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

[Szykneij]

Tomorrow -

The Boston Symphony Orchestra Chamber Ensemble:     

MCHEDELOV  Solo and Variations for Harp on a Theme of Paganini
RAVEL:     Piece en forme de Habanera
DEBUSSY:   Arabesque No 2

[Szykneij]

March 25 2011, Friday 7:00 PM
Boston Symphony Orchestra
  Thomas Adès, conductor

TCHAIKOVSKY - The Tempest
ADÈS- Violin Concerto, Concentric Paths
SIBELIUS - Prelude and Suite No. 1 from The Tempest
ADÈS - Scenes from The Tempest

This was an incredible concert! It was the first time I had seen Adès conduct, and I wasn't all that excited by his style. He appeared a little stiff to me and his cues seemed a bit choreographed, but you can't argue with results. The orchestra and soloists put on a fantastic performance.
  Although quite enjoyable, the least impressive to me was the Tchaikovsky. The orchestra played well enough, but the piece itself paled when compared to Sibelius's take on "The Tempest". (The version of the Sibelius performed was the Prelude (opus 109 No. 1) and Suite No. 1 (opus 109, No.2).)
  The highlight by far was Anthony Marwood's performance of Adès's violin concerto, composed specifically for him. Marwood is tall and lanky in stature with incredibly long fingers to match. They flew up and down the fingerboard with ease in a most demanding composition that frequently explored the topmost range of the instrument.
   I think the violin concerto would have served as a better ending to the concert than the actual choice, selections from Adès's opera "The Tempest" that were well-received by the audience. The soprano soloist, Hila Plitmann, who sang the part of Ariel should probably be mentioned in the "Highest Note Ever Sung" thread. If she didn't come close to hitting the highest note, she has to be in the running for the longest time spent in the near-dog whistle range. I'd love to see the score to discover exactly where those notes are on the staff.
  The attire of the performers was notable. The orchestra members wore dark suits with neckties instead of tuxes and Adès wore a dark suit with black shirt and no tie. Marwood came out in white pants and jacket with a black shirt. I'm not sure if the more casual dress was due to the earlier-than-usual 7:00 start time or the less traditional philosophy of the 40-year-old Adès.

 


 

[karlhenning]

. . . The soprano soloist, Hila Plitmann, who sang the part of Ariel should probably be mentioned in the "Highest Note Ever Sung" thread. If she didn't come close to hitting the highest note, she has to be in the running for the longest time spent in the near-dog whistle range. I'd love to see the score to discover exactly where those notes are on the staff.

Oh, they must be on ledger-lines well above the staff, Tony! ; )

[Szykneij]

Oh, they must be on ledger-lines well above the staff, Tony! ; )

Yes, I should have said "where the notes are off the staff".   

WCRB aired tonight's performance with interviews. It was mentioned that within the first minute, she has to sing 17 high "E's".

[Senta]

Brian - I am soo thrilled you fell in love with Adams at your recent concert! If you liked that, make sure you try Harmonielehre and Naive & Sentimental Music....his other "symphonies" per se.

Finally got back from my East Coast trip and have some time to write about the wonderful concerts I saw there, going to start with this one:

Sunday, March 20, 1:30 pm
    National Symphony
    Christoph Eschenbach, conductor & piano
    Twyla Robinson, soprano
    Matthias Goerne, baritone

MOZART Piano Concerto No. 23 in A major, K. 488 
ZEMLINSKY Lyric Symphony

Well, due to my sig. other's rustiness at DC Metro, and due to one of their trains just sitting and not leaving for a while, we were about 20 min late, although it is nice they have the concert playing on a closed circuit TV with ample seats in the lobby so you can watch. I noticed when we took the Kennedy Center shuttle there that the whole thing was full with other latecomers amusingly!

It seemed the Mozart was great, the last half I saw, spirited and with much character. After intermission, we went to our seats on 2nd Tier, 1st Row, far up on the left side if you are looking at orchestra. They were okay, our budget didn't allow for the pricey ones, though sometimes I felt we lost some of the singers' sound.

