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Kuentz ; Moment Musical, Pavane comp. Kotev: Youth Overture, 3 Diaphonic Dances - cond. Stafanov, A. Gibson: St. Gibson pno, cond. Lindberg: Variations - A. Rota, cond. Raichev, V. Soudant ; Gaspard de la nuit F. Oldenburg pno ; Jeux d'eau, Oiseaux tristes A.

Holst vln, F. Segerstam , Ein Heiligenstadter Psalm Holl, cond. Soro: Piano Concerto - Raccagni pno, cond. Spierer vln, cond. Klein: 6 Dances cho - Manhheimer Solists, cond. Tal vln, cond. John's Smith Square Orch, cond.

Swann pno, B. Schaffer: Little Sym cond. Borgerth - cond. Meyer: Leinefelder Divertimento - cond. Jordan, cond. Tavares ; Ciclo Brasileiro L. Senise pno ; Prole do Bebe 2 M. Cortese, R. Falk, J. Bima, cond. Stech, cond. Csiky: 2 Pcs for Orch - cond. Hampton:Triple Play, Catch-up - cond. E: 3 Piano Concertos Wq. Kuchler, cond. Strauss, Diabelli, J. Lanner, J. Sheppard sop, R. Sitkovetsky In memoriam G. Gould - D. Aston: Gaude - cond.

Poncet, Borthayre, Laumillot, cond. Cesare Handel ; Mozart:Opera Arias - cond. Bohm ; Schumann, Wolf, R. Strauss songs H. Liberman: Prokofiev:Vln Con 1 cond. Bernac, J. Land, M. Jones Wind Ens, cond. Davie, E. Schroder: Mozart:Sym K. Ahlgrimm, A. Kaskishian, C. Schmid vla : Stamitz:Vla Con Op. Scarlatti Sonatas; A. Leitner ; Sonata Op. Lima: Chopin:Scherzo Op. Penagos sop : Espla:Nochebuena del diabolo cond. Naumann:3 Sonatas; J.

Strauss:Stimmungsbilder, 5 Pno Pcs Op. Szell ; Bruch:Con 1 cond. Pressler: Mendelssohn:Pf Con 1 cond. Koch: Mozart:2 Duos K. Ozim: Schubert:Rondo cond. Khrennikov:Con No. Ristenpart hrpschrd! VIIb:2 Lamoureux Orch, cond. Oistrakh: Glazunov:Con for Vln cond. Moralt ; Bruch:Kol Nidrei cond. Hart:Giustini:Sonata 8; C. Bach:2 Solos, Sonata Wq. Schroder pno, L. Bach - G. Bitetti:Rodrigo:Fantasia para un gentilhombre cond. Asensio ; Albeniz, Falla, M. Torroba, Villa-Lobos S?

Martin, M. Saidenberg A- 10 Organ: Dupre:Vol. Grosser:Concert for 2 Organs:G. Bach:Fl Sonatas, Wq. Shankar:Music of India - A. Romero, I. Harty: A J. Brecht, Bachvariationen - cond. Lechev vln, cond. Goleminov, D. Buketoff, S. David vln, cond. Kraus, R. Hughes: Xanadu - cond. Schmitt: Janiana - Paillard ChO, cond. Schnebel: Fur Stimmen - cond. Roman: Ob Con - cond. Ketting , Timbo Perch Ens, cond. Santoro: Interacones Assinticas - cond.

Lehmann, Dettwyler, G. Kurth, cond. Revert gatefold S A Krek vln, Passaggio vla, cond. Janigro Vivaldi: Cons P. Gota, C. Orihuela, Quijano, M. Elias, J. Hines, cond. Streich, G. Litz, M. Schech, R. Fischer, cond. Doria, Massard, Senechal, cond. Albanese, F. Corena, cond. Baker, Milligan. Camerob, E. Morison, cond. Larner, A. Cole, T. Strauss:Morgen - cond.

Strauss, Spirituals - G. Strauss, Verdi, Saint-Saens songs - cond. Krauss, R. Strauss, W. Gabrieli, Marenzio, Palestrina, A. Scarlatti - G. Bau, T. Heptner, Hellweg, cond. Zoll, Dvorak, Seidler-Winkler, etc - cond. Bach:Con in F; J. Bach:Con in G; W. Bach, J. Mravinsky, Rozhdestvensky, M. Noel: Brahms:Sonata for 2 Pnos Op. Mason:4 Pieces; R. Sanderling, Y.

Redel, N. Yepes, cond. Menuhin, Malcolm, cond. Oistrakh: Prokofiev:Con 1 cond. Ysaye:Con d'apres deux poemes Op. Rejcha:2 Cello Concertos - cond. Zoller also conducts :Mozart:Con K. Bourdin:Les Duos d'Amour Vol. Konrad, E. Werthen, J. Pas ; Paukenmass Dulci Jubilo Knabenkoor, cond. Banda: Mozart:Divertimento K. Menuhin, M. Scarlatti, J. Feigin: Tchaikovsky:Trio Op. Browning Ov, Washingtin's Birthday - cond. Uber: St.

Pezel all for winds - cond. Tonger, K. Simon gatefold minor jacket damage S Bach, J. The Beethoven had plenty of rhythmic emphasis and wide dynamic extremes, if not the warmest ensemble sound or most consistent intonation. But the great sustained climax of the lengthy slow movement had the right kind tension, and the foursome maintained the virtue of simplicity in the Haydn encore, the slow movement of Op. For the Wild Up concert the audience was seated on stage surround-style around the performers and a pair of nine-foot Steinways.

Without warning they didn t bother listing their program Rountree began leading a beautiful performance of The Unanswered Question by Charles Ives, Adams s foremost influence from his New England upbringing. A solo oboe asked the question instead of a trumpet, and the ghost wind ensemble resonated clearly from the hall s balcony. The Poltergeist, from William Bolcom s Three Ghost Rags, does some strange things amid graceful looks back at a vanished age; it indirectly represents the influence jazz had on Adams.

Richard Valitutto was the smooth pianist. Then at last, everyone got down to playing some actual Adams. After an initial blurring of instruments, the textures became clearer as the performance locked in, and one could detect a straight line from the aggression of Antheil to the blunt-force chordal hammering in Part 1. Shaker Loops, the composer s breakthrough piece, played here in its original string septet version, derives a lot of its motor-driven momentum from Sibelius s symphonies Nos.

