.
Like orchestras across the U.S., the CSO was hit hard by the decline of the bull market at the end of the 1990s, seeing its endowment fall by almost a third (from a high of over $90 million, now recovered to about $70 million).
"Success is expensive. This is an orchestra that has set out to really try to be the best, so we need to be at least on the level of support that other orchestras of our category are. We need to make sure we have an endowment that can support our ambitions."

CONCERT REVIEW: A fitting end to eventful year for Jarvi, CSO

May 5, 2007

Cincinnati Post

By Mary Ellyn Hutton Post music writer

The last notes heard on the Cincinnati Symphony's final concert of the season - to be repeated at 8 tonight at Music Hall - are principal hornist Elizabeth Freimuth's soft echo of the hymn of thanksgiving in Beethoven's Symphony No. 6 ("Pastorale"), capped by an affirmative, fortissimo chord.
How fitting.
It has been quite a year and "quite a week," said CSO president Steven Monder in an announcement preceding the CSO concert Thursday evening at Music Hall. Music director Paavo Järvi, 44, will lead the CSO until at least 2011 under the terms of a contract extension ratified by the board of trustees Wednesday (renewals will be automatic thereafter, subject to mutual agreement). The crowd stood and cheered when the Estonian-born conductor took the podium, signaling its hearty approval and anticipation of more great music under his baton.
The concert served as a shining example of what he and the CSO have accomplished during the past six years. There was a world premiere - New York composer Charles Coleman's "Deep Woods" - a uniquely gifted guest artist, Finnish pianist Olli Mustonen in Beethoven's Piano Concerto No. 3, and a canonic symphony, performed with the depth of insight and communication that have come to characterize Järvi and the CSO.
Proudly on display was the "Cincinnati sound," for the CSO has achieved a distinctive voice with Järvi. Rooted in the warm, Germanic tradition, it has stunning clarity and attention to detail, a wide range of expression, amazingly characterful winds (to name only the section most often in the spotlight), and the kind of coiled-spring power that can be unleashed maximally when called upon to do so.
All of this was evident in Coleman's "Deep Woods," a 15-minute work inspired by New York artist Charles Yoder's painting of the same name (be sure to see the digital photo on display in the lobby). Allegorically rich, it's kind of a sylvan "Streetscape," Coleman's tribute to New York premiered on Jarvi's inaugural concert in 2001.
The bustle and kinetic excitement of "Streetscape" are all there - the majestic stand of trees in the painting, dark against the light filtering through the bare trunks down below, also pulses with motion. So are the ebb and flow. Like "Streetscape," there is a clamorous opening, a beautiful, lyrical center and an optimistic, ebullient ending (victory of light over darkness?). This reviewer was struck by a literal echo of "Streetscape" in a surging, scalar figure in the horns, heard toward the end.
Coleman is a master of instrumental color (percussion have a field day), his musical ideas are vivid, and his characteristic multi-rhythms and contrasting harmonies engage each other and the listener completely. The work's propulsive, "minimalist" moments recall John Adams, but there is an urban flair and grit to it that is all his own. Järvi laid it out with great skill and the result was a vibrant sonic canvas.
The composer, who has spent five weeks in residence with the CSO this year, strode on for a well-deserved ovation.
Mustonen, who can certainly make music his own, gave the Beethoven concerto a gem-like sparkle that refracted brilliantly against Järvi's classically eloquent accompaniment. Ensemble was flawless and emotive moments shared. Also a composer and a conductor, Mustonen is fun to watch, with picturesque motions of his hands and body. He put drama in the first movement cadenza, tenderness in the Largo and a bit of sauce in the finale, drawing a warm response from the crowd.
Järvi calls Beethoven's "Pastorale" echt ("true") German, soulfully connected with nature and the inner being. Indeed, life coursed palpably through the work, from the soft, frolicsome beginning to the relentless storm breaking on the heels of the jolly, tipsy scherzo. Ensemble faltered a bit at one point in the first movement, perhaps from over-enthusiasm, but string sheen was lustrous everywhere.
"Scene by the brook" had a waltz-like flow and some very realistic avian winds (principal clarinetist Richard Hawley's cuckoo was aptly a-synchronous). Järvi let the final hymn, a majestic theme and variations, crest at just the right moment near the end.
Timpanist/players' committee chairman Richard Jensen gave beautiful tributes to retiring violinist DeAnne Cleghorn and cellist Carlos Zavala after intermission, another well-done moment on a very special concert.

