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

[Wanderer]

I've just found out that in an almost clandestine modern music series that is organised by the Spanish National Performing Arts and Music Institute in the Reina Sofia Museum (just a couple of blocks from my home), Pierre-Laurent Aimard will play, next Monday evening, Boulez's First Sonata and Incises, sandwiched between Ravel's Miroirs and Gaspard de la Nuit. Admission is free...

That sounds great! I love concerts in venues like that, especially museums - I'd definitely go! And assuming it's after museum hours, it would perhaps allow you to also see some of the art without the crowds (a tête-à-tête with Guernica sounds as exciting as the recital itself). When I'm in Vienna in September, Anton Gerzenberg's playing Boulez's Incises and Sonate No. 2, plus Schönberg, Szymanowski, Debussy, and Stravinsky. I'm tempted to go unless something truly irresistible steals me away (as the Staatsoper and Musikverein haven't announced their programs for next season yet).

[T. D.]

Very local recital at a small public library this afternoon. Had forgotten about the event, but just recalled it in time.

Daria Podorozhnova & Terri Ji with Inesa Sinkevych

E. Fabregas "Lament" from suite Portraits I (2000)

J. Brahms Sonata No.2 in F sharp minor, Op.2

Intermission

Sonata in B Minor, S. 178 by Franz Liszt

Debussy Ondine from Preludes, Book II

Frederic Chopin Two Mazurkas, Op. 50

I. Vivace

II Allegretto

[ritter]

That sounds great! I love concerts in venues like that, especially museums - I'd definitely go! And assuming it's after museum hours, it would perhaps allow you to also see some of the art without the crowds (a tête-à-tête with Guernica sounds as exciting as the recital itself). When I'm in Vienna in September, Anton Gerzenberg's playing Boulez's Incises and Sonate No. 2, plus Schönberg, Szymanowski, Debussy, and Stravinsky. I'm tempted to go unless something truly irresistible steals me away (as the Staatsoper and Musikverein haven't announced their programs for next season yet).

I certainly intend to go, but let's see whether I can get in. These concerts are held in the "400 Aditorium" (called so for its capacity) in the extension building of the museum (by Jean Nouvel). I've been a couple of times (most notably, the world première of Cristóbal Halffter's Eighth String Quartet with the Leipzig Quartet, some 10 years ago now).

The problem with these concerts is that, with admission being free, many people who have no idea of who the composers or performers are, show up to spend the afternoon. This means, that one must arrive well in advance to stand in line and gain admission. I suppose some of the neophytes will find the concert interesting, but many others will come out complaining about this "thorny" music (I've already experienced that).

As for visiting the museum itself, I do so regularly, but must confess that with diminishing pleasure. The Reina Sofia has neglected its role as Spain's leading repository of art historic avant-gardes of the 20th century, to the benefit of its (equally important) role as a contemporary art centre. The problem is that the art is increasingly politicised and, frankly, of dubious quality as art. As Rafael Canogar (the doyen of Spanish abstract painting) recently said, "it is surprising to see some of the rubbish that a political movement left in the Reina Sofia being considered as art".

The Gerzenberg programme in Vienna in September looks superb!

[Wanderer]

I certainly intend to go, but let's see whether I can get in. These concerts are held in the "400 Aditorium" (called so for its capacity) in the extension building of the museum (by Jean Nouvel). I've been a couple of times (most notably, the world première of Cristóbal Halffter's Eighth String Quartet with the Leipzig Quartet, some 10 years ago now).

The problem with these concerts is that, with admission being free, many people who have no idea of who the composers or performers are, show up to spend the afternoon. This means, that one must arrive well in advance to stand in line and gain admission. I suppose some of the neophytes will find the concert interesting, but many others will come out complaining about this "thorny" music (I've already experienced that).

As for visiting the museum itself, I do so regularly, but must confess that with diminishing pleasure. The Reina Sofia has neglected its role as Spain's leading repository of art historic avant-gardes of the 20th century, to the benefit of its (equally important) role as a contemporary art centre. The problem is that the art is increasingly politicised and, frankly, of dubious quality as art. As Rafael Canogar (the doyen of Spanish abstract painting) recently said, "it is surprising to see some of the rubbish that a political movement left in the Reina Sofia being considered as art".

The Gerzenberg programme in Vienna in September looks superb!

I'd assumed there'd be an online booking system - queuing up for tickets takes some serious dedication, like in our good-ol'retro days not even two decades back! Hope you get in without too much hassle.