Wild Up more than made up in spunk what it may have lacked in finesse. Rountree is a very physical conductor, pumping and gesturing like a yell leader at a football game. Sitting practically in the string players laps allowed me to feel the tremendous visceral force in the piece s two big crescendos. Before we took our leave, Wild Up informed us that they have one collective foot in the rock camp and don t care who knows about it.

With a drummer going full throttle and the whole group simulating a fuzz-tone electric guitar at first, they pushed through a pair of manic punk-rock transcriptions, Deerhoof s Hark the Umpire and Dog Faced Hermans s Blessed Are the Follies, the latter ending with a series of riffs that in another era could have been played by Woody Herman s First Herd.

And yes, Adams was influenced by both punk-rock and big bands. So there! Glass s Symphony No. Carnegie Hall Leslie Kandell A composer s dream: in Carnegie Hall on his 80th birthday, January 31, he bows to the cheering crowd from a spotlighted box seat, and a symphony orchestra performs two of his works new to New York, plus the world premiere of his Symphony No.

Philip Glass, Pulitzer prizewinner and Carnegie Hall s next resident composer, had all that. Those who love his music not everyone, but too bad for them thought the Bruckner Orchestra Linz, led by Glass s longtime champion Dennis Russell Davies, was amazing. The pieces, from the past 20 years, indicate that minimalism has come a long way, or that Glass has. First of all, nothing scored for players can be called minimalist.

Also, while his operas, dance, theater, chamber music, and film scores bear trademark rolled chords, piano passages, and luminous harmonies, the sizes and swells here were more like maxi. Glass s music calls out for visuals: Koyaanisqatsi, for instance, is a full-length film of scenery, and the repeated title name in the bass is blended into the instrumentation. But by now his fans supply their own visuals mentally.

In fact, listening to recent Glass is like looking at fine art. Stand in front of a painting, contemplate it as long as you wish, move on, but perhaps choose to move back for another look. That s not possible in music, but the minute Days and Nights in Rocinha a large favela outside Rio de Janeiro comes close. It is dedicated to the Toledo-born Davies, 73, who first put the St Paul Chamber Orchestra on the map to and has collaborated with Glass since he was music director of the Brooklyn Philharmonic from to At this concert Davies turned score pages back as freely as he turns them forward.

It could be an arrangement of an Island song ear worm alert. There are tons of chances to hum motives, which Glass prefers to call repetitive structures. Not unlike other Glass music, it builds slowly and sinuously, like Bolero without the fight or final modulation. Snare drum and low brass hint at an exploded version of the Drummer Boy carol, and there is even a snatch of heaven help us Don t Cry for Me Argentina.

As if standing in front of that painting as long as you feel like, you hear the music s tune and pattern as often as you need. The renowned African vocalist Angelique Kidjo performed Three Yoruba Songs, composed for her in They trace a version of the creation myth in Yoruba, the language of Kidjo s native Benin. Straightforward and with even beats, these are definitely songs rather than free-form art. The texts have as much to do with drinking as with praise or creation.

Kidjo, amplified, was a compelling stage presence in full darkhued African dress and headdress, shouting AAHHH at the top of her lungs over an orchestra spiked with castanets. Symphony No. Compared to the other two pieces, strings played in a higher range, and winds were more assertive. One chord, which, like most of the composer s chords, stays around for extended contemplation, is a big low major one with a major seventh stuck in.

The percussion section has big licks, especially in the third movement, where it starts out Cuban style. In come the horns with the melody, and the cellos move up and away from their roiling bass line. Glass is no shrinking Bob Dylan. In suit and tie, he came down to the stage to accept accolades.

The evening was a celebratory event, and he couldn t have dreamt up a better one. Bing Concert Hall, Stanford Paul Hertelendy Philip Glass has achieved the distant dream of composers: developing an instantly recognizable musical style, identified in each new concert work.

In time for his 80th birthday, he created his Symphony No. And it s thoroughly Glass. There is a strong nonstop pulse, consonant chords that slowly shift, triadic broken chords whirling up and down in the strings, and a big opening movement with five beats to the measure hinting of syncopation. Glass also likes a strong bass presence in his music, as voiced by eight string basses, low trombones, effusive timpani and drums, and even a contrabass clarinet.

The ever more exuberant third final Angelique Kidjo movement leads to crescendos that brought down the sold-out house at the Bing Concert Hall on February It was visceral, consonant, effusively hypnotic, and comforting balm for people uncomfortable with the harmonic deviations of so much other contemporary music. Music Director Dennis Russell Davies, who was born in Ohio but has lived in Europe for the past 37 years, led the Bruckner Orchestra Linz s tour as they wended their way westward, with plans for recording the Glass back at their home base in Austria in June.

While it was astonishing to hear an Austrian ensemble from the notalways-blue Danube shores play an all-american concert, this sounded idiomatic. There are some parallels between Glass and Bruckner. Both show pronounced rapid shifts in the music, as if changing registration at a mammoth pipe organ which Bruckner played at St Florian s near Linz. And both are capable of huge sonic effects.

The Linz players also took on Barber s Violin Concerto , which had been reviled as both too easy first two movements and too hard the finale, which Barber eventually revised. Robert MacDuffie managed the soulful reveries of the slow movement as he did the wild fiddle-faddle of the finale, a solo with more than a thousand notes squeezed into a four-minute perpetual motion.

The first movement displays the so-called Scottish snap, derived from Scottish music, perhaps inspired by Barber s mother s Scottish lineage. The concert opened with Maurice Peress s orchestral-suite adaptation of Duke Ellington s Black, Brown, and Beige, which calls for a big sound with four trumpets, a melismatic sax, and a trombone playing with plunger wahwah mute, first developed in the Duke s band.

It was jazzy, brassy, and in-your-face, with sections impelling you to jump up and dance. The Austrian orchestra injected expression with a capital X. And the string sections, though hardly prominent in this repertory, were moving.

As they say in Austria, Grossartig magnificent! I heard this repeatedly from press colleagues at Daniel Barenboim s historic Bruckner festival with the Staatskapelle Berlin, where all nine Bruckner symphonies were played for the first time together at Carnegie Hall.