But the Lyric Symphony performance was just spectacular....it was quite a notch better than when I had seen it in Houston, the orchestra responded beautifully to Eschenbach's direction and dynamics and conveyed the various emotions in the movements very well. They also had a very nice ensemble sound, quite bold, confident, and energetic in the full orchestra sections, and great musicality - I was especially impressed with the small ensemble work that Zemlinsky writes in, they brought it across so nicely! As a whole, it was very detailed, polished and on point playing and the arc of the piece really came through, there was as much energy through the soft dreamy movements as in the big boisterous ones.

I loved getting to hear Goerne, he was in great voice and was very expressive in his role; Robinson was good too, maybe not as great as Goerne, but I did I like her acting. I have heard her twice in this though and feel she does sometimes get lost in the orchestra where it is thickly scored. But yes, I am thrilled I got to hear this amazing piece again live, and so glad it was in a performance that to me hit all the right points and was really satisfying, especially as far as orchestra is concerned!

Thursday, March 24, 8:00 pm
Baltimore Symphony
Yan Pascal Tortelier, conductor
Orion Weiss, piano

RAVEL Valses nobles et sentimentales
GRIEG Piano Concerto
LUTOSLAWSKI Concerto for Orchestra

Ahhh, this was such a totally delightful day! We had spent time at the Baltimore Natl Aquarium that afternoon, then eaten at Phillips Seafood before, and this was one of the BSO's Wine Nights, so we partook in that before - $10 a person for 5 samples (all quite good). This was at the Meyerhoff, what I liked was that parking was close (and the levels named after composers!), and that the lobby felt cozy, we found the auditorium very warm and inviting - though large, we didn't feel that our Rear Orchestra seats were uncomfortably far back.

Tortelier came out quickly and struck up the Ravel waltzes, which were a joy to hear, performed very elegantly, a lovely taste of the great playing to come. Strikes me how some parts remind me so much of La Valse!

It's been a long time since I heard the Grieg Piano Concerto, obviously, this is played so much that I expected it to be enjoyable but, likely with no new revelations. Wow, I was very wrong - Orion Weiss was such a treat at the piano, digging into the piece and finding a fresh, romantic, flirtatiousness in the writing, playing up the tougher pianism with flair. The slow 2nd mvmt really deserves mention, his expression along with that of the orchestra did not allow you to tune out, anticipating the finale, but to really enjoy the warm romance and rich melody that Grieg has written. Altough I was of course waiting for that Lutoslawski, we relished in the excellent and engaing performance of the Grieg all around.

Now the main course! I noticed at intermission unfortunately that we were one of perhaps 10-15 young couples/people....such a shame since Lutoslawski really is that perfect music to grab someone younger who might be a little new to classical, in fact, the whole concert was. But on this weeknight, those that were there seemed to have a prior appreciation for the Lutoslawski, and were obviously engaged and quite quiet and well-behaved.

First of all, to hear this piece live, well it's on my "Bucket List" shall we say....not only do I adore this composer, but most especially this work. I have several recordings of it, a couple extremely good, but this performance and piece live completely shattered my expectations. You could tell Tortelier was really comfortable in this piece (I believe someone had mentioned it was a specialty?) and he had wonderful eye contact with the orchestra throughout and directed the intricacies so clearly. The orchestra also played like they were excited to play the piece, which was so nice to hear, you could really feel their on-the-edge-of-the-seat concentration and playing At the end of the 1st mvmt, he was maybe a touch fast (where the orchestra has many dovetailing solos in various sections), and the 1st mvmt was really quick in all, but the 2nd mvmt and 3rd were spot on tempi wise.

But oh the style! It was so appropriate, Tortelier let the brass really ring out, showing very clean releases, but they also showed great control on softer passages, and the orchestral balance sounded awesome in the hall – in fact, the orchestra sounded ready to record the piece right there. All of the ingredients were there - the playfulness, the rhythmic drive, the sweep and grandness in the brass declamations – I know Lutoslawski would have been very pleased if he had been able to hear it. It's kind of hard to put into words what it is like when you hear one of your all-time favorite pieces live in an amazing performance, but it is pretty much music listener heaven! When they revved up, dashing to the end, then pulled back for those little technical bits/solos approaching the last bars, my breath was caught in my throat – and on the concluding note, the audience burst forth rather quickly in applause and lots of catcalls, it was thrilling Such excitement and a happy glow from the audience members around us, all in all just a delicious concert from beginning to end. I do hope this Concerto is broadcast on the radio perhaps, and feel jealous of those who got to see it at the Strathmore in the weekend

[Sid]

I'll probably go to this one next Monday at Sydney Conservatorium...

