2015 - 2016 ORCHESTRA concert announcements

[Brian]

Just heard Grimaud do Ravel G last week with Rotterdam and N-S. She's good in that piece. Worth hearing if the rep is your cup of tea.

Yeah, I have her album of it. It's more to my taste than her Brahms 1, which I've somehow seen live twice (!).

[San Antone]

It's far from clear that the best thing the world's orchestras should do isn't to see the environment we're in rather more clearly, quit what they're doing, and disband.

There is virtually nothing left to be said interpretively and virtually no music more music to write with any new aesthetic content; the whole historical period is artistically bankrupt and thoroughly antithetical to any further worthwhile performance or composition.

Needless to say.

LOL


literally

[MishaK]

Yeah, I have her album of it. It's more to my taste than her Brahms 1, which I've somehow seen live twice (!).

I agree with that. I heard her do some Brahms in recital and didn't like it at all. She has a rather percussive kind of attack that works well with a jazzy piece like the Ravel but I would want a bit more variety of color in the German romantic repertoire.

[Karl Henning]

Yeah, I would send them some killer programs as well. The unfortunate thing is I would be the only one who would show up for such a program.

That may not prove a sustainable business model 

[Karl Henning]

There is . . . virtually no music to write with any new aesthetic content

And no one could tell that he was just a bot . . . .

[Mirror Image]

That may not prove a sustainable business model 

Certainly true, Karl! We'd be out-of-business after the first concert.

[Sean]

I had season tickets for the CBSO in the late 80s when they played at the Town Hall with Simon Rattle; the building looks like this, though from 1994 the orchestra moved to the nearby Symphony Hall, newly built and very fine. This was right at the end of the historical period when music making was worth anything, and there were just a few last things to say.

[Karl Henning]

. . . This was right at the end of the historical period when music making was worth anything, and there were just a few last things to say.

Thanks for the chuckles, Sean!

[kishnevi]

Thanks for the chuckles, Sean!

If we looked hard enough we would probably find someone in 1914 speaking similarly about 1894.

[North Star]

If we looked hard enough we would probably find someone in 1914 speaking similarly about 1894.

Probably any two years, really

[Sean]

1985-2015 period

Nothing.

1885-1915 period

Mahler
Faure
Debussy
Puccini
Janacek
Scriabin
Rimsky-Korsakov
Massenet
Mussorgsky
Saint-Saens
Bruch
Sibelius
Sullivan
J.Strauss
Elgar
Delius
Holst
Ravel

Late
Brahms
Dvorak
Bruckner
Verdi
Tchaikovsky
Grieg

Early
Strauss
Schoenberg
Vaughan Williams
Bartok
Stravinsky
Bax

Drivel, verses some of the greatest artworks in humanity's possession. And you didn't notice...

Similar discussion here
http://www.good-music-guide.com/community/index.php/topic,21906.120.html

[Brian]

This was right at the end of the historical period when music making was worth anything, and there were just a few last things to say.

Pack it up, everybody! Art is dead. No more art.

[Sean]

Cheers Brian.

[Karl Henning]

Pack it up, everybody! Art is dead. No more art.

I know: bummer!  And just as I am finishing a kicker of an orchestral piece, too!

[bhodges]

It's far from clear that the best thing the world's orchestras should do isn't to see the environment we're in rather more clearly, quit what they're doing, and disband.

There is virtually nothing left to be said interpretively and virtually no music to write with any new aesthetic content; the whole historical period is artistically bankrupt and thoroughly antithetical to any further worthwhile performance or composition.

Needless to say.

Um, right. We've been down this barren road many times before. 

So back to the more interesting topic, I find it notable that so many orchestras - at least in the U.S. - are stepping up their game in programming. The Alabama Symphony Orchestra, for instance, won ASCAP's Adventurous Programming Award a few years ago, and while their next season doesn't appear to be up yet, in the next few weeks they are playing Ives, David Lang, Nico Muhly, William Brittelle, and others.

http://www.alabamasymphony.org/the_classical_edge_14-15.htm

I'm very excited by some of Seattle's programming next season; they're doing Berio's Sinfonia, with the young vocal group, Roomful of Teeth.

--Bruce

[TheGSMoeller]

Thanks for the info, Bruce. I would love to see a David Lang piece performed live.

[San Antone]

Um, right. We've been down this barren road many times before. 

So back to the more interesting topic, I find it notable that so many orchestras - at least in the U.S. - are stepping up their game in programming. The Alabama Symphony Orchestra, for instance, won ASCAP's Adventurous Programming Award a few years ago, and while their next season doesn't appear to be up yet, in the next few weeks they are playing Ives, David Lang, Nico Muhly, William Brittelle, and others.

http://www.alabamasymphony.org/the_classical_edge_14-15.htm

I'm very excited by some of Seattle's programming next season; they're doing Berio's Sinfonia, with the young vocal group, Roomful of Teeth.

--Bruce

Am I wrong to find myself developing a super strong negative reaction to Nico Muhly?

[TheGSMoeller]

Am I wrong to find myself developing a super strong negative reaction to Nico Muhly?

Nope. 

[Sean]

I saw Berio's Sinfonia done at the CBSO concert once, with Symphony fantastique after the interval. It wasn't The Fires of London but another group. In those days I had more patience.

[bhodges]

Am I wrong to find myself developing a super strong negative reaction to Nico Muhly?

Personally, I have not yet had a "Muhly moment," despite having heard a fair number of his works, including Two Boys at the Met. But he has a huge fan base, so what do I know? FWIW, at the Met I saw a number of younger people in the audience - people who might not be caught dead at La Traviata - who seemed enthralled by the whole thing: his score, the singers, and the production. He does seem to have an affinity for choral music, and I've not yet heard any of that, so...

PS, a belated "welcome back." 

--Bruce