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

[ritter]

Loved your entire summation, but especially this paragraph. Would have liked to be in the audience, for sure. Thank you for this report on what sounds like a really memorable concert.

-Bruce

Thanks, Bruce! And I hope you enjoy my fellow countrymen of the Cuarteto Casals tonight. Nice program!

[brewski]

Thanks, Bruce! And I hope you enjoy my fellow countrymen of the Cuarteto Casals tonight. Nice program!

The concert was fantastic: sold out, with many standing at the end. All three pieces were excellent, but the Ligeti was the biggest "wow."

I'm writing up the evening for The Strad, so I'll save more comments for that! (Which you can read for free when the article comes out in May.)

Makes me want to go to Madrid like, tomorrow. 

-Bruce

[Mapman]

I just attended a period instrument concert by faculty at my university. They performed:
Beethoven: Violin Sonata #4, Op. 23
Caroline Schleicher-Krähmer: Sonatina for Clarinet and Piano
Mozart: Kegelstatt Trio, K498

I felt, as I have during previous performances, that the musicians were working against their instruments.

On Sunday, I'll see Shostakovich 5 in Detroit.

(Also, I added a profile picture. Does anyone know which composer it references?)

[Mapman]

Gustav Holst? 😁

Nope, Herschel! There's more information in the "Identify Your Avatar" thread in The Diner.

This weekend's DSO concert was great! Tchaikovsky's Romeo and Juliet and Shostakovich's 5th, both in excellent (and loud) performances. Jess Gillam gave an impressive premiere of Anna Clyne's new Soprano Saxophone concerto, Glasslands. It's about 25 minutes, so more substantial than most contemporary music that gets performed. I was impressed with the guest conductor, Han-Na Chang; she was able to get a wide dynamic range out of the orchestra.

[brewski]

Nope, Herschel! There's more information in the "Identify Your Avatar" thread in The Diner.

This weekend's DSO concert was great! Tchaikovsky's Romeo and Juliet and Shostakovich's 5th, both in excellent (and loud) performances. Jess Gillam gave an impressive premiere of Anna Clyne's new Soprano Saxophone concerto, Glasslands. It's about 25 minutes, so more substantial than most contemporary music that gets performed. I was impressed with the guest conductor, Han-Na Chang; she was able to get a wide dynamic range out of the orchestra.

That DSO concert sounds terrific. PS, I know some of the digital crew who produce the livestreams, and try to catch the broadcasts when I can. In any case, great things are obviously happening in Detroit.

Thanks for the review, enjoyed your comments.

-Bruce

[Brian]

Tonight!

Gabriela Ortiz | Antrópolis
Gabriela Montero | Piano Concerto No. 1
Gabriela Rimsky-Korsakov | Scheherazade

Gabriela Montero, piano
Marin Alsop, conductor
Dallas Symphony

The Ortiz piece is apparently a 10-minute, 4-movement work with multiple extended timpani solos. A concertgoer last night described it as "West Side Story meets Huapango." Montero's concerto has been recorded by the composer-pianist on Orchid Classics.

[Florestan]

Gabriela Rimsky-Korsakov

Love it! 

[Brian]

Tonight!

Gabriela Ortiz | Antrópolis
Gabriela Montero | Piano Concerto No. 1
Gabriela Rimsky-Korsakov | Scheherazade

Gabriela Montero, piano
Marin Alsop, conductor
Dallas Symphony

The Ortiz piece is apparently a 10-minute, 4-movement work with multiple extended timpani solos. A concertgoer last night described it as "West Side Story meets Huapango." Montero's concerto has been recorded by the composer-pianist on Orchid Classics.

This was a wonderful concert! The Gabriela Ortiz work was a quick, compact, crowd-pleasing delight. It starts with an extensive (minute+ ) timpani solo, and then the rhythms established by the timpanist undergird the whole piece. The timpanist returns to play them again every so often, as a sort of reminder and giving it a bit of a passacaglia feel. But you won't be thinking "passacaglia" because actually it is a colorful riot of Mexican folk music, dance tunes, and general partying. In total there were six percussionists active. The compositional craft and orchestration skill is top-notch.

Montero's piece also calls for lots of percussion, including cowbells, but the pianist is the focus throughout. She has given herself almost no breaks or pauses during the half-hour work, so her energy is really on display. It's less overtly populist than the Ortiz piece, while still being full of dance rhythms. The most memorable part, for me, is the slow movement, a self-conscious attempt to write a 40s Caribbean minor-key love ballad, of the kind you might hear on a Buena Vista Social Club album. This then segues into an almost tango-like central scherzo before returning to the beginning. It is a fun piece, but there are some signs of a pianist-virtuoso first, composer second - for example, balance issues with the piano and marimba trying to drown each other out and creating a muddle. Whatever; the pianist-virtuoso being slightly inferior at orchestration is a tradition going back 200 years and certainly is not a reason to count Montero out.

