What concerts are you looking forward to? (Part II)

[bhodges]

Yesterday, a bleakly moving Schubert Winterreise from Joyce Di Donato and Yannick Nézet-Séguin, which I thought was one of the best concerts of the year. (From comments after, though, not everyone agreed.)

The concert is available on medici.tv, free with registration.

https://www.medici.tv/en/concerts/joyce-didonato-and-yannick-nezet-seguin-perform-schuberts-winterreise/

--Bruce

[bhodges]

Tonight, the JACK Quartet in the world premiere of divisio spiralis by Catherine Lamb, about an hour in length. Tomorrow the group returns for a second concert with works by Clara Ionnotta, Tyshawn Sorey, and Lester St. Louis.

--Bruce

[André]

Yesterday, a bleakly moving Schubert Winterreise from Joyce Di Donato and Yannick Nézet-Séguin, which I thought was one of the best concerts of the year. (From comments after, though, not everyone agreed.)

The concert is available on medici.tv, free with registration.

https://www.medici.tv/en/concerts/joyce-didonato-and-yannick-nezet-seguin-perform-schuberts-winterreise/

--Bruce

Thanks, Bruce, I will certainly listen to that concert !

[bhodges]

Thanks, Bruce, I will certainly listen to that concert !

Most welcome! Depending on how long it's up, I will certainly watch it again. Many moments are lingering in the memory. I haven't heard her live that many times (my bad), and she is utterly riveting. And this was my first encounter with YNS at the piano -- a revelation.

--Bruce

[jess]

Tonight, the JACK Quartet in the world premiere of divisio spiralis by Catherine Lamb, about an hour in length. Tomorrow the group returns for a second concert with works by Clara Ionnotta, Tyshawn Sorey, and Lester St. Louis.

--Bruce

Wish I was there! Sounds truly wonderful

[Christo]

Last Saturday, our choir's  'Dutch premiere'  of the 2014 Magnificat & Nunc Dimittis by the both Latvian & finest choral composer at this moment Ēriks Ešenvalds (b 1977), at the heart of a free & therefore popular, local Christmas celebration.

Lots of carols and folksy songs, alternated with fun pieces like Ubi Caritas I & III (Sacred Heart) and Ecce Novum by Norwegian composer Ola Gjeilo (b 1978). Even another 'Dutch premiere' (we don't claim, young composer unknown here) namely the 2012 Lullaby by Daniel Elder (American, b 1986). Bad audio, amateurish singing (us volunteering occasionally, little practicing, all loving to do it, the Ēriks Ešenvalds premiere from 48:00 till about 55:00. :-)

https://www.youtube.com/v/XNRcNbWLU8M

BTW a cell phone interruption from the audience forced to make a second beginning with the Nunc Dimittis (never happened, right decision). 

[kyjo]

Recently attended this fantastic program by my local Pittsburgh Symphony:

Nielsen: Helios Overture
Mozart: Violin Concerto no. 2 in D major
Adès: Violin Concerto Concentric Paths
Sibelius: Symphony no. 3 in C major

Augustin Hadelich, violin
Osmo Vänskä, conductor

It was refreshing to see an absence of overplayed "warhorses" on this program. In fact, it apparently marked the first time the PSO had performed the Nielsen and Sibelius works! The Nielsen was the perfect concert opener, with the PSO successfully capturing the aureate glow of the sunrise and the quicksilver character of the following section with its incisive string fugato. The sunset denouement was handled most sensitively and atmospherically. The Mozart concerto could have easily been a rather run-of-the-mill affair - I don't anyone would claim it to be one of Mozart's greatest works - but the brilliant musicianship of Augustin Hadelich (and Vänskä) brought the music to life with sparkling wit and lyricism. I particularly enjoyed Hadelich's tasteful cadenzas. Hadelich returned after intermission to play another - very different - concerto at around the 20-minute mark, that of contemporary British composer Thomas Adès. The quasi-minimalist opening was very promising, but soon afterwards I lost sight of the musical argument. The extended slow movement was particularly tough going for me with its incessantly growling low brass. Not a work I'll feel compelled to return to anytime soon, but Hadelich made a very convincing case for it. (Btw, I've enjoyed some other of Adès' works, such as Asyla and Tevot, quite a bit more.) The highlight of the program was unquestionably the Sibelius. I've always loved this symphony, but hearing it live in such an excellent performance took my appreciation of it to a whole new level. Vänskä really brought out the wildness and occasional weirdness of the work, while still maintaining a long-breathed and organic overall conception. Special marks to principal flautist Lorna McGhee, who handled her numerous (and difficult!) solos with complete aplomb, the cello section who shone in their chorale-like passages, and the horn section who whooped gloriously in the tremendously exciting coda. A performance not soon to be forgotten!