Cocktail Hour - Schubertiade (6.00pm)

28 March 2011

Perfomers

Goetz Richter violin
Jeanell Carrigan piano

Program
Schubert   
Sonatina in A Minor, D384 (1816)
Duo Sonata in A Major, op. 162, D574 (1817)
Fantasia in C Major, D934 (1827)

This recital was of three of Schubert's works for violin and piano. Violinist Goetz Richter explained the background of some of these works. Some critics of Schubert's time complained of the length of his pieces, the number of repeats & modulations, and said they were long-winded. One critic actually left halfway through the premiere of the Duo Sonata! In contrast to this, Schumann praised the "heavenly length" of Schubert's music. This made me wonder whether if the 8th "Unfinished" symphony would have been completed - all four movements - would it be as popular as it is today, or would it attract similar accustations of long windedness? Some people, even today, don't like the 9th "Great" symphony for similar reasons. The first piece in the recital, the Sonatina was published as such (and not as a sonata) in order to encourage amateur violinists to take up the work. This was quite a light work, in a more classical era kind of style. The Duo Sonata (also called the Grand Duo) was a longer work, in four movements. This was the only work on the program that I knew, I have it on disc, and I think they played it brilliantly here. The final work, the Fantasia, is a late work and seemed slightly darker than the other two. It was in four connected movements. The theme and variations had many repeats indeed, it was very intricate and involved. I particularly liked the energetic finale, a lot of vigorous bowing there. A thing I like about Schubert's chamber music is that he doesn't favour one or the other instrument, he treats them as equals. I liked this pair of performers (both lecture at the Sydney Conservatorium), I saw them last year perform three French violin sonatas, and the Schubert program was equally interesting and varied.

[Papy Oli]

quite a Schubertian day... 

Sunday 27 March - 11am
Schubert Ensemble of London
Auf der Strom - with viola obbligato (soloist Pippa Berry).
Trio in B flat
Die Forelle (soloist Pippa Berry).
Trout Quintet

Auf der Strom - maiden work for me, very beautiful, particularly liked the sound of the viola on this version (versions on youtube seem to be all with horn ?). I wasn't bowled over by the singing, mind you.

Trio in B flat - maiden work as well - great fun, one directly for the shopping basket 

Die Forelle - see comment above on the singer 

Trout Quintet - very well played I found. I am starting to really enjoy live chamber music (more so than on records), especially at Snape when the hall still remains very intimate, even from the last row. Live cello sound is just gorgeous.

Sunday 27 March - 5pm
Christian Blackshaw, Piano
Schubert
6 Moments Musicaux
D784 A minor sonata
D960 - B flat sonata

oh what a blast that was !! Despite not being overtly familiar with a couple of the moments musicaux and D784 itself (will dig the Lupu boxset again this week), I really enjoyed Blackshaw's playing. D960 was just the pinnacle of the day,  just at the right tempo for me (a bit slower than Lupu but not like Richter's  ). time really stood still during that work, that was mesmerizing. Judging by the audience's reaction, I guess I wasn't alone feeling like that 

Blackshaw played the Impromptu in G flat off D899 as an encore. Needless to say, I left  the hall with a wide grin on those last 50 minutes alone. 

As a side point, the whole Schubert week-end (5 concerts in total I think) was also a fundraiser for a local children hospice and the end donation was in excess of £20,000. Quite an achievement considering the hall was only about 50-60% full on both concerts above.

[Florestan]

Sid & Papy Oli: I wish I was there.

[Sid]

Sid & Papy Oli: I wish I was there.

Well thanks for reading my review. I also enjoyed Papy Oli's one, it was very interesting - I'll especially have to listen to more of Schubert's solo piano works (& lieder!) - he's one of my favourite c19th composers...