After that, Montero requested a tune from the audience - which I did not recognize; perhaps it's religious - and played a 5-minute improvisation on that tune in the style of Bach and then Chopin.

Marin Alsop is a good conductor on recordings but one of the best there is for live performance. She drew rhythmically sharp, lively playing from the DSO all throughout, and for an orchestra that sometimes likes to take things slowly and carefully, she got real energy from everyone. This made for a really excellent Scheherazade. Going in, my thought was "sigh, another warhorse." (I also deliberately avoided listening to it for an entire year before this weekend, so that it would sound "fresh".) But they really did excellent work. Our solo bassoonist (Ted Soluri) and oboist (Erin Hannigan) are particularly world-class.

This is my last Dallas Symphony subscription concert of the year but I might tack on another later.

Also, I met up with a member of the organization who gave me one single, tiny hint at what the DSO will be programming next season: George Antheil's Jazz Symphony.

[Brian]

This made for a really excellent Scheherazade. Going in, my thought was "sigh, another warhorse." (I also deliberately avoided listening to it for an entire year before this weekend, so that it would sound "fresh".)

I would like to call this out separately as a strong recommendation to anyone facing the "another warhorse" challenge with their local orchestra. When the new season is announced each year, and I choose the concerts I'll be attending, I immediately ban myself from listening to the warhorses on those programs until the night of the concert. It really helps to reconnect with them as if they are new and pay closer attention to what's happening onstage.

[brewski]

I would like to call this out separately as a strong recommendation to anyone facing the "another warhorse" challenge with their local orchestra. When the new season is announced each year, and I choose the concerts I'll be attending, I immediately ban myself from listening to the warhorses on those programs until the night of the concert. It really helps to reconnect with them as if they are new and pay closer attention to what's happening onstage.

Thanks for that detailed account of the DSO concert. I watched the Ortiz concerto with Minnesota a few weeks ago, and liked it a lot—not to mention, her superb technique on display.

And you know, most warhorses are popular for a reason. After growing up with Scheherazade and tiring of it in my 30s, I have heard it live a few times in the last few years, and what do you know—it's really something. Rimsky-Korsakov was one of the great orchestrators, and that is evident throughout. (I keep hoping-against-hope that the Met Opera will dive into some of his operas, but will likely be celebrating my centennial well before that happens. )

-Bruce

[brewski]

On Friday, March 3, looking forward to Musica Nova Helsinki, livestreaming this concert (in the eastern U.S., at noon!).

Janne Nisonen conductor
Mattie Barbier trombone
Weston Olencki trombone

Jimmy López Bellido Synesthésie
Clara Iannotta where the dark earth bends (world premiere)
Intermission
Minna Leinonen Vimma, Helsinki Variations (world premiere)
Žibuoklė Martinaitytė Saudade

Free livestream link: https://helsinginkaupunginorkesteri.fi/fi/hko-screen

-Bruce

[Brian]

Rimsky-Korsakov was one of the great orchestrators, and that is evident throughout. (I keep hoping-against-hope that the Met Opera will dive into some of his operas, but will likely be celebrating my centennial well before that happens. )

-Bruce

...but it is funny watching the poor percussionist who does nothing but play triangle all night long 

The Dallas Opera did Le coq d'or a few years ago so there is hope!

[brewski]

...but it is funny watching the poor percussionist who does nothing but play triangle all night long 

The Dallas Opera did Le coq d'or a few years ago so there is hope!

at the percussion comment. And good for Dallas. I wish the Met would pay attention.

Meanwhile, another livestream beckons on Sunday, with the Cincinnati Symphony Orchestra:

Louis Langrée, conductor
Elizabeth Freimuth, horn

R. Strauss: Horn Concerto No. 1
Samuel Adams: Variations [World Premiere, CSO Co-Commission]
R. Strauss: Death and Transfiguration

-Bruce

[brewski]

Tonight, this excellent-looking program (and free livestream) from the Brentano Quartet, again from the Philadelphia Chamber Music Society.