After the but, these critics voiced approval of the performance. Despite the recent Bruckner boom that made the Staatskappelle series possible, this uncompromisingly mystical composer still inspires a stubborn resistance. If Bruckner was the best hated composer of the 19th Century, as Lawrence Gilman puts it, he is now the most ambivalently accepted. For a long period he had a rough time being accepted at all.

Eduard Hanslick denounced even the relatively popular Symphony No. Bruckner had the unique misfortune of being the scourge not only of the Hanslick Wagner-hating crowd but also of classobsessed Viennese concertgoers who scoffed at his peasant roots and boorish appearance.

The 20th Century didn t treat Bruckner much kinder, though the insults became couched in the euphemisms of academia. Rather than being perverted and diseased, Bruckner became, as the Cambridge Music Handbook series on Bruckner put it, merely a lesser composer who was unsuited to the genre of the symphony because of illogical methods, a composer American music theorists all but ignored.

Orchestras were put off by Bruckner s daunting length and technical demands. Maestros from Karajan and Kubelik to Haitink and even Boulez gradually took up Bruckner s cause in a re-evaluation similar to the earlier Mahler revival. Yet many of the epithets once applied to Mahler overblown, too long, illogical, sprawling, banal are still attached to Bruckner. The irony is that we are beginning to grasp Bruckner in large part because we have become habituated to Mahler, who championed what he called Bruckner s glorious art when he conducted the symphonies in New York, even as his own symphonies were still reviled.

Mahler s symphonies had an advantage. They were mystical but ostentatiously theatrical, caustic but sentimental, aided by choruses, soloists, exotic instruments, and off-stage effects all of which made his path to acceptance, though long and difficult, smoother than Bruckner s. Bruckner s grandeur is served straight up.

As Donald Francis Tovey put it, This art has no tricks. It exists entirely in its own spiritual realm, eschewing the entanglement with the real world so important to Mahler: in the words of Wilhelm Furtwangler, Bruckner s most fervid early champion, it soars broadly and freely in a state of bliss, released from earthly cares, fulfillment without sentimentality, without calculation.

This sense of freedom and release was present in all four concerts I attended. The Fourth was actually the first work I was scheduled to hear in the Carnegie cycle and my first of Barenboim conducting Bruckner in concert.

I was not disappointed. This performance was as passionate as the one from the early 70s, but more nuanced, organic, and full of subtle dynamic contrasts the work of an older maestro who has lived with this music for decades and has its idiosyncrasies in his blood. Barenboim s gift, for better and worse, is an irrepressible impulsivity. His performances are colorful and unpredictable, but sometimes frustrating and wayward.

In this cycle, however, he maintained a dignity and regal authority, both in his music-making and podium manner. Bruckner clearly means something special to him. Indeed, in an interview published in Carnegie Hall Playbill, he states that his decision to become a conductor came largely because Rafael Kubelik took him to a rehearsal of Bruckner s Symphony No.

He was fascinated by the complexity and ferocious nature of the music s character and vowed to conduct Bruckner someday. In the four symphonies I heard, it was clear Barenboim has mastered Bruckner s quirky architecture, where again and again an approaching climax suddenly disperses, then builds again toward a larger spasm, a continuing coitus interruptus that thrills some listeners, makes others crazy.

Under Barenboim s baton, the final outburst was always cathartic, always an inevitable outcome of everything that came before. Start-ups, interruptions, and set-backs were a dramatic struggle, moving urgently forward and ending with hard-earned triumph. This illogical composer has his own logic, and Barenboim clearly gets it.

The Staatskapelle Berlin, like its maestro, seemed born to play this music. In massive passages they were powerful and steely, yet the sonority could suddenly turn warm and sensuous, almost as if a different ensemble had entered. In No. From start to finish the brass blended seamlessly with the strings rather than stood out, yet maintained plenty of heft. The woodwinds were colorful and vivid, especially in Nos.

The smallest details were telling: when the rarely-used harp entered during the modal string chords in the Adagio of No. At a rehearsal for Mahler s gargantuan No. They can certainly play Mozart. A special feature of this cycle was the pairing of a Mozart piano concerto or concertante with the Bruckner symphony of the evening. It was startling to see the huge Bruckner orchestra drastically shrunk, and gratifying to hear the refinement and intimacy of a reduced ensemble.

I heard Piano Concertos Nos. In the latter, First Concertmaster Wolfram Brandl played fluently, but the real treat was Principal Violist Yulia Deyneka, who performed exquisitely and enacted the music s emotions with her face and body language. Barenboim himself was soloist in the piano concertos, displaying the improvisatory freedom and spontaneity he brings to Mozart.

He dashed off No. The high point of the concerts I heard was Bruckner s No. An otherworldly Bruckner atmosphere was established immediately and sustained for an hour and 15 minutes. No one coughed or crinkled paper. The night before, Barenboim turned around from the podium and blew his nose at a cougher, silencing him for the rest of the evening. Though formed to present baroque opera, the group was more effective in their instrumental program, communicating the exuberance and color of Venetian baroque music.

Founded in , Il Pomo d Oro is named after a long and lavish allegorical opera from Membership consists of 26 young European musicians superbly schooled in the performance of baroque music. The young Russian harpsichordist Maxim Emelyanychev assumed direction of the group a year ago, but occasional programs are directed by others. They have made several recordings of baroque opera.

The first concert was devoted to the instrumental music of Antonio Vivaldi, known as the Red Priest for his hair color and his clerical status. In he was hired to teach violin at the Ospedale della Pieta, a girls orphanage famed for its musical training.

A year later he became music master and served there intermittently for the rest of his career. The level of musicianship in the Pieta must have been very high, as his concertos require a skilled, disciplined ensemble in addiiton to a compelling soloist.

After reading about the Ospedale s role in Venice s musical life, it s easy to imagine the appeal of the Red Priest leading the talented young female orchestra, a frisson of social taboo enhancing strong music making. In the intimate, resonant Weill Recital Hall, smaller than many a Venetian ballroom, the eight players sounded more like an orchestra than a chamber ensemble. Violinist Dmitry Sinkovsky, who also served as soloist, led the ensemble as it careened through four moodshifting Vivaldi sonatas.