Friday, May 04, 2007

Cincinnati Symphony Renews Paavo Järvi's Contract- And Adds Evergreen Clause

May 3, 2007
The Cincinnati Symphony Orchestra has extended music director Paavo Järvi's contract through the 2010-2011 season. In a relatively unusual development — and one indicating the strong relationship between maestro and orchestra — the contract then becomes evergreen, automatically renewing each season by mutual agreement.
Under the agreement, Järvi will conduct the Cincinnati SO in 14 weeks of performances each season.
"The chemistry between Paavo and the CSO was evident from the beginning and is more potent than ever," said orchestra president Steven Monder in a statement. "The growth in the orchestra's artistic excellence is evident and is being noted and written about across the country and around the world."
"I am completely over the moon," Järvi told The Cincinnati Enquirer. "Negotiations were very quick. It's one of those situations where, when something works, you want to make sure there's longevity and continuation. That's what [evergreen] implies."
The automatic contract renewal, announced yesterday, is a first for any music director in the Cincinnati Symphony's 112-year history. (Järvi, now 44, became the orchestra’s 12th music director in September of 2001.)
"He's a very hot property, and the reviews from the [orchestra's] West Coast tour brought that home clearly," CSO board chairman Rick Reynold told the Enquirer. "The room was buzzing. I don't think I've ever seen the board collectively so happy. They were high-fiving."
Under Järvi’s leadership, the Cincinnati Symphony has released 11 recordings on the Telarc label and made successful tours to California, the US East Coast (including concerts at Carnegie Hall) and Europe. Järvi has also championed such contemporary composers as Erkki-Sven Tüür and Charles Coleman.
Only eighteen months into his first contract as the Cincinnati SO's music director, Järvi signed a second four-year agreement that extended his tenure through the 2008-2009 season. According to the orchestra's last publicly reported financial statement, for 2005, Järvi earned $694,000, according to the Enquirer.
This latest contract extension comes as the orchestra prepares to launch a major capital and endowment campaign. Also in the planning stage is a significant overhaul of Music Hall, the orchestra's home in downtown Cincinnati.

CONCERT REVIEW: CSO shines in season finale

Cincinnati Enquirer

May 4, 2007


More than 1,700 people stood and cheered before Paavo Järvi had conducted a note Thursday evening, at the news that his contract as music director has been extended to at least 2011.
Järvi's chemistry with the Cincinnati Symphony Orchestra has never been better than it was on Thursday, when he led a glowing reading of Beethoven's Symphony No. 6 in F Major, "Pastoral," in one of the most inspiring performances of the season.
This season finale concert also included the world premiere of Charles Coleman's "Deep Woods," the result of a unique composer residency program, and Beethoven's Piano Concerto No. 3 with Finnish pianist Olli Mustonen.
Beethoven's "Pastoral" Symphony is not in the heroic mode, but a serene painting of country life, with birds, a bubbling brook and a vivid cloudburst. Many conductors have put their stamp on this piece. But one would be hard-pressed to find a performance so spontaneous and played with such lyricism, unabashed joy and unforced beauty.
The string sound was glorious from the outset, and the winds spoke with character. Subtleties that might otherwise glide by were brought out wonderfully, such as the first movement's hunting horns or the deep bagpipe drones in the basses.
Järvi's tempos flowed along warmly and his phrasing was vivid. "Scene by the Brook" bubbled serenely, and the third movement was a rustic folk vignette, played with exhilarating energy. The storm came in a heaven-rending outburst, a spectacular show of power in the brass, yet it was all played with amazing control.
After that display, the return of the "Shepherd's Hymn" (oboist Shea Scruggs) was breathtaking.
The concert opened with New York-based composer Coleman's "Deep Woods," inspired by a painting by Charles Yoder. Coleman has a knack for capturing the mood of 21st century living. Edgy and compelling, it opened with bold gestures in timpani and brass, and the intensity seemed relentless.
Coleman's musical vocabulary included propulsive strings, urgent repetitions (he has minimalist influences), snatches of jazzy rhythms and colorful percussion. A slow section, a glimmering canvas of flute and harp, was like the calm after the storm, and stood out for its mysterious atmosphere.
The crowd approved and the composer took a bow.
Mustonen, 39, a pianist born in Helsinki, is a triple-threat musician who also conducts and composes. However, on Thursday, his view of Beethoven's C Minor Concerto seemed at odds with that of the conductor. Mustonen used a detached, at times too-brilliant touch, while Järvi drew only warmth from the orchestra. I found the pianist's flamboyant arm-waving a distraction, and sometimes it caused him to miss notes.
That said, he is a remarkable talent with much to say. His runs were delivered with high-voltage energy, and the first-movement cadenza unfolded in cascades of symphonic proportion.
At intermission, retiring musicians DeAnne Cleghorn, violinist, and Carlos Zavala, cellist, were honored for each serving more than 40 years.
The concert repeats at 8 p.m. today and Saturday. 513-381-3300 .

Paavo stays

Here is a blog entry you might want to read...

Cincinnati Symphony gives Jarvi contract

Acron Beacon Journal
Thursday, May 3, 2007

Associated Press

CINCINNATI - The Cincinnati Symphony Orchestra has extended music director Paavo Jarvi's contract two years, through the 2010-11 season, and after that it will automatically renew each season by mutual agreement.
The evergreen contract is a first for a Cincinnati Symphony music director in the orchestra's 112-year history. The board of directors approved it in a special meeting Wednesday.
"I am completely over the moon," Jarvi said. "Negotiations were very quick. It's one of those situations where, when something works, you want to make sure there's longevity and continuation."
Jarvi, 44, completes his sixth season with the Cincinnati Symphony this weekend. He took the orchestra on a five-concert tour of California last month, and has led other tours of Europe and Japan.
"He's a very hot property, and the reviews from the West Coast tour brought that home clearly," said board chairman Rick Reynolds.
The contract stipulates that Jarvi conduct 14 weeks of performances. Other terms were not disclosed, but in the orchestra's last publicly reported financial statement in 2005, Jarvi earned $694,000.
Jarvi is the son of Estonian conductor Neeme Jarvi, music director of the New Jersey Symphony Orchestra.