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

[brewski]

Tonight, a last-minute ticket to the Hagen Quartet:

Haydn: Quartet in C Major, Op. 76, No. 3, Emperor
Bartók: Quartet No. 2
Beethoven: Quartet in A Minor, Op. 132

-Bruce

This was excellent, some minor intonation issues aside (especially in the Haydn). But my friend and I agreed that sometimes "digging in" to the music can have that as a casualty. In any case, a heavy-duty program, which later caused some hilarious references to the idea that "classical music is so relaxing!"

The Bartók was the high point, though the slow movement of the Beethoven was a close second.

So many great string quartets running around—meaning, ensembles. I don't think I'd ever heard the Hagen players live. The audience was as rapt as one could want, with very little coughing or other extraneous noise.

-Bruce

[brewski]

On Friday, March 1, at 2:00 pm (EST), two competing livestreams! Both are likely to be available later, so a last-minute decision may be in the cards.

NDR Elbphilharmonie Orchestra
Manfred Honeck, conductor
Samy Moussa: Elysium
Bruckner: Symphony No. 9

Of the two competing livestreams yesterday from Frankfurt and Hamburg, the latter won, only because I hadn't heard the Bruckner 9 in awhile, and the Samy Moussa piece (Elysium) made an excellent companion for it. Plus, I am really falling in love with the Hamburg hall, which is now on my "to visit" list. At about 4:20 in the video above (still available), the cameras move from the ensemble to shots of the interior and exterior of the hall, which is just gorgeous, especially at sunset.

-Bruce

[NorthNYMark]

I just returned home from Montreal, where I was able to attend Thursday's performance of Bruckner's Fourth by the Montreal Symphony under conductor Rafael Payare. It was my first time seeeing them since Payare took over from Kent Nagano, and I was very impressed: Payare is very animated and charismatic, and (more importantly) seemed to inspire a high level of both precision and intensity from the orchestra. I've never found the Fourth to be one of Bruckner's more interesting symphonies, but I was absolutely riveted during the entire performance--it actually altered my sense of the work. I've noticed that Montreal audiences tend to give standing ovations fairly regularly, but this time it really felt spontaneous and well-deserved.

The program started with a new (to me) work, "In the Half-Light," by composer Zosha di Castri (who was present for the performance), and sung by guest artist Barbara Hannigan, who was amazing. The work itself was interesting, involving Hannigan singing very minimal texts (in English) that seemed to involve an existential encounter between two people in vaguely apocalyptic conditions, the orchestra providing surges of (mostly) menacing and/or unsettling sounds and textures. While the work (particularly the text) didn't connect with me much on an emotional level, I very much enjoyed the experience, and was thinking that it likely would turn out to be the most memorable part of the evening. That wasn't to be the case, however.

I'm really excited now about returning this coming Thursday for Payare's performance of Shostakovich's Eighth symphony (paired somewhat puzzlingly with Beethoven's First). I now especially regret having had to miss an earlier performance (of Mahler's Seventh) for which I had tickets--I imagine he would have done a fantastic job with that work, one of my favorites.

[brewski]

I just returned home from Montreal, where I was able to attend Thursday's performance of Bruckner's Fourth by the Montreal Symphony under conductor Rafael Payare. It was my first time seeeing them since Payare took over from Kent Nagano, and I was very impressed: Payare is very animated and charismatic, and (more importantly) seemed to inspire a high level of both precision and intensity from the orchestra. I've never found the Fourth to be one of Bruckner's more interesting symphonies, but I was absolutely riveted during the entire performance--it actually altered my sense of the work. I've noticed that Montreal audiences tend to give standing ovations fairly regularly, but this time it really felt spontaneous and well-deserved.

The program started with a new (to me) work, "In the Half-Light," by composer Zosha di Castri (who was present for the performance), and sung by guest artist Barbara Hannigan, who was amazing. The work itself was interesting, involving Hannigan singing very minimal texts (in English) that seemed to involve an existential encounter between two people in vaguely apocalyptic conditions, the orchestra providing surges of (mostly) menacing and/or unsettling sounds and textures. While the work (particularly the text) didn't connect with me much on an emotional level, I very much enjoyed the experience, and was thinking that it likely would turn out to be the most memorable part of the evening. That wasn't to be the case, however.

I'm really excited now about returning this coming Thursday for Payare's performance of Shostakovich's Eighth symphony (paired somewhat puzzlingly with Beethoven's First). I now especially regret having had to miss an earlier performance (of Mahler's Seventh) for which I had tickets--I imagine he would have done a fantastic job with that work, one of my favorites.