The works, in three movements fast-slow-fast , showed the astonishing range both of Vivaldi and of the soloist. What Sinkovsky may have lacked in tonal beauty he made up in fiery bravura and improvisational freedom. Conducting the group, he emphasized contrasts in volume, attack, and texture. No one would ever call this sewing machine music. Later, more galant-style concertos by Brescianello and Galuppi were sandwiched between the Vivaldi works, allowing the ensemble to enjoy the spotlight while Sinkovsky took a break.

For the first encore Sinkovsky put down his violin to sing, in a very creditable countertenor, a plaintive aria from Vivaldi s Farnace. Taking up his fiddle again for a second encore, he made sparks fly in the stormy Presto from Summer in The Four Seasons. A breathtaking evening! The next night s concert of duets from early baroque operas, Lovers Passions: Agony and Ecstasy, given in Carnegie s larger Zankel Hall, made slightly less of an impression for a couple of reasons.

Even with the same number of instrumentalists one fewer violin and an enlarged continuo section , volume and brilliance were diminished in the dryer acoustic. More frustrating was the casual, even negligent, presentation of the texts.

The program assembled ten duets between pairs of lovers Eurydice and Orpheus and Venus and Adonis among them in works by seven opera composers, interspersed with early sonatas. But a listener trying to follow the sense of the words was left high and dry by translations that omitted the recitative portions that were essential for understanding the context of the emotions expressed in the more tuneful duets.

The opening Prologue, which followed the Sinfonia from Cesti s Argia left listeners completely uninformed. Even though such a prologue is typically an allegorical scene unrelated to the opera plot, the omission left listeners pawing through their programs. The omission seemed particularly egregious for the early baroque, an era that sought new musical means specifically to enhance declamation of the words.

The singers sang their hearts out, but it all seemed a bit remote. Yet there was much sheer beauty of sound. Her voice blended beautifully with the duskier sound of the expressive Italian mezzo-soprano Leonardo Cortellazzi and Miah Persson Giuseppina Bridelli. And the orchestra sparkled in sonatas by lesser-known composers from Albinoni to Ziani, displaying the combination of matter-of-fact virtuosity and sprezzatura noble negligence, or spontaneous subtle rubato that kept listeners on the edge of their seats.

Dario Castello s Sonata a 3 in particular gave a sense of the freeform, fanciful writing; I could almost see gold curlicues emerging from the harpsichord as Emelyanychev conducted from the keyboard. Few operas present such a smorgasbord of musical choices, and Alessandrini s choices ranged from staunchly conservative to daring. Poppea, first performed in , is among the earliest surviving operas. Its delightfully trashy libretto is a convoluted soap opera plot loosely contrived from Roman history.

Nerone Nero has fallen madly for Poppea, but there is the matter of his wife, Ottavia, not to mention Popea s lover, Ottone. And then there s Drusilla, who loves Ottone and helps him plot the foiled murder of Poppea. It s all quite Shakespearean, filled with a mix of unsavory characters, droll wit, and earthy wisdom. Within a decade or so, Poppea fell into a period of neglect that was to last two centuries. The original score was lost. Instead, there are two competing versions of the opera from the s that differ significantly both in music and text.

There are lively disputes about how much of either version was actually written by Monteverdi. Alessandrini chose to mix elements from each version, making some significant cuts along the way, and adding in some of his own composition, primarily for the orchestral interludes Monteverdi s, if he wrote them, do not survive. One scholar I spoke with was especially baffled by the deletion of some of the work s most famous instrumental music from the prologue. This opera is always a bit inconsonant, and Alessandrini s choices probably made the flow of things even more jarring than usual.

But his approach served the text well, and the important set pieces were all there. More important, there was a visceral excitement and a spontaneity to his version, aided immensely by his sensitive and highly vernacular conducting approach. We can only guess at the composition of the continuo in Monteverdi s time, and modern choices have run the gamut, right up to Carl Orff s overblown Nazi-era arrangement. Conducting from a harpsichord, Alessandrini limited his forces to two theorbos, a harp, five strings, and a second harpsichord.

This worked well in Carnegie s main hall, and the spare sound from the players helped frame the wondrously clear diction from the vibrant young cast. The ensemble played with admirable finesse. Alessandrini is highly regarded in historically informed circles, which makes his choices in terms of voice types a bit confounding.

For example, the role of Nero, written for a soprano castrato, was here transposed and performed by Leonardo Cortallazzi, a tenor. Cortallazzi sang with power and displayed the right heroic bearing. Still, with the army of talented counter-tenors now available there s really no need for this sort of substitution.

The few surviving records suggest there were five castratos in baroque era productions of Poppea; but this performance used only one counter-tenor, Aurelio Schiavoni, a contralto, who stole the show as Arnalta, Poppea s nurse, a wise plain-spoken comic figure.

Swedish soprano Miah Persson was eloquent and charismatic in the title role. As Ottone, contralto Sara Mingardo sang with great force and artistry. Bass Salvo Vitale was a powerful, resonant Seneca. His death soliloquy was one of the high points of the first act. But the opera s finest moment came in the final act, with Pur Ti Mio, the great love duet between Nerone and Poppea as she approaches her coronation as empress.

It was a triumph a word that also sums up this extraordinary evening. So sensual that by the end you re hot and bothered. With soprano and tenor? It s pretty but not nearly as erotic. The soprano and mezzo who sang it as an encore with Pomo d Oro put it Conductor Rinaldo Alessandrini, harpist Flora Papadopoulos and soprano Roberta Invernizzi across much more effectively.

Richard Rodgers arrived late, and the gathering s atmosphere froze. Weill thought that Rodgers had an inferiority complex, and, when Weill went to the piano and played music from his in-progress musical Lost in the Stars based on the novel Cry, the Beloved Country by Alan Paton , he noticed that Rodgers was getting more nervous and uncomfortable the more he heard it.

And this was three days after Rodgers s out-of-the-box hit South Pacific opened! Well, if fame, money, and longevity are yardsticks, Rodgers got the better of this rivalry, scoring several more hits over three more decades, while Weill was dead less than a year later, his standing slowly in eclipse after a series of middling successes on Broadway. Weill s stock has since risen as his Berlin works were revived and became better known.

Yet his American musicals, which often seem like the work of a different composer, are still not revived very often. Even though several of his songs have become pop or jazz standards, Weill only occasionally is listed among the contributors to the Great American Songbook.

