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

[Brian]

I did not attend this concert, but Rudolf Buchbinder is doing the Brahms Second Concerto in Dallas this weekend and apparently it's a disaster - he's so technically unable to keep up that the local critic wrote in the newspaper that he played "most of the notes."

[brewski]

I'll be interested to read what you think of the Assad piece in particular; an unknown composer to me.

PD

Entire concert was excellent—so much that I may go again tomorrow night. Clarice Assad (b. 1978) is originally from Rio de Janeiro, now living in NYC. Her piece, Terra, is about 25 minutes long, in 5 movements, for bassoon and a smallish orchestra. After an opening with the woodwinds aspirating (no pitches, just air), the concerto has many interesting sequences, and in places, a Baroque slant, which made it an agreeable companion to the Berio that opened the program. I liked it quite a bit.

And the Rachmaninoff was terrific. The Philadelphia Orchestra has a long history with his work, and Yannick is doing his best to maintain that tradition.

-Bruce

[brewski]

I did not attend this concert, but Rudolf Buchbinder is doing the Brahms Second Concerto in Dallas this weekend and apparently it's a disaster - he's so technically unable to keep up that the local critic wrote in the newspaper that he played "most of the notes."

Gonna look up some reviews. Wow. I haven't heard Buchbinder in a long time, perhaps this is why.

-Bruce

[Brian]

Entire concert was excellent—so much that I may go again tomorrow night. Clarice Assad (b. 1978) is originally from Rio de Janeiro, now living in NYC. Her piece, Terra, is about 25 minutes long, in 5 movements, for bassoon and a smallish orchestra. After an opening with the woodwinds aspirating (no pitches, just air), the concerto has many interesting sequences, and in places, a Baroque slant, which made it an agreeable companion to the Berio that opened the program. I liked it quite a bit.

And the Rachmaninoff was terrific. The Philadelphia Orchestra has a long history with his work, and Yannick is doing his best to maintain that tradition.

-Bruce

Is Clarice related to Sergio?

[brewski]

Is Clarice related to Sergio?

Yes, he is her father!

-Bruce

[Archaic Torso of Apollo]

I did not attend this concert, but Rudolf Buchbinder is doing the Brahms Second Concerto in Dallas this weekend and apparently it's a disaster - he's so technically unable to keep up that the local critic wrote in the newspaper that he played "most of the notes."

I heard Buchbinder back in 2013 and he got a glowing review, which I was able to find:

https://chicagoclassicalreview.com/2013/06/the-wagnerian-past-is-prologue-with-mutis-compelling-german-program/

Hard to believe he's playing only "most of the notes" and still getting gigs now.

[Crudblud]

Just got back from a very enjoyable evening of Beethoven (Leonore No. 3 / Symphony No. 4) and Bartók (Viola Concerto, soloist Maxim Rysanov) performed by the Hallé Orchestra. Somewhat marred by a couple talking incessantly behind my friend and I, but a great experience overall.

[MishaK]

I heard Buchbinder back in 2013 and he got a glowing review, which I was able to find:

https://chicagoclassicalreview.com/2013/06/the-wagnerian-past-is-prologue-with-mutis-compelling-german-program/

Hard to believe he's playing only "most of the notes" and still getting gigs now.

I was there, and that Beethoven was excellent. Very sensitive and thoughtful. He is old and ten years older now than he was then, so YMMV.

[brewski]

Next Thursday, Oct. 26, 8:00 pm Hamburg time (2:00 pm EDT), this livestream. For anyone who hasn't seen the Elbphilharmonie, it is now one of the world's most beautiful halls.

NDR Elbphilharmonie Orchestra
Frank Peter Zimmermann, violin
Alan Gilbert, conductor

Mozart: Symphony in G minor KV 183
Stravinsky: Violin Concerto
Brahms: Symphony No. 1

-Bruce

[brewski]

Alas, because of work I can't give this my full attention, but will definitely be sampling some of this concert in about a half-hour at noon (EDT), live from Helsinki. Watch here.

Helsinki Philharmonic
Ruth Reinhardt, conductor
Alessio Bax, piano

Grieg: Piano Concerto
Dvorak: Symphony No. 5

-Bruce

[Judith]

We have just come back from a wonderful concert by Leeds Haydn Players

Performed

Rossini  Overture to Italian Girl in Algiers
Mozart  Clarinet Concerto in A Major
Beethoven   Symphony no 2 in D Major

Soloist   Beth Nichol
Conductor  Melvin Tay

Lovely way to spend an afternoon.