I get what you mean about the Reina Sofía; I recall a heavy dose of politicized art there, drenched in symbols of a certain movement. I chalked it up to an overzealous phase under the new director at the time, but it seems to be a trend everywhere now - also here in Greece. The Museum of Contemporary Art's new management has shipped its eclectic, genuinely rich permanent collection off to foreign exhibitions, replacing it with shrill, in-your-face propaganda that barely qualifies as art. Meanwhile, the National Gallery, currently showing off its full Goya print series, paired them with dreadfully banal contemporary pieces by utter unknowns - meant to explore the bizarre, but really just cheap provocations aimed at the church. They could've curated something worthy of Goya instead.

The Gerzenberg recital sounds downright delectable - only something like Turangalîla-Symphonie or Busoni's Piano Concerto might keep me away.

[Iota]

I've just found out that in an almost clandestine modern music series that is organised by the Spanish National Performing Arts and Music Institute in the Reina Sofia Museum (just a couple of blocks from my home), Pierre-Laurent Aimard will play, next Monday evening, Boulez's First Sonata and Incises, sandwiched between Ravel's Miroirs and Gaspard de la Nuit. Admission is free...

Exceptional! I wish you luck in gaining admission.

[Karl Henning]

Repeating for the Chopin enthusiasts, esp. @Florestan @Brian

Showtime in 20 mins!

[brewski]

On Wednesday, hearing the great Danish Quartet. The Sørensen is part of their four-year commissioning program, with composers responding to the late works of Schubert. The final Schubert is the group's own arrangement of the song from his cycle Schwanengesang.

Schubert: Quartet in G Major, D. 887
Sørensen: Doppelgänger
Schubert: Der Doppelgänger, D. 957 (Arr. Danish Quartet)

[ritter]

I've just found out that in an almost clandestine modern music series that is organised by the Spanish National Performing Arts and Music Institute in the Reina Sofia Museum (just a couple of blocks from my home), Pierre-Laurent Aimard will play, next Monday evening, Boulez's First Sonata and Incises, sandwiched between Ravel's Miroirs and Gaspard de la Nuit. Admission is free...

Well, I'm just back home from Aimard's recital at the Reina Sofía Museum, and... wow!!!

Despite the logistical nuisance of having to arrive well in advance to ensure being admitted, the "400 Auditorium" in the Nouvel Wing of the Reina Sofia is perfect for this kind of events, as there's an intimacy that cannot be achieved in larger venues. It was full to its capacity (although, as expected, there were some desertions after the intermission).

Ravel's Miroirs started tentatively IMO with Noctuelles, moved on to fine but relatively lacklustre renditions of Oiseaux tristes and Une barque sur l'océan, but then Aimard simply dazzled us with Alborada del gracioso, simultaneously  rhythmically alert and unrestrained, and with a wonderful juxtaposition of the dance-inflected passages with the more lyrical sections. Jaw-dropping! And La Vallée des cloches was at the same high level.

Then came Boulez's Première sonate. A work in which the young composer shows his talent to use rigorous serial techniques to achieve tremendous expressive force, while taking full advantage of the piano's capabilities in terms of the production of superbly rich sounds. Aimard, who recorded it under the supervision of the composer in 1991, is probably the work's foremost interpreter.

After the intermission, Incises, from 50 years later in the composers career. A freer, more flowing work, but one of great "pianism". Then, Gaspard de la nuit repeated the wonders heard earlier in Alborada... The fiendishly difficult Scarbo sounded so natural, so free of flashy virtuosity and so full of great musical ideas. Really refreshing and beautiful.

After the insistent applause and several curtain calls, Aimard asked the audience whether they preferred to be addressed in English or in French. As there was division of opinions, he alternated between both languages to say he's no friend of encores, unless they add something specific to the programme. The pieces he intended to play did just that, he said, in their intensity, so he would perform... Douze notations, "de Pierre Boulez, bien-sûr"! After giving a superb rendition of these miniatures (which, as a friend of mine says, are like a mini-compendium of French music of the first half of the 20th century —in them, there's Ravel, there's Debussy, there's Messiaen...), during the ovation, Aimard pressed the score against his chest, in clear gesture of love for the composer with whom he collaborated so closely for many years.

A great way to celebrate two important anniversaries of towering figures of modern music (Ravel's 150th, Boulez's 100th). 

[brewski]

Well, I'm just back home from Aimard's recital at the Reina Sofía Museum, and... wow!!!

Despite the logistical nuisance of having to arrive well in advance to assure admittance, the "400 Auditorium" in the Nouvel Wing of the Reina Sofia is perfect for this kind of events, as there's an intimacy that is impossible in larger venues. It was full to its capacity (although, as expected, there were some desertions after the intermission).

Ravel's Miroirs started tentatively IMO with Noctuelles, moved on to fine but relatively lacklustre renditions of Oiseaux tristes and Une barque sur l'océan, but then Aimard simply dazzled us with Alborada del gracioso, simultaneously  rhythmically alert and unrestrained, and with a wonderful juxtaposition of the dance-inflected passages with the more lyrical sections. Jaw-dropping! And La Vallée des cloches was at the same high level.