Enter Jeffrey Kahane, the departing music director of the Los Angeles Chamber Orchestra after 20 years , who wanted to strike blows for protest and reconciliation as well as giving his distant relative Weill was a cousin of Kahane s grandmother some intense exposure. The timing couldn t have been more serendipitous, for the festival ran during the contentious first week of the Trump administration.

January 21 s worldwide protest marches occurred just before the first LACO Weill concert that night, and Trump s onerous ban on Muslims from seven countries took effect the day before a performance of Lost in the Stars on January The speakers at these concerts, including Kahane from the podium, did not let the moment go by; their allusive ripostes to the new administration drew tumultuous cheers from these blue-state audiences. Then came some more challenging topical fare, Bruce Adolphe s Violin Concerto I Will Not Remain Silent , a portrait of Prinz where the solo violinist is the rabbi as he passionately knocks heads with an often-dissonant orchestra that signifies first the Nazis and then American white supremacists.

Hope might have wielded a fiercer bow, but one can t deny that his playing was quite beautiful against an effectively slashing orchestral foil. Having fled Germany for Paris just hours ahead of the Gestapo, Weill picked up pretty much where he left off in his inspired balletcantata The Seven Deadly Sins, whose Bertolt Brecht text is a sarcastic tract about stifling temptations and principles in order to get rich.

Quickly forgotten during Weill s lifetime, Sins has since established a place at the edge of the repertoire for ambitious chanteuses, divas, and pop stars. A member of the latter species, the tall, blond, clarion-voiced Storm Large using what sounded like the WH Auden-Chester Kallman English translation obliterated all hints of Lotte Lenya with an overpoweringly sexy, all-american performance that was riveting.

Kahane and the LACO supplied a deft, bouncy account; and there was a fine male vocal quartet that calls itself Hudson Shad. Although there is a distinct American Weill sound that cannot be mistaken for anyone else active on Broadway in the s, the sarcasm and toughness of Berlin vanished as his penchant for sentimentality grew often expressed in sixth chords.

The subject of Lost in the Stars is South African apartheid, with a subtext of American segregation that couldn t be addressed directly in the commercial theatre in Maxwell Anderson s sometimes long-winded book and lyrics dig in to a degree that was both ahead of and in light of later advances in civil rights, behind its time. The first three numbers, based on pentatonic scales, contain the finest, most genuinely spiritual and emotional music in the whole score.

Also, there is some zesty Broadway strutting in the nightclub scene s Who ll Buy. In the end, though, it s an example of a late Weill show Street Scene is another with its heart in the right place, striving to say something important but not quite getting there. It was Bruckner s favorite as well, though he struggled even more than usual with revisions, rejections, and self-doubts.

In works like the Te Deum and Symphonies No. For a long time it was difficult to listen at all: No. Bruckner s signatures are here in their most uncompromising forms: dense brass sonorities, Gothic spires of sound, rapturous pedal points, chromatic complexities alternating with primitive unisons. The orchestra handled all of it superbly, unleashing blasts of cosmic force from passages of spectral stillness.

The formidable opening movement ended with remarkably delicate timpani taps; the rich blend achieved in the second movement was a refreshing change from the usual raucousness it was also ideal for a scherzo less folklike and more abstract than Bruckner s usual dance movement.

The coda fulfilled what Derek Scott calls Bruckner s lifelong attempt to Bruckner from page 16 first professional production in L. Kahane made the most persuasive, splendidly played case for Weill s score, using 21 players instead of Weill s 12, and performing the entire score, which neither of the two major recordings do Decca s original cast album and Julius Rudel s on Nimbus. Bogart s staging was not lavish; sometimes the set consisted of just the bare, grubby brick back wall of Royce, though it was draped in white for the nightclub scene.

The singers, particularly bass-baritone Justin Hopkins as Stephen Kumalo a part Weill hoped in vain that Paul Robeson would play and the choruses, did a stirring job of putting the music over. They gave the Kurt Weill Marching and Chowder Society some hope that Lost in the Stars might have new relevance in an ominous time when issues once thought to be settled are being re-fought.

Here and during the concerts I heard, one could see the sense of urgency and commitment in the players faces as they projected the sound like a giant organ through the resonant space of Carnegie Hall. With his cathedral-like sense of space, Bruckner is one composer who needs to be heard in a good concert hall; hearing one symphony after another this way had a cumulative effect over several days that was both exhausting and satisfying. In the last concert, after the long fade-out in No.

After some 15 minutes of curtain calls, he finally had to grab the concertmaster and head for the door. Out on the street after the concert, I saw a bus full of suitcases, a visual cue that this terrific orchestra, after a grueling and epic series, was about to fly away, and that the real world Bruckner transports us from would be crashing back, a bit easier to bear after this magnificent festival.

American Record Guide Music in Concert But inside Benaroya Hall, the big question was not politics but virtuosity: would lightning strike twice in the same place? Would the three young stars of the Seattle Symphony s twonight Shostakovich Festival dazzle the audience as resoundingly as they had on the previous evening? Furthermore, the two nights of the festival were both work nights Thursday and Friday.

But Seattle is a city that loves its festivals. An all-rachmaninoff one in went over very well. Shostakovich was a tougher sell, but the January 19 concert drew a respectable crowd, and January 20 was nearly sold out. What was immediately clear in the first performance was that Seattle audiences knew they had struck gold in cellist Edgar Moreau.

The reception for his reading of the Cello Concerto No. There was no rasping and scraping, none of the intentionally harsh gestures often employed in this killer of a piece by cellists who mistake aggression for excellence. Instead, there was phenomenal accuracy and an interpretive depth that drew the listener in to this thorny score and its moments of rhapsodic anguish.

Three international masters with strikingly different backgrounds each played a Shostakovich concerto on two successive evenings with the Seattle Symphony, under the baton of another young master, the orchestra s Associate Conductor Pablo Rus Broseta. Broseta, the elder statesman of the group, was born in Spain in You might think it was a fairly big risk for the Seattle Symphony to program two nights of solid Shostakovich, who can be bleak and sardonic, without upping the populist ante by signing any big stars.

Of the three soloists, only Ahfat who won the Seattle Symphony s only International Piano Competition in was speedy fingers, and an incredibly colorful array of bowstrokes, Moreau looked like a teenager and played like a young Yo-Yo Ma. You could practically hear the programs rustle as audiences flipped to the bio section: who was this guy?

