ome months ago New Yorkers enjoyed an opportunity to hear a gifted young American pianist, Thomas Nickell play Mozart’s Concerto in A Major, K. 414 and a new concerto by a living English composer, David Matthews, supported by a splendid chamber orchestra in the best English tradition, The Orchestra of the Swan, based in Stratford-upon-Avon, conducted by its founder, David Curtis. They received an especially warm response from their sold-out hall, and they have every reason to come back. This will occur in early June 2018. Meanwhile you can listen to David Curtis talk about chamber orchestras, The Orchestra of the Swan in particular, and English music, which, I believe has been rather neglected on these shores in recent years.
I was tempted to preface this review of this rarely performed oratorio by Sir Edward Elgar with a harangue about the neglect of British music in this country, but I was pleasantly surprised to look over the upcoming Tanglewood schedule, and to find that British music and Sir Edward will be rather well served this summer
The famed Radio City Music Hall Rockettes, that high-kicking, glam- or- bust line of tap dancing women, began in St. Louis as the Missouri Rockets. The troop was brought to New York City to perform at the Roxy Theater where they were known as the Roxyettes and then, as part of the Christmas spectacular, came to Radio City, where they were rechristened The Rockettes.
Charles Dutoit conducts the San Francisco Symphony with Emanuel Ax, piano, in Sibelius, Mozart, de Falla, and Debussy
If you ever wonder how Sibelius’ music seems to come in two styles, one bardic, noble, warmly patriotic and slightly thumpy; the other austere, cerebral, craggy and interplanetary, think Karelia. This is the eastern portion of Finland near the White Sea, where ancient forms of native song and poetry still obtained at the turn of the last century. As Vaughan Williams scoured England for folksong and Bartók transcribed them in Hungary, a similar romantic enthusiasm for Finnish roots swept young Finns of the day. Karelianism, it was called, and Sibelius’ suite derives from the music he wrote for the Karelia Pageant of 1893, which represented something of a culmination of the movement. The opening “Intermezzo”, otherwise a contradiction in terms, was in fact used to separate two tableaux within the festivities.
The Berlin Painter and His World: Athenian Vase-Painting in the Early Fifth Century B.C. at The Princeton University Art Museum, closing Sunday, June 11, 2017 (REVISED)
Of all the exhibitions in the New York area this season, Princeton’s The Berlin Painter and His World is the richest in aesthetic pleasure, methodological sophistication, and intellectual liveliness. Not only will visitors enjoy the handwork of one of the greatest Greek artists of the Late Archaic Period, they will experience a panorama of ancient Greek mythology, religious practice, athletic and military activities, and sympotic customs, that is, the etiquette and enjoyment of the all-male drinking parties that were the major nucleus of Athenian social life after the great annually-recurring festivals of their gods and heroes. These windows which provide such a vivid view on the outer and inner lives of the Athenians were painted on the surfaces of pottery turned with the beautiful red clay of Attica…
Serenade for Haiti, Directed and Written by Owsley Brown, at the Berkshire International Film Festival, June 3
Among the rich offerings of the 2017 Berkshire International Film Festival, one of the most fascinating and important films will be Owsley Brown’s documentary, Serenade for Haiti. The film could be described as an extended visit to the École de Musique Sainte Trinité in Pétionville, a suburb of Port-au-Prince. Mr. Brown, who had made other films about music and its role in human society and spirituality, first visited the school in 2006, and was, as he has said, “greatly affected by what [he] found there.”
Justin Bischof conducts the Canadian Chamber Orchestra of New York City in Beethoven’s 7th and 9th Symphonies
Justin Bischof, who has built a reputation as a brilliant church organist and choirmaster, has found characteristically ingenious ways to integrate his passion, symphonic conducting, with his duties as Director of Music at The Church of St. James the Less in Scarsdale as well as an admirable local charity, the “Transforming the Lives of Children through Music” Benefit, netting over $400,000—and growing—which has enabled over 425 at-risk inner-city children to attend a life-altering summer camp in recent years. The latter benefit concert is traditionally The Canadian Chamber Orchestra of New York City’s (CCO/NYC) seasonal culmination. Dr. Bischof founded the orchestra to enhance the presence of his fellow Canadian musicians in the New York Area. Through these ambitious enterprises, he has enriched the musical life at his church beyond any reasonable expectation for a suburban parish and served an admirable program for enhancing the lives of underprivileged children. And Bischof is as passionate about the charity as about the great music he conducts to further the cause. The powerful performance of Beethoven’s Ninth we heard was deeply moving, as it should be, but I was even more moved by the fine young people who gathered before that to sing simple choruses.