Dvořák and the American Identity

Deep River (spiritual)
Dvořák: Quartet in A-flat Major, Op. 105
Dvořák: Lento from Quartet in F Major, Op. 96, American
Still: The Quiet One from the Lyric Quartet
Ives: Prelude: Allegro from Quartet No. 1, From the Salvation Army
Walker: Lyric for Strings
Mackey: I've Grown So Ugly
Go Down Moses-Swing Low Sweet Chariot (spiritual)

https://www.pcmsconcerts.org/concerts/brentano-quartet-2023/

-Bruce

[brewski]

And...some plans changed for the weekend, so I was happy to snag a ticket for this concert. Now 95, Herbert Blomstedt will be the oldest person I have ever heard conduct a classical concert. Reports from his recent outings elsewhere have been stellar, so I'm excited.

The Philadelphia Orchestra
Herbert Blomstedt, conductor
Emanuel Ax, piano 

Mozart Piano Concerto No. 18
Bruckner Symphony No. 4 ("Romantic")

-Bruce

[Florestan]

And...some plans changed for the weekend, so I was happy to snag a ticket for this concert. Now 95, Herbert Blomstedt will be the oldest person I have ever heard conduct a classical concert. Reports from his recent outings elsewhere have been stellar, so I'm excited.

The Philadelphia Orchestra
Herbert Blomstedt, conductor
Emanuel Ax, piano 

Mozart Piano Concerto No. 18
Bruckner Symphony No. 4 ("Romantic")

-Bruce

He certainly has more stamina than Charles Aznavour, who a few years ago, at 96, was advertised all over Bucharest as singing on a certain date, only to have his concert cancelled at short notice and die shortly thereafter. 

[Mapman]

And...some plans changed for the weekend, so I was happy to snag a ticket for this concert. Now 95, Herbert Blomstedt will be the oldest person I have ever heard conduct a classical concert. Reports from his recent outings elsewhere have been stellar, so I'm excited.

The Philadelphia Orchestra
Herbert Blomstedt, conductor
Emanuel Ax, piano 

Mozart Piano Concerto No. 18
Bruckner Symphony No. 4 ("Romantic")

-Bruce

I saw Blomstedt conduct in Philadelphia a few years ago. He looked like the happiest person in the world, sitting there and conducting Brahms 3. (I was sitting in Conductor's Circle [chorus seats], so I had a great view of him.)

[brewski]

I saw Blomstedt conduct in Philadelphia a few years ago. He looked like the happiest person in the world, sitting there and conducting Brahms 3. (I was sitting in Conductor's Circle [chorus seats], so I had a great view of him.)

Very cool! (I have never sat in that section, but will at some point. My favorite place at the moment is in the top tier, dead center in the front row, where I'm sitting this weekend.)

I bet that Brahms was magnificent.

-Bruce

[Mapman]

Very cool! (I have never sat in that section, but will at some point. My favorite place at the moment is in the top tier, dead center in the front row, where I'm sitting this weekend.)

I bet that Brahms was magnificent.

-Bruce

Those are probably some of the best seats for sound! (But, I've sat most places in Verizon Hall, and most are good. I think my least favorite seats are the far right side of the orchestra level, and the back of Orchestra Tier, under the balconies.)  I highly recommend that everyone sit behind the orchestra at least once, as it offers the best views of the musicians, especially the conductor. The sound is less ideal, as the strings are facing away from you. Because I played clarinet in school orchestras, I'm used to that sound, though!

That Brahms 3 performance was good, but my memory was that it was a lighter (perhaps sunnier?) interpretation, and that a performance conducted by Yannick a couple years earlier was better. The Blomstedt concert was also overshadowed by the chamber music postlude: Ricardo Morales performed Mozart's Clarinet Quintet.

[brewski]

Those are probably some of the best seats for sound! (But, I've sat most places in Verizon Hall, and most are good. I think my least favorite seats are the far right side of the orchestra level, and the back of Orchestra Tier, under the balconies.)  I highly recommend that everyone sit behind the orchestra at least once, as it offers the best views of the musicians, especially the conductor. The sound is less ideal, as the strings are facing away from you. Because I played clarinet in school orchestras, I'm used to that sound, though!

Totally agree with experiencing the unique vantage point, at least once.

That Brahms 3 performance was good, but my memory was that it was a lighter (perhaps sunnier?) interpretation, and that a performance conducted by Yannick a couple years earlier was better. The Blomstedt concert was also overshadowed by the chamber music postlude: Ricardo Morales performed Mozart's Clarinet Quintet.

Yannick is often a wonder. It's no surprise the orchestra renewed his contract. I thought he might burn out, fielding both the Philadelphia ensemble and the Met Opera, but so far that doesn't seem to be the case.

And wow, Morales in the Mozart, yesss.

-Bruce