He also has two first-rate CDs on the Erato label, both of which I immediately bought. Watch for him in a concert hall near you. But Moreau was far from the only star of the festival. Ahfat was first out of the gate with the Piano Concerto No. Ahfat also summoned plenty of thunder power in the big moments, but he clearly valued musicianship over mere showmanship.

He is continuing his studies at Juilliard with Joseph Kalichstein and Stephen Hough, but he already plays like a young pro who is ready for a bigger, post-conservatory arena. He gave a strongly characterized performance, riding easily over the orchestral accompaniment. But for all his passion and involvement in the music, Semenenko wasn t playing to the audience, just to the score, with tremendous intensity. He attacked the cadenza with its forest of double-stops with a technique that sounded unforced and easy.

On the following evening the three soloists returned to Benaroya Hall, this time with a larger and even more demonstrative audience. They were even better and more assured the second night. Upon their successive arrivals on the stage, all of them were greeted like returning heroes. Moreau went first, in the dark and more mysterious Cello Concerto No. Listening to this gifted player gradually unspooling the strange, gorgeous score brought the ambient noise level in the hall down to near-zero.

Elsewhere, the soloist had some fun with the jaunty Scherzo movement, but he was most effective at conveying the deep seriousness of the concerto s opening and closing statements. The audience lost no time in leaping up for a fervent ovation; it was already clear that lightning was indeed striking twice in the hall.

Ahfat undertook Piano Concerto No. He made much of the lyrical opening of the Andante, as lovely as anything Shostakovich ever wrote; and with the drama of the final Allegro he brought the audience again to its feet. Undertaking the massive Violin Concerto No. His intensity and involvement in the music were evident, drawing the audience in with no attempt at showiness.

This is a true classicist with a spectacular technique, ready for any challenge. In many respects, however, the most difficult role in the festival was played by the conductor, Pablo Rus Broseta, the Seattle Symphony s associate conductor, who has already amassed podium credits from Germany to Brazil.

Accompanying three young players in six tough concertos was a formidable task. The clarity of his baton technique and cueing, and the equal clarity of his understanding of Shostakovich, made all this look easy, despite the metric and interpretive challenges that faced him.

It was clear that this quartet of young musicians is not just ready to tackle the big time: they are already there. The acoustics are sometimes too resonant, but the performances can be so splendid and the principals so good that I wonder if the players scour for jobs with American orchestras during their US tours. The recordings I know are from the s. How time has a way of changing things. The principal players were not nearly as good, and touring can wear down even the best orchestras.

It opens with tick-tock percussion as the theme from Carol of the Bells becomes its basis. Between movements a large piece of percussion hit the floor; Kuchar wished the audience a sly Merry Christmas and continued with the second movement as its lyricism penetrated his tightly disciplined, forward leaning rhythms. The finale conveyed the strings richness even in the midst of unseasonal cacophony. What was striking was Kuchar s linearity, both lyrically and rhythmically.

And did he need it in Tchaikovsky s Violin Concerto! The less said about soloist Dima Tkachenko who must be in his mid- to lates the better. Worse than his sour intonation and numerous wrong notes even in the opening phrase were his radically unsteady tempos. I stopped listening to this amateur showoff as best I could and concentrated instead on the orchestra. He was actually a jurist at the Singapore Violin Competition! Kuchar deserves a large monetary award not only for following perfectly the soloist s frequent and erratic tempo changes but for simultaneously eliciting from the orchestra superb harmonic movement and remarkable tone colors.

The clarity of details made me appreciate anew how Tchaikovsky s orchestra really functions in this remarkable concerto. How Kuchar made all that happen while bending to the whims of this soloist was a testament to his innate sense of linearity. The acoustics in the 1,seat Anderson Center certainly helped.

The sound was projected evenly and clearly with sufficient resonance, and Kuchar said that the acoustical feedback to the musicians was excellent. After intermission I was surprised that Kuchar s grasp of form and direction didn t make Rachmaninoff s Symphony No. In the first movement it took considerable time for the unblended woodwinds to tune to the strings.

The second movement wasn t subtle or creamy enough; playing was accurate, but mood evaded the orchestra. And in the finale articulation was poor, especially in the fugue. Kuchar seems to not yet have this work in his blood. As he said afterwards, it s a tough work to bring off. When Lorin Maazel who memorized everything was music director of the Cleveland Orchestra, Kuchar asked him why this was the only romantic work where he needed a score; Maazel replied that the music just didn t stick to him.

As Kuchar added, it s a symphony that belongs in the first half of a concert, not at the end. But the tour s concert presenters chose from among five programs and selected the order of works. Puzzling as the inconsistencies in the first concert were, they were simply ruinous to the first half of the concert in Troy.

At the Troy Savings Bank, built in , the music hall on the third floor seats 1,, has a high ceiling, and is not good for orchestras because it disperses the sound into a highly resonant acoustic. The soloist in Prokofieff s Piano Concerto No. The orchestra s strings from violins to basses seemed to evaporate into the ether. Principal Conductor Volodymyr Sirenko didn t even attempt to accommodate this speed demon.

Wind intonation and ensemble were bad, and overall tuning was shabby. As in Binghamton, the audience applauded lustily after the first movement, apparently not realizing there was more. The second movement depends on a motor-like tempo, but Grynyuk s rubatos were grossly exaggerated; even simple scales were flawed.

In the finale he went for cheap effects. After the piano was moved to the rear for Shostakovich s Symphony No. The trombones were as brazen and overbearing here as in Binghamton. There was little nuance or expression in the Round Dance and Lullaby no mood, no tension to the lines. Whether soft or loud, Sirenko came across as a kapellmeister, and not a very good one at that.

He had me grinding my teeth in anticipation of the Shostakovich. And then, quelle surprise! Despite an initial lack of tension in the opening, and a flute and horn duet that didn t quite become a poignant sigh in the coda, Sirenko built the first movement into an intense and thrilling development section.