[bhodges]

Recently attended this fantastic program by my local Pittsburgh Symphony:

Nielsen: Helios Overture
Mozart: Violin Concerto no. 2 in D major
Adès: Violin Concerto Concentric Paths
Sibelius: Symphony no. 3 in C major

Augustin Hadelich, violin
Osmo Vänskä, conductor

It was refreshing to see an absence of overplayed "warhorses" on this program. In fact, it apparently marked the first time the PSO had performed the Nielsen and Sibelius works! The Nielsen was the perfect concert opener, with the PSO successfully capturing the aureate glow of the sunrise and the quicksilver character of the following section with its incisive string fugato. The sunset denouement was handled most sensitively and atmospherically. The Mozart concerto could have easily been a rather run-of-the-mill affair - I don't anyone would claim it to be one of Mozart's greatest works - but the brilliant musicianship of Augustin Hadelich (and Vänskä) brought the music to life with sparkling wit and lyricism. I particularly enjoyed Hadelich's tasteful cadenzas. Hadelich returned after intermission to play another - very different - concerto at around the 20-minute mark, that of contemporary British composer Thomas Adès. The quasi-minimalist opening was very promising, but soon afterwards I lost sight of the musical argument. The extended slow movement was particularly tough going for me with its incessantly growling low brass. Not a work I'll feel compelled to return to anytime soon, but Hadelich made a very convincing case for it. (Btw, I've enjoyed some other of Adès' works, such as Asyla and Tevot, quite a bit more.) The highlight of the program was unquestionably the Sibelius. I've always loved this symphony, but hearing it live in such an excellent performance took my appreciation of it to a whole new level. Vänskä really brought out the wildness and occasional weirdness of the work, while still maintaining a long-breathed and organic overall conception. Special marks to principal flautist Lorna McGhee, who handled her numerous (and difficult!) solos with complete aplomb, the cello section who shone in their chorale-like passages, and the horn section who whooped gloriously in the tremendously exciting coda. A performance not soon to be forgotten!

Great program, great orchestra, great conductor, great soloist. In the last few years, I have heard the PSO through recordings with Honeck, and he seems to have elevated the group's profile. They are building quite a legacy together.

--Bruce

[André]

Most welcome! Depending on how long it's up, I will certainly watch it again. Many moments are lingering in the memory. I haven't heard her live that many times (my bad), and she is utterly riveting. And this was my first encounter with YNS at the piano -- a revelation.

--Bruce

Intense, moving, captivating. Voice and piano are in perfect balance, with Di Donato dominating the stage even when using very economic gestures. On the rare instances where YNS has the lead he rises to the (musical) occasion tellingly.

[bhodges]

Intense, moving, captivating. Voice and piano are in perfect balance, with Di Donato dominating the stage even when using very economic gestures. On the rare instances where YNS has the lead he rises to the (musical) occasion tellingly.

Yes, totally agree. That balance was one of my favorite things, too. Did you like the "reading the book" framing device? I did, but others thought it unnecessary and contrived. It added just enough context to the narrative without underlining it too much.

--Bruce

[André]

It's a ploy to be sure, but an intelligent one. Winterreise sung as though reading a journal. Di Donato uses it very well, with the right expressions. One doesn't react the same when reading about events vs going through them. It was unobtrusive and practical - a lied singer's safety net 

[ritter]

Just got tickets for an all-Mahler recital by baritone Christian Gerhaher and pianist Gerold Huber at the Teatro de la Zarzuela here in Madrid next Monday. The program starts and closes with two songs form the unusual piano version of Das Lied von der Erde (Der Einsame im Herbst and Der Abschied). In between, the Rückert-Lieder and some of the Wunderhorn songs.

4 years ago I saw the same team (in the same venue) perform the Kindertotenlieder and the Lieder eines fahrenden Gesellen (plus some Wunderhorn songs as well), and it was sublime. I'm really looking forward to this one  .

[Mirror Image]

Just got tickets for an all-Mahler recital by baritone Christian Gerhaher and pianist Gerold Huber at the Teatro de la Zarzuela here in Madrid next Monday. The program starts and closes with two songs form the unusual piano version of Das Lied von der Erde (Der Einsame im Herbst and Der Abschied). In between, the Rückert-Lieder and some of the Wunderhorn songs.