The came Boulez's Première sonate. A work in which the young composer shows his talent to use rigorous serial techniques to achieve tremendous expressive force, while taking full advantage of the piano's capabilities in terms of the production of superbly rich sounds. Aimard, who recorded it under the supervision of the composer in 1991, is probably its foremost interpreter.

After the intermission, Incises, from 50 years later in the composers career. A freer, more flowing work, but of of great "pianism". Then, Gaspard de la nuit repeated the wonders heard earlier in Alborada... The fiendishly difficult Scarbo sounded so natural, so free of flashy virtuosity and so full of great musical ideas. Really refreshing and beautiful.

After the insistent applause and several curtain calls, Aimard asked the audience whether they preferred to be addressed in English or in French. As there was division of opinion, he alternated between both languages to say he's no friend of encores, unless they add something specific to the programme. The pieces he intended to play did just that, he said, in their intensity, so he would perform... Douze notations, "de Pierre Boulez, bien-sûr"! After giving a superb rendition of these miniatures (which, as a friend of mine says, are like a mini-compendium of French music of the first half of the 20th century —in them, there's Ravel, there's Debussy, there's Messiaen...), during the ovation, Aimard pressed the score against his chest, in clear gesture of love for the composer with whom he collaborated so closely for many years.

A great way to celebrate two important anniversaries of towering figures of modern (Ravel's 150th, Boulez's 100th). 

This sounds SO GREAT. The artist, the program, coupled with the venue...what a fantastic evening. Love that he prepared an encore; how many times has Douze notations served in that capacity? (Unless he has done it before, since it's unlikely anyone else would.)

One of those "wish I could have been there" moments, and thank you for taking along those of us on the other side of the ocean.

"de Pierre Boulez, bien-sûr"! 

[Iota]

Well, I'm just back home from Aimard's recital at the Reina Sofía Museum, and... wow!!!

Despite the logistical nuisance of having to arrive well in advance to ensure being admitted, the "400 Auditorium" in the Nouvel Wing of the Reina Sofia is perfect for this kind of events, as there's an intimacy that cannot be achieved in larger venues. It was full to its capacity (although, as expected, there were some desertions after the intermission).

Ravel's Miroirs started tentatively IMO with Noctuelles, moved on to fine but relatively lacklustre renditions of Oiseaux tristes and Une barque sur l'océan, but then Aimard simply dazzled us with Alborada del gracioso, simultaneously  rhythmically alert and unrestrained, and with a wonderful juxtaposition of the dance-inflected passages with the more lyrical sections. Jaw-dropping! And La Vallée des cloches was at the same high level.

Then came Boulez's Première sonate. A work in which the young composer shows his talent to use rigorous serial techniques to achieve tremendous expressive force, while taking full advantage of the piano's capabilities in terms of the production of superbly rich sounds. Aimard, who recorded it under the supervision of the composer in 1991, is probably the work's foremost interpreter.

After the intermission, Incises, from 50 years later in the composers career. A freer, more flowing work, but one of great "pianism". Then, Gaspard de la nuit repeated the wonders heard earlier in Alborada... The fiendishly difficult Scarbo sounded so natural, so free of flashy virtuosity and so full of great musical ideas. Really refreshing and beautiful.

After the insistent applause and several curtain calls, Aimard asked the audience whether they preferred to be addressed in English or in French. As there was division of opinions, he alternated between both languages to say he's no friend of encores, unless they add something specific to the programme. The pieces he intended to play did just that, he said, in their intensity, so he would perform... Douze notations, "de Pierre Boulez, bien-sûr"! After giving a superb rendition of these miniatures (which, as a friend of mine says, are like a mini-compendium of French music of the first half of the 20th century —in them, there's Ravel, there's Debussy, there's Messiaen...), during the ovation, Aimard pressed the score against his chest, in clear gesture of love for the composer with whom he collaborated so closely for many years.

A great way to celebrate two important anniversaries of towering figures of modern music (Ravel's 150th, Boulez's 100th). 

Great review, thanks! Felt a tiny little bit like being there!

[brewski]

Wigmore Hall is streaming the International String Quartet Competition over the next six days, with a pretty heady lineup of ensembles and pieces. Here is the preliminary round through April 4, with all ensembles playing Judith Weir's String Quartet No. 2, "The Spaniard" (which I've never heard).

[ultralinear]

Tonight:

Prokofiev  Semyon Kotko Suite Op.81a
Mussorgsky  Songs and dances of death (orch.Denisov)
Lyatoshynsky  Symphony No.3

London Philharmonic Orchestra
Vladimir Jurowski  conductor
Matthew Rose  bass

Radio broadcast available for 30 days.