Thanks for this report. I have heard Payare once, last December with Philadelphia, in a new piano concerto by López Bellido and Mahler 1, both excellent. And though it's not the only criterion, the orchestra seemed connected to him, and you can usually tell if the chemistry isn't working.

Would love to have heard the di Castri piece with Hannigan—as a fan of both. Hannigan has done some outstanding work over the years, such as Grisey's Quatre chants pour franchir le seuil (1997-98), his extraordinary final piece for soprano and orchestra. I've also seen her several times in Ligeti's Mysteries of the Macabre, which she does beautifully. (You can find a few versions on YouTube.)

And feel free to report on the upcoming Shostakovich!

-Bruce

[brewski]

At 2 pm (EST), a live broadcast from Carnegie Hall (audio only) with the Vienna Philharmonic and Franz Welser-Möst in Mahler's Ninth.

-Bruce

[brewski]

Tonight, this concert. I've never heard the orchestra. Derksen is a composer and cellist, originally from Alberta, Canada.

Orchestre Métropolitain
Yannick Nézet-Séguin, conductor
Cris Derksen, cello
Tony Siqi Yun, piano

Derksen Controlled Burn
Rachmaninoff Piano Concerto No. 2
Sibelius Symphony No. 2

-Bruce

[NorthNYMark]

Tonight, this concert. I've never heard the orchestra. Derksen is a composer and cellist, originally from Alberta, Canada.

Orchestre Métropolitain
Yannick Nézet-Séguin, conductor
Cris Derksen, cello
Tony Siqi Yun, piano

I'll be curious to hear how it went--I'm considering getting a ticket to see them perform Mahler's 6th in in Montreal in June.

Derksen Controlled Burn
Rachmaninoff Piano Concerto No. 2
Sibelius Symphony No. 2

-Bruce

[ultralinear]

Tonight Santtu-Matias Rouvali conducts the Philharmonia in a program including what is billed as - and I can well believe is - the first UK performance of Nikolai Kapustin's Piano Concerto No.5

Audio stream available on the BBC from March 19th

[brewski]

I'll be curious to hear how it went--I'm considering getting a ticket to see them perform Mahler's 6th in in Montreal in June.

I enjoyed hearing the group a lot, and Yannick made the most of their strengths: excellent agility, and some very fine musicians. If you're going to be in Montreal anyway during that time, definitely go. I'd be curious to hear them in their own hall, too. Just checked their website, which is beautiful, and was impressed with the programming.

Yannick is doing Mahler 6 here next year, along with 3 and 9, which makes me wonder if a cycle is in the works.

-Bruce

[Christo]

Tomorrow: Bach - Johannes-Passion. Utrecht, Tivoli-Vredenburg: www.tivolivredenburg.nl/agenda/bach-johannes-passion-10-03-2024
Florilegium Musicum, Toonkunstkoor Utrecht
Titia van Heyst soprano, Florieke Beelen alt, Bernard Loonen evangelist, Vitali Rozynko Christ, Jan-Willem Schaafsma tenor, Marc Pantus bass
Jos Vermunt director

Next week Tuesday: Choral music by Cyrillus Kreek & Veljo Tormis. Utrecht, Tivoli-Vredenburg: www.tivolivredenburg.nl/agenda/estonian-philharmonic-chamber-choir-19-03-2024
Estonian Philharmonic Chamber Choir under good old Tõnu Kaljuste

[brewski]

Coming up this week at Carnegie. I've heard a lot of Shostakovich in the last few months, which is not a bad thing.

Alumni of the National Youth Orchestra of the United States of America
Yannick Nézet-Séguin, Conductor
Daniil Trifonov, Piano

Gershwin: Piano Concerto in F
Shostakovich: Symphony No. 7, "Leningrad"

-Bruce

[Pohjolas Daughter]

A good celebration day lined up for next week - A lunchtime concert at Wigmore Hall with Alisa Weilerstein (cello) and Inon Barnatan (piano) performing the Britten and Brahms 2 cello sonatas. Followed by a visit to the Marquis pub in Covent Garden where vinyl records of 60's soul music are played including requests. Finished off with a Chinese meal in Soho.

How did you enjoy your evening Irons?

PD

[ultralinear]

More from Quatuor Danel tonight:

Shostakovich String Quartet No.4 in D Op. 83
Weinberg  String Quartet No.4 Op.20
Shostakovich  String Quartet No.5 in B flat Op.92

Personal favourites all. 

Having heard the Jerusalem Quartet not long ago deliver a maxed-out DSCH #4, should be interesting to hear what the Danels make of it. 

No livestream alas.   