[Père Malfait]

Trevor Pinnock presents the following concert tonight at Nashville's venerable Christ Church Cathedral:

FROBERGER Suite No.12 in C major:
'Lamento sopra la dolorosa perdita della Real Mstà di Ferdinando IV, Rè de Romani etc.'
Gigue
Courante
Sarabande
J.S. BACH Partita No.6 in E minor, BWV 830: Toccata - Allemande - Corrente - Air - Sarabande - Tempo di Gavotta - Gigue
Interval
Trois Pièces de Clavecin:
LOUIS COUPERIN Prelude in D minor
ELISABETH JAQUET DE LA GUERRE Sarabande in D minor
ELISABETH JAQUET DE LA GUERRE Chaconne in D major
F. COUPERIN Livres de Clavecin - La Huitiême Ordre:
Passacaille
La Morinète
RAMEAU Quatres Pièces de Clavecin:
Les Tendres Plaintes
Les Niais de Sologne
L'Entretien des Muses
Les Cyclopes

And the Tallis Scholars present the following all-Victoria program tomorrow night at St. George's Episcopal Church:

VICTORIA: Dum complerentur, dum ergo essent
VICTORIA: Quem vidistis, pastores?
VICTORIA: Nigra sum
VICTORIA: 4 Responses for Tenebrae
                    Tamquam ad Latronum
                    Animam meam
                    Tradiderunt me
                    Caligaverunt
VICTORIA: Surrexit pastor bonus
Interval
VICTORIA: Requiem (a 6)

Not bad for Nashville, eh? 

[bhodges]

Trevor Pinnock presents the following concert tonight at Nashville's venerable Christ Church Cathedral:

FROBERGER Suite No.12 in C major:
'Lamento sopra la dolorosa perdita della Real Mstà di Ferdinando IV, Rè de Romani etc.'
Gigue
Courante
Sarabande
J.S. BACH Partita No.6 in E minor, BWV 830: Toccata - Allemande - Corrente - Air - Sarabande - Tempo di Gavotta - Gigue
Interval
Trois Pièces de Clavecin:
LOUIS COUPERIN Prelude in D minor
ELISABETH JAQUET DE LA GUERRE Sarabande in D minor
ELISABETH JAQUET DE LA GUERRE Chaconne in D major
F. COUPERIN Livres de Clavecin - La Huitiême Ordre:
Passacaille
La Morinète
RAMEAU Quatres Pièces de Clavecin:
Les Tendres Plaintes
Les Niais de Sologne
L'Entretien des Muses
Les Cyclopes

And the Tallis Scholars present the following all-Victoria program tomorrow night at St. George's Episcopal Church:

VICTORIA: Dum complerentur, dum ergo essent
VICTORIA: Quem vidistis, pastores?
VICTORIA: Nigra sum
VICTORIA: 4 Responses for Tenebrae
                    Tamquam ad Latronum
                    Animam meam
                    Tradiderunt me
                    Caligaverunt
VICTORIA: Surrexit pastor bonus
Interval
VICTORIA: Requiem (a 6)

Not bad for Nashville, eh? 

Not bad at all!  That Tallis Scholars program looks especially marvelous. I've only heard them live a few times, but every single concert has been quite remarkable.

--Bruce

[Père Malfait]

Not bad at all!  That Tallis Scholars program looks especially marvelous. I've only heard them live a few times, but every single concert has been quite remarkable.

--Bruce

I haven't had the opportunity to hear them live in 15 or so years. The last time was in the mid-90's, when they presented the complete Great Service of William Byrd in Memphis' St. Mary's Cathedral. By candlelight, no less! I'd heard them many times before that, though, and yes, their concerts are always exemplary. I can't wait!

[bhodges]

The last time was in the mid-90's, when they presented the complete Great Service of William Byrd in Memphis' St. Mary's Cathedral. By candlelight, no less!

Now that sounds truly beautiful. I'll have to keep an eye out, in case they do something similar in one of their performances here.