[ultralinear]

Tonight, Igor Levit and his pupil Lukas Sternath perform (separately and together)  :

Prokofiev  Piano Sonatas Nos. 7 & 9
Shostakovich  Symphony No.10  (arranged by the composer for piano 4 hands)

[brewski]

Tonight, Igor Levit and his pupil Lukas Sternath perform (separately and together)  :

Prokofiev  Piano Sonatas Nos. 7 & 9
Shostakovich  Symphony No.10  (arranged by the composer for piano 4 hands)

What an interesting recital. Levit is fascinating, and I can only imagine his protege will be, as well. On a related note, a pianist friend will soon perform Shostakovich's arrangement of his Fifteenth Symphony, for two pianos. I had no idea these arrangements existed.

[Christo]

Monday, April 7, as a part of the Mahler Fest, Amsterdam Concertgebouw: Mahler 2, Auferstehung (Resurrection):
Het Orkest, Groot Concertkoor Amsterdam, Jacob Slagter conductor, Aylin Sezer soprano
& with Brian connaisseur and old musical friend & GMG member Johan Herrenberg (formerly 'Jezetha')
See: https://www.concertgebouw.nl/en/concerts/7408730-mahlers-monumental-symphony-no.-2

[ultralinear]

What an interesting recital. Levit is fascinating, and I can only imagine his protege will be, as well. On a related note, a pianist friend will soon perform Shostakovich's arrangement of his Fifteenth Symphony, for two pianos. I had no idea these arrangements existed.

I haven't heard that version of the 15th, but I'm not surprised to learn of its existence - I suspect Shostakovich may have made arrangements of most of his symphonies.  In some cases that's the only way they were performed - in private - at a time when public performance would have been risky, if allowed at all.  Nikolaeva claimed to have heard of the 10th in 1951, 2 years before it was officially composed, and then performed publicly, after Stalin's death.

The only recording I have is the one that Shostakovich and Weinberg made in 1954, which as you might expect is pretty stunning, in OK-for-the-era mono sound:

I'm a big fan of Levit, ever since I heard him about 12 years ago give one of the most interesting performances I've heard of Beethoven opp.109/110/111.  I know that offends some people, but at least you got the sense he was doing something with it.

[brewski]

Monday, April 7, as a part of the Mahler Fest, Amsterdam Concertgebouw: Mahler 2, Auferstehung (Resurrection):
Het Orkest, Groot Concertkoor Amsterdam, Jacob Slagter conductor, Aylin Sezer soprano
& with Brian connaisseur and old musical friend & GMG member Johan Herrenberg (formerly 'Jezetha')
See: https://www.concertgebouw.nl/en/concerts/7408730-mahlers-monumental-symphony-no.-2

Hope it's fabulous. Some 20 years ago I heard the Mahler 2 in that hall — one of my favorite-ever concert experiences.

[brewski]

I haven't heard that version of the 15th, but I'm not surprised to learn of its existence - I suspect Shostakovich may have made arrangements of most of his symphonies.  In some cases that's the only way they were performed - in private - at a time when public performance would have been risky, if allowed at all. Nikolaeva claimed to have heard of the 10th in 1951, 2 years before it was officially composed, and then performed publicly, after Stalin's death.

The only recording I have is the one that Shostakovich and Weinberg made in 1954, which as you might expect is pretty stunning, in OK-for-the-era mono sound:

I'm a big fan of Levit, ever since I heard him about 12 years ago give one of the most interesting performances I've heard of Beethoven opp.109/110/111.  I know that offends some people, but at least you got the sense he was doing something with it.

Yes to the bolded text, very likely true. And thanks for that link.

Levit is so good that his idiosyncracies become persuasive — perhaps in the same vein as Gould (not that they are similar in most other ways). He definitely has a point of view and the chops to back up his ideas.

[Mapman]

Wigmore Hall is streaming the International String Quartet Competition over the next six days, with a pretty heady lineup of ensembles and pieces. Here is the preliminary round through April 4, with all ensembles playing Judith Weir's String Quartet No. 2, "The Spaniard" (which I've never heard).

I might check out the final tomorrow!

I'm also excited about tonight's livestream from Detroit (8PM Eastern), which features Bruch's Concerto for Clarinet and Viola!

https://www.dso.org/events-and-tickets/events/24-25-spring/beethoven-and-schumann

[Wanderer]

Tomorrow at the Musikverein:

Brahms: Concerto for Violin and Violoncello, Op. 102
Brahms: Symphony No. 4, Op. 98

Wiener Philharmoniker
Christian Thielemann
Augustin Hadelich
Gautier Capuçon