[brewski]

More from Quatuor Danel tonight:

Shostakovich String Quartet No.4 in D Op. 83
Weinberg  String Quartet No.4 Op.20
Shostakovich  String Quartet No.5 in B flat Op.92

Personal favourites all. 

Having heard the Jerusalem Quartet not long ago deliver a maxed-out DSCH #4, should be interesting to hear what the Danels make of it. 

No livestream alas.   

Oooh, what a tasty program!

-Bruce

[Irons]

How did you enjoy your evening Irons?

PD

Not so much evening but lunchtime, PD. The Wigmore Hall holds lunchtime concerts lasting a hour or so featuring top artists at a very reasonable £15. On the day we attended there was not a spare seat in the house. The audience was mixed but I noticed many single people attending. This is not new but I think other venues could follow a lead here as Wigmore Hall have hit on something. Classical music can in the right conditions prove to be very popular still.

[Pohjolas Daughter]

Not so much evening but lunchtime, PD. The Wigmore Hall holds lunchtime concerts lasting a hour or so featuring top artists at a very reasonable £15. On the day we attended there was not a spare seat in the house. The audience was mixed but I noticed many single people attending. This is not new but I think other venues could follow a lead here as Wigmore Hall have hit on something. Classical music can in the right conditions prove to be very popular still.

Good to hear that it was well-attended!  And that is a great price!

I should have thought to have turned on the BBC radio (online) to listen to it.  Are they still broadcasting them live?

Your talk of Chinese food (post pub) reminds me that I have some tofu in the fridge and some green beans that I need to do something with [Hope that I can find a recipe that I had found online that sounded good and had received good reviews.    ].

PD

[DavidW]

More from Quatuor Danel tonight:

Shostakovich String Quartet No.4 in D Op. 83
Weinberg  String Quartet No.4 Op.20
Shostakovich  String Quartet No.5 in B flat Op.92

Personal favourites all. 

Having heard the Jerusalem Quartet not long ago deliver a maxed-out DSCH #4, should be interesting to hear what the Danels make of it. 

No livestream alas.   

I would love to be there!  I love both their Shostakovich and Weinberg.  I was really pleased yesterday when my Weinberg SQ box set arrived from Presto.

[brewski]

More from Quatuor Danel tonight:

Shostakovich String Quartet No.4 in D Op. 83
Weinberg  String Quartet No.4 Op.20
Shostakovich  String Quartet No.5 in B flat Op.92

Personal favourites all. 

Having heard the Jerusalem Quartet not long ago deliver a maxed-out DSCH #4, should be interesting to hear what the Danels make of it. 

No livestream alas.   

I would love to be there!  I love both their Shostakovich and Weinberg.  I was really pleased yesterday when my Weinberg SQ box set arrived from Presto.

So in the realm of "answered prayers" and all that, I was looking at Wigmore's site, and lo and behold, on 29 April the Quatuor Danel returns. This time they'll do two Weinberg quartets surrounding a single Shostakovich, and it will be streamed, at 8pm GMT (4pm EDT). I already have it marked on the calendar.

https://www.wigmore-hall.org.uk/whats-on/202404291930

Weinberg: Quartet No. 5
Shostakovich: Quartet No. 6
Weinberg: Quartet No. 6

-Bruce

[ultralinear]

So in the realm of "answered prayers" and all that, I was looking at Wigmore's site, and lo and behold, on 29 April the Quatuor Danel returns. This time they'll do two Weinberg quartets surrounding a single Shostakovich, and it will be streamed, at 8pm GMT (4pm EDT). I already have it marked on the calendar.

https://www.wigmore-hall.org.uk/whats-on/202404291930

Weinberg: Quartet No. 5
Shostakovich: Quartet No. 6
Weinberg: Quartet No. 6

-Bruce

That's excellent! 

One thing that may not always come across from listening to recordings is just how much energy these guys put into their performances, finding life and drama even in a predominantly tragic narrative.  It makes for an involving experience, no matter how many times you've heard these works before.

[ultralinear]

I would love to be there!  I love both their Shostakovich and Weinberg.  I was really pleased yesterday when my Weinberg SQ box set arrived from Presto.

That's a great set.  The Danels pioneered some of these works, and you can hear in these concerts how their performances have continued to develop.  They might even put out a new set at some point (one can always hope ).

I also have the (much more expensive) set by the Silesian String Quartet - whom I've also heard play some of them in concert - and of the two I prefer the Danels.  There's nothing at all wrong with the Silesians - I would always take every opportunity to hear them perform - but there is a kind of earnestness to their playing which can become a bit unrelenting, where the Danels generally manage to find some spark of light amid the gloom.  Whether that makes their interpretations more authentic or less, I really don't know, but I do find them more listenable for it, which ultimately is the deciding factor.