4 years ago I saw the same team (in the same venue) perform the Kindertotenlieder and the Lieder eines fahrenden Gesellen (plus some Wunderhorn songs as well), and it was sublime. I'm really looking forward to this one  .

Sounds lovely, Rafael. Hope you enjoy it as much this time as you did the last time. Looks like a great program, too. I love Mahler's lieder.

[ritter]

Sounds lovely, Rafael. Hope you enjoy it as much this time as you did the last time. Looks like a great program, too. I love Mahler's lieder.

Thanks, John. And a good day to you...

[Brian]

Tonight!

Copland | Quiet City
Julia Wolfe | Fountain of Youth
Barber | Andromache's Farewell
Rimsky-Korsakov | Scheherazade

Lisa Larsson, soprano (Barber)
Dallas SO | Fabio Luisi

An enterprising program from our new chief conductor - three Americans of very different styles (including at least one local premiere), plus a beloved warhorse.

EDIT: Actually it was Lise Lindstrom, soprano.

[listener]

Last night: Nicole Lizée: Behind the Sound of Music for Orchestra and Glitch
Unsuk Chin: Violin Concerto    Viviane Hagner Violin
Kaija Saariaho: D'om le vrai sens    Kari Kriikku, Clarinet (making unusual sounds and wandering about the stage and audience)
Vancouver Symphony,  Otto Tausk, cond.    both concertos played by the performers for whom they were written

[ritter]

Just got tickets for an all-Mahler recital by baritone Christian Gerhaher and pianist Gerold Huber at the Teatro de la Zarzuela here in Madrid next Monday. The program starts and closes with two songs form the unusual piano version of Das Lied von der Erde (Der Einsame im Herbst and Der Abschied). In between, the Rückert-Lieder and some of the Wunderhorn songs.

4 years ago I saw the same team (in the same venue) perform the Kindertotenlieder and the Lieder eines fahrenden Gesellen (plus some Wunderhorn songs as well), and it was sublime. I'm really looking forward to this one  .

I'm just back from the Gerhaher / Huber all-Mahler recital, and it was a great evening. TBH, things started out a bit shaky with Der Einsame im Herbst from Das Lied von der Erde, where Gerhaher seemed to be having an off night and not be able to control the dynamics too well, and an impression of the interpretation being too mannered took hold. This feeling persisted in rather histrionic renditions of Revelge and Der Tambourg'sell, and the first two of the Rückert-Lieder weren't that much better. But then, as if transformed, Gerhaher gave us simply perfect Um Mitternacht, Liebst du um Schönheit and Ich bin Der Welt abhanden gekommen; nuanced, perfectly enunciated, feeling totally natural. After the intermission, we got Nicht wiedersehen! from the early songs at the same (very) high level, and a Der Abschied that was truly moving. Lieder singing of the highest calibre! After the rapturous applause, Gerhaher announced (in surprisingly good Spanish) that the only possible encore after Der Abschied was Urlicht, and this was just as touching as when it was given as an encore in the other all-Mahler recital with the same artists I attended 4 years ago.

Hearing excerpts from DLvdE in its version with piano accompaniment was interesting, and Gerold Huber's mastery must be pointed out, as at no time did I "miss" the orchestral textures (not even in the long purely instrumental passages of Der Abschied). A superb accompanist, which in this case may not be the right term: these Gerhaher / Huber recitals are the collaboration between two equal partners, deeply attuned to each other.

Tonight, I was struck for the first time by how much the spirit of Jugendstil pervades Der Einsame..., but also by how even  Der Abschied (one of Mahler's most moving and profound creations IMHO) borders on the kitsch at some moments.

[Mirror Image]

Good to read the concert went well, Rafael. Das Abschied is one of my favorite moments in all of Mahler and I bet that rendition for just voice and piano was wonderful.

[jess]

Last night: Nicole Lizée: Behind the Sound of Music for Orchestra and Glitch
Unsuk Chin: Violin Concerto    Viviane Hagner Violin
Kaija Saariaho: D'om le vrai sens    Kari Kriikku, Clarinet (making unusual sounds and wandering about the stage and audience)
Vancouver Symphony,  Otto Tausk, cond.    both concertos played by the performers for whom they were written

What a programme! Wish I could have seen it. How was it?

[André]

Tonight, with the Montreal Symphony and conductor Kent Nagano:

- Schubert, symphonies 2 and 4
- Mozart, concerto for two pianos. Paul Lewis and Angela Hewitt, pianos.

These two Schubert symphonies are among my favourites. The Mozart comes as a nice bonus, especially with such sensitive artists.