[brewski]

Tomorrow night, this free livestream with violist Kim Kashkashian and pianist Robert Levin, thanks to the Philadelphia Chamber Music Society. (The PCMS season is a little astounding, with over 50 concerts, and about a third of them are streamed—all on a pay-what-you-wish basis.)

https://www.pcmsconcerts.org/concerts/kim-kashkashian-viola/

Transcriptions
Beethoven: Seven Variations on aria from Mozart's Magic Flute, WoO 46
Debussy: Fêtes Galantes
Britten: Lachrymae, Op. 48
Ravel: Cinq Mélodies Populaires Grecques
Beethoven: Twelve Variations on aria from Mozart's Magic Flute, Op. 66
Stravinsky: Suite Italienne

-Bruce

[brewski]

Tomorrow night, the East Coast Chamber Orchestra (ECCO) in this fascinating evening with pianist Shai Wosner. Especially looking forward to the Vijay Iyer piano concerto, which had its world premiere a few days ago.

Price: Oh My Darlin' Clementine
Price: Drink to Me Only with Thine Eyes
Price: Shortnin' Bread
Iyer: Handmade Universe [Philadelphia Premiere/PCMS Co-Commission]
Alberga: Remember
Dvořák: String Quartet in F Major, Op. 96, Lento (Arr.)
Mozart: Piano Concerto in A Major, K. 414

-Bruce

[brewski]

Excited about tomorrow night, hearing cellist Sheku Kanneh-Mason in a sold-out recital.

Bach: Suite in D Minor, BWV 1008
Simcock: Prayer for the Senses
Britten: Suite No. 1, Op. 72
Brouwer: Sonata No. 2 
Finnis: Five Preludes
Cassadó: Suite for Solo Cello

https://www.pcmsconcerts.org/concerts/sheku-kanneh-mason-cello-2023/

-Bruce

[Brian]

That is a very cool program!

[ultralinear]

Tonight in the cavern that is London's Barbican Hall:

Ryoji Ikeda  Ultratronics



His previous show a while back in the somewhat smaller Barbican Theatre burst eyeballs as well as eardrums ... so I'm expecting really good things from this.

[brewski]

Tonight in the cavern that is London's Barbican Hall:

Ryoji Ikeda  Ultratronics



His previous show a while back in the somewhat smaller Barbican Theatre burst eyeballs as well as eardrums ... so I'm expecting really good things from this.

Wow, very envious here! In 2011 (hard to believe, twelve years ago), I saw the transfinite, his installation at the Park Avenue Armory in NYC. It was astounding. Had never seen anything like it. Please do report back.

https://vimeo.com/63652019

-Bruce

[ultralinear]

Wow, very envious here! In 2011 (hard to believe, twelve years ago), I saw the transfinite, his installation at the Park Avenue Armory in NYC. It was astounding. Had never seen anything like it. Please do report back.

https://vimeo.com/63652019

-Bruce

The show I saw (in 2014? 2015?) was supercodex, which started amenably enough, and even had its longeurs - but by the end grew into an unbelievable all-out onslaught.  Never experienced anything like it.  And I saw some of the early Pink Floyd shows.

Possibly a mistake to have sat right at the front.  This time I will be further back, and am going prepared - dark glasses, earplugs, you never know.

[ultralinear]

Please do report back.

This was basically a shortened and concentrated version of his previous show:  a relentless barrage of intense, rapid-fire, seemingly random, computer-generated monochrome patterns synchronised to, and possibly derived from, a stream of very loud staccato machine-generated noise over a trance bass and percussion floor.  The effect is to overload your senses to the point where they start to synthesise their own responses - for example, seeing colours where there are none, hearing melodies that don't exist.  It does take a robust nervous system - anyone with a tendency to panic or paranoia might find it hard to deal with - and some did walk out.  The best thing is to relax and let it do its stuff.  I was sorry when it was over, I could have taken more of it.  

[brewski]

This was basically a shortened and concentrated version of his previous show:  a relentless barrage of intense, rapid-fire, seemingly random, computer-generated monochrome patterns synchronised to, and possibly derived from, a stream of very loud staccato machine-generated noise over a trance bass and percussion floor.  The effect is to overload your senses to the point where they start to synthesise their own responses - for example, seeing colours where there are none, hearing melodies that don't exist.  It does take a robust nervous system - anyone with a tendency to panic or paranoia might find it hard to deal with - and some did walk out.  The best thing is to relax and let it do its stuff.  I was sorry when it was over, I could have taken more of it.  

Thanks! And yes, sensory overload appears to be part of his aesthetic. If I recall, the piece here had a strobe warning, i.e, for people prone to seizures. And though the sound level was fine, if it had been very loud I probably would have left quickly. But there's no denying his talents.

-Bruce