By the second movement the violins, string basses, and woodwinds became really assertive, as Sirenko wrapped a steady tempo and strong accents around the sarcastic waltz beat. It was in the third movement that I most appreciated the strings being arranged with the second violins and violas on the right side, where they conversed poignantly with the rest of the strings on the left, waxing and waning with intense expression. It was here too that I came to appreciate Sirenko s non-manipulative approach to this symphony; he held the slow movement s tempo steady, relying for expression on degrees of intensity and tone color, maintaining tension even in the quietest passages.

That approach carried over in spades to the final movement: one tempo start to finish by cutting the beat exactly in half after the gigantic triumphant climax that leads to the long coda. No acceleration like Bernstein; no morose largo like Rostropovich; here Sirenko let triumph dissolve into despair by linearly connecting the first half of the movement with its conclusion, as the orchestra rose to its very finest playing and ensemble.

I was deeply moved. The encore at both concerts was the Taras Bulba Overture by Mykola Lysenko , the first Ukrainian composer to make his mark in western orchestral music. And, yes, part of the overture echoes the symphonies of Vasily Kalinnikov Kuchar recorded them with this orchestra. After Kuchar s fully integrated, classy performance in Binghamton, I didn t even recognize the overture the next night as Sirenko gave a raucous, no-holdbarred performance that made some Ukrainians in the crowd cry out in Ukrainian , Glory to Ukraine, as orchestra members shouted back, Glory to the Heros, referring to those who have died since in the country s conflicts with Russia.

I m sure they related perfectly to what Shostakovich s Symphony No. Known as a baroque violinist, Citterio has been concertmaster of the Accademia della Scala since and a member of the La Scala Orchestra since She and her family will move to Toronto this summer. A double Boston Symphony appointment in February for British-born James Burton, who turns 43 this year: as of February he is the new conductor of the Tanglewood Festival Chorus, following the retirement of founder John Oliver.

He is also Boston Symphony choral director, a new position to enhance the orchestra s choral activities. Dutchman Otto Tausk, 46, will become music director of Canada s Vancouver Symphony on July 1, , succeeding Bramwell Tovey, 63, who decided to leave after 18 years, handing over the baton in time for the orchestra s th anniversary. Tausk has been music director of Switzerland s St Gallen Symphony and Opera Theatre since Timothy Myers, artistic and music director of North Carolina Opera, resigned effective the end of September to pursue opportunities in the US and abroad as his career expands.

With conductors lined up for next season, the company has time to search for his replacement. His decision to leave before his contract expired in leaves both the orchestra and Lincoln Center itself without presidents as fundraising continues for the massive renovation rebuilding?

Darren Woods was dismissed in February as general director of the Fort Worth Opera by the board of directors. Because of the company s financial losses, the board chairman said they are looking for a director with business and management background with an emphasis on fundraising and development. Woods premiered new operas, chamber operas, and Frontiers that presented minute segments from works-in-progress by eight composers annually.

Woods, who turns 59 this year, remains as artistic director and new music specialist at the Seagle Music Colony in New York. Andreas Mitisek, 54, artistic director of Chicago Opera Theater since , will leave when his contract expires in September to concentrate, he said, on a couple of dream projects that are important to me and that I want to develop with several opera companies. He will be succeeded by Executive Director Douglas Clayton. Mitisek remains artistic and general director of Long Beach Opera, where he has been since Zarin Mehta, 80, will step down at co-executive director of the Green Music Center at California s Sonoma State University as soon as a replacement is hired.

Mehta was president and executive director of the New York Philharmonic from to and is the brother of conductor Zubin Mehta. He was previously executive producer of artists and repertoire for Decca. Author Andrew Solomon, president of PEN America, said, Stephen Sondheim s oeuvre is profoundly literary in its elegiac reaching for the truth of who we are, how we love, and how we strive to find meaning in our work.

He will be the first composer-lyricist to be given this award, which recognizes his nuanced insight into human character. His support for a new generation of writers makes him a literary citizen of the first order.

The prize is given for an outstanding contribution to music, which for Aimard has meant devotion to music from Bach to the most contemporary. With Andris Nelsons becoming music director of the Leipzig Gewandhaus Orchestra this year and extending his contract as Boston Symphony music director through , the BSO and LGO formed a five-year alliance starting this coming season that involves cocommissions, shared and complementary programs, educational goals, residencies by each orchestra in the other s city, and exchanges of musicians between the two orchestras.

Good news at the Detroit Symphony: following a devastating shutdown in , Music Director Leonard Slatkin extended his contract through , the orchestras had four balanced budgets in a row, and musicians ratified a new three-year contract in January, eight months ahead of schedule. The contract extends the season from 36 to 38 weeks and gives four weeks of vacation. It also keeps the number of players at 87, down from 96 in This is the DSO s second early three-year contract in a row.

St Louis Symphony musicians agreed to a new five-year contract in January, seven months ahead of schedule. With a pay increase of 2. The OPO has handed over all of its opera productions to Opera Orlando and will serve as the resident orchestra for the company, while maintaining its symphonic concert season. Obituaries Conductor and composer Stanislaw Skrowaczewski, 93, died on February 21 after suffering a second stroke in just a few months. He was music director of the Minnesota Orchestra from to and returned every year since for a concert as conductor laureate.

His most permanent legacy is the building of Minneapolis s Orchestra Hall, one of the nation s best, which opened in Swedish tenor Nicolai Gedda, 91, died on January 8 at his home in Tolochenaz, Switzerland, near Lausanne. In Rudolf Bing snapped him up for the Metropolitan Opera. Over 50 years Gedda sang more than opera roles and didn t begin winding down his career until Henry-Louis de la Grange, 92, the legendary biographer of Gustav Mahler, died on January 17 in Lonay, Switzerland.

Max Wilcox, 88, famed RCA recording producer starting in , who produced pianist Arthur Rubinstein s recordings among many others, died on January 20 of a hemorrhagic stroke and advanced Alzheimer s in Seattle. Wilcox won 17 Grammy awards. With Bobby Gimby s somewhat cheesy but catchy Canada filling the airwaves, my several-weeks stint as a service scout during Montreal s spectacular Expo 67 expanded my view of the world considerably.

In my hometown, Ottawa, the National Arts Centre was coming steadily out of the ground, while the original Trudeaumania was about to galvanize the nation. For a wide-eyed teen, here were three distinct visions giving credence to Prime Minister Wilfrid Laurier s prophecy that the 20th Century belongs to Canada.