--Bruce

[Papy Oli]

A second concert on the Easter Week-end, again at Snape :

La Nuova Musica
David Bates - director

Lotti - Crucifixus
Gesualdo - Responsary for Holy Saturday
Johann Hermann Schein - Madrigals from Israelisbrünlein (1623)
Allegri - Miserere

[Père Malfait]

Last night, Mr. Pinnock played a slightly different (and imo more varied and interesting) program than publicized:

Trevor Pinnock, Harpsichordist
Wednesday, March 30, 2011
7:30 p.m.
Christ Church Cathedral, Nashville, TN

~ PROGRAM ~

Chaconne and Variations, HWV 435                                          George Frideric Handel (1685–1759)
   
Three pieces from the Fitzwilliam Virginal Book:   
   
   The Bells                                                                          William Byrd (ca. 1540–1623)
   
   Tell me, Daphne                                                          Giles Farnaby (ca. 1563–1640)
   
   The King's Hunt                                                          John Bull (ca. 1563–1628)
   
Lamento sopra la dolorosa perdita della Real Maestà di Ferdinanda IV, Rè de Romani  Johann Jacob Froberger (1616–1667)
   from Suite No. 12 in C Major   
   
French Suite No. 5 in G Major, BWV 816                             Johann Sebastian Bach (1685–1750)
   Allemande – Courante – Sarabande – Gavotte – Bourée – Loure – Gigue      

Intermission
   
Livres de Clavecin – La Huitiême Ordre                                          François Couperin (1668–1733)
   Passacaille   
   La Morinète   
   
Trois Pièces de Clavecin                                                          Jean-Philippe Rameau (1683–1764)
   Musette en rondeau      
               Tambourin   
   Gavottes avec ses doubles   

Sonatas in D Major, K. 490,  K. 491, K. 492                          Domenico Scarlatti (1685–1757)
   
Encores:   
   
Great Balls o'Fire (seriously!)   
   
Ground in c minor, ZT 682                                                          Henry Purcell (1659–1695)

Mr. Pinnock played with more élan than I normally associate with his performances, and was a charming raconteur. The audience didn't want to let him go at the end of the concert. Speaking of the audience, I was pleasantly surprised at how well-behaved they were - hacking, coughdrop unwrapping, program shuffling, stage whispering & ill-timed applause were at a bare minimum.   

A most enjoyable evening.  Tallis Scholars tonight! I can't wait!!!

[bhodges]

Tomorrow night, looking forward to this. I don't think I've heard the Prokofiev at all, and Mutter's recording of the Gubaidulina is terrific. Love the Tchaikovsky, which doesn't seem to show up on programs that often.

New York Philharmonic
Michael Tilson Thomas, conductor
Anne-Sophie Mutter, violin

Prokofiev: Overture in B-flat major, American
Gubaidulina: In Tempus Praesens, Concerto for Violin and Orchestra (New York Premiere)
Tchaikovsky: Symphony No. 2, Little Russian 

--Bruce

[karlhenning]

No, the early symphonies somehow are almost 'neglected' in the major concert halls here in the States, Bruce.

[bhodges]

No, the early symphonies somehow are almost 'neglected' in the major concert halls here in the States, Bruce.

Gergiev does them now and then, but not many others, it seems--a real shame.

--Bruce

[Brahmsian]

Tomorrow night, looking forward to this. I don't think I've heard the Prokofiev at all, and Mutter's recording of the Gubaidulina is terrific. Love the Tchaikovsky, which doesn't seem to show up on programs that often.

New York Philharmonic
Michael Tilson Thomas, conductor
Anne-Sophie Mutter, violin

Prokofiev: Overture in B-flat major, American
Gubaidulina: In Tempus Praesens, Concerto for Violin and Orchestra (New York Premiere)
Tchaikovsky: Symphony No. 2, Little Russian 

--Bruce

What a great line-up, Bruce!  The Gubaidulina concerto is outstanding, and the 'Little Russian' symphony was for a long time my favorite Tchaikovsky symphony.  Enjoy! 

[bhodges]

Tonight:

Berg: Wozzeck with Alan Held, Waltraud Meier, and James Levine conducting.

--Bruce