With all of that as my personal backdrop, it was with the dual senses of excitement and apprehension that I set foot in the Jeanne Lamon Hall at Toronto s Trinity St Paul s Centre for the premiere of Visions and Voyages: Canada At first blush, it seemed as if this event had little to do with Canada, given that confederation came far after that time. But before long it became clear thanks to Alison Mackay s visionary conception, painstaking research, and scripting that this multi-disciplinary production would be a cautionary table setter as to how Canada found its way to nationhood.

Reflecting on the whole the most courageous decision more or less using French composers in the first half to paint the broad strokes of emerging Quebec, and then a healthy dose of British composers for part two, literally underscoring the rise of the Hudson s Bay Company, supported by the apparently sympathetic King George III was to use the music as a secondary element to the words, images, and movements swirling around it. The notable exception was a wonderfully thoughtful, engagingly spirited performance of Telemann s La Bourse Overture, far and away the musical high point.

Weaving everything together was a fursporting narrator who declaimed the historical circumstances and events, along with timely quotes from the long-dead principals of the era. Ryan Cunningham did a commendable job with a well-paced delivery and just a few stumbles that will vanish in future performances. Those who do savor the instrumental contributions from the country s finest chamber orchestra would have appreciated a reflective breath before moving on.

The visual components came from the watchful, inventive eye of projection designer Raha Javanfar and were shown on a beautifully framed screen above the musicians. Whether in the starry sky above, on the high seas as the King s Daughters made their way to the New World, or adding portraits of European monarchs and four of our own!

The video segments especially the nearly obsessive study of Canadian beavers and their fate in becoming valued hats for the privileged at one point accompanied by the naughtily titled Johnny, Cock Thy Beaver felt like a documentary being edited, or when everything flowed marvelously together an episode of CBC TV s beloved Land and Sea program.

Overall, the contributions from Tafelmusik no conductor for this program were crisp, clean, and only a little untidy. The switching of leaders after the break and the move to antiphonal seating ever so slightly changed the mix; most welcome were the duelling solo violins and the conversational oboes. Saving best for last, dancer-choreographer Brian Soloman brilliantly supplied the indigenous point of view as to the music of Rameau ; he artfully floated about the stage employing the musicians standard tools to make telling points.

Whether being blinded by printed parts a marvelous metaphor , playfully working a violin bow or thrusting it forward rapier-like adding still more texture , turning the music stands into a pitiless stockade burned deep, or relieving that ugly image as it magically transformed into a paddle, his performance couldn t help but move travelers on both sides of the footlights forward.

Alison Mackey s creation certainly was a voyage that ought to be embarked on. One can only hope that framing the discussion about any country and its collective peoples by using every artistic means available will produce greater knowledge and understanding for all. They can t really ignore the fact that the music of dead composers dominates concert programs, leaving contemporary composers, if they re lucky, a little time at the start of the program to write a bouncy five-minute curtain raiser that will get the audience ready for real music, something, let s say, by Schubert.

The response piece if we can call it that is a recent trend that tries to deal with this problem or at least acknowledge it. Two conductors, Mariss Jansons and Riccardo Chailly, have asked composers to write works in response to Beethoven s symphonies and have conducted the results in Munich and Leipzig. Violinist Jennifer Koh and the pianist Shai Wosner commissioned three composers to write pieces in response to Beethoven s violin sonatas.

The most extensive of these efforts is Beethoven-5, a collaboration of the St Paul Chamber Orchestra, pianist Jonathan Biss, and five very different composers. Over the course of five seasons, the composers one each season will write a response or rumination or commentary on one of Beethoven s piano concertos. Biss will play the new work as well as the one it is based on in the same program. The result was a minute series of variations on the two descending scales that begin the firstmovement cadenza that Beethoven added to the work some years later.

The two scales, just a whole tone apart, interact and collide, taking on shifting character and color as the music progresses. It was fascinating fascinating enough, as it turned out, to be a finalist for the Pulitzer Prize for Music. On the other hand, we do hear an occasional quote from the gruff old Viennese master in this year s entry in the series, City Stanzas, a take-off on Concerto No.

Beamish s middle movement, subtitled Requiem a lament for two departed friends, Beamish told the audience, one of them being the composer Peter Maxwell Davies , quotes from Beethoven s slow movement; and her quite boisterous finale alludes briefly to the main theme of Beethoven s finale. And, somewhat in the manner of Beethoven, she uses octaves and scales in her first movement. For the rest, City Stanzas is all Beamish, a deft, well thought out and effective mix of high spirits in the toccata-like rhythms in the first movement, with a deep vein of melancholy that infuses both the middle movement and the final pages that have the piano going it alone in a tone of lonely despair.

Biss, as is his custom, played with rapt concentration and impressive authority, while sustaining an air of spontaneity. The Sally Beamish Beethoven concerto, which took up the second half and which Biss conducted from the piano, achieved a nice balance between robust energy and classical decorum. Mischa Santora was the attentive conductor in the Beamish piece. His curtain-raiser, Ravel s Tombeau de Couperin, was paced too fast to retain much of its inherent charm.

Nonetheless, Principal Oboe Kathryn Greenbank played with her customary grace. He freed himself to plan a final season of what he does best: creative sometimes antic programs, styling his podium presence as he wishes, untrammeled by the specter of an endless contract or the critical carping that has dogged other long-term Philharmonic directors.

He s done some pretty good conducting lately, which enhanced the concerts January Linking them was the world premiere of HK Gruber s cabaret-infused Piano Concerto, performed with care and heart by Emanuel Ax, for whom it was composed. The Weill suite was crisp and balanced, inner voices emerging to reveal Bach and Wagner references.

It would have benefited from less-organized sound, like the wheedling nasal scruffiness of between-the-wars cabaret, which is what a wind band with sax and brass can do. It also could have used more rubato. The finale was sharp and sassy, but its clean sonorities announced that the piece was being honored by the great musicians of the ahem Philharmonic.

The Weill players were rehearsing on stage until the moment the concert began but they weren t rehearsing Weill. They were intently at the Gruber, which would submerse them into its huge orchestra. The episodic single movement contained moments linking it to the nightclubby Weill without losing its Gruberness.

Parts were like neo-threepenny. Emanuel Ax was once loath to tackle even the Schumann concerto, let alone contemporary repertory.

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