Archive for the ‘Music’ Category
Salamone Rossi (prob. 1570 – prob. 1630) was one of several court musicians who enjoyed the patronage of Vincenzo Gonzaga (1562 – 1612), Duke of Mantua from 1587 to 1612. If Rossi and his gifted colleagues, like Wert, Baccusi, Gastoldi, Pallavicino, Striggio, Marenzio, have received their due among scholars, they are less familiar to concert audiences, even the enthusiasts who follow early music.
Stephen Porter to play late works by Beethoven, Schubert, Chopin and Debussy at the House of the Redeemer in Manhattan, Thursday May 1, at 7.30 pm—a presentation of New York Arts
We are extremely proud to present, as our single concert of this season, a piano recital by Stephen Porter, a musician of supreme intelligence, sensitivity, and learning. His pianism is equally developed on the fortepiano as on the modern fortepiano, and we are fortunate that his curious ear for historical instruments has drawn him to the unique qualities of the House of the Redeemer’s Grotrian-Steinweg grand in the intimate acoustics of its Library.
Gustavo Dudamel, the charismatic young (he turned 33 at the end of January) music director of the LA Philharmonic returned to Boston for the first time since he and the Simón Bolívar Youth Orchestra of Venezuela lit a fire under the audience at Symphony Hall in November of 2007. He was here in two capacities: conducting the LA Phil at Symphony Hall on the last stop of its seven-city North American tour (nine concerts in the US and Canada in 13 days), and leading an hour-long open rehearsal at MIT’s Kresge Auditorium with players eight to 15 years old and graduate students—about 114 of them—from the Sistema Side by Side orchestra established last fall by Cambridge’s Longy School of Music of Bard College.
“Vienna, City of Dreams” in New York: Four Orchestral Concerts by the Vienna Philharmonic at Carnegie Hall
Nowadays, visiting orchestras often play two or three concerts in New York, and, best of all, these are sometimes “curated” into themed series, like the VPO’s under Boulez and Barenboim a few years ago. This year, Carnegie Hall is presenting an exceptionally ambitious event, Vienna, City of Dreams, which goes beyond the Vienna Philharmonic’s unprecedented seven-concert series of symphonic and operatic works, and includes chamber music concerts, contemporary music, symposia, film screenings, and a few events including the visual arts, including Vienna Complex, a contemporary group exhibition at the Austrian Cultural Forum, which has organized most of the events outside Carnegie Hall itself, although no significant exhibitions of the art of the periods represented by the concerts at Carnegie Hall. (The other piece of Vienna in New York, the Neue Galerie, is offering nothing but limited free tours for ticket holders and discounts in their gift shop.) Theater and literature went virtually unrepresented. (A Viennese theater festival, including the Burgtheater, would have been welcome—magnificent, even.) A language barrier in our day of ubiquitous supertitles?
I was part of the capacity crowd at Boston’s Symphony Hall (March 6) that rose to its collective feet to cheer BSO music director designate Andris Nelson’s first opera with his new orchestral family. Richard Strauss is one of his favorite composers, and at the press conference the day before he announced that among the ten relatively conservative programs he’s doing in his upcoming first season as music director, he’s scheduled two familiar Strauss tone poems, Don Quixote and Ein Heldenleben (A Hero’s Life—“Not about myself,” he joked). The BSO’s only opera next season, one of its few daring choices of repertoire, will be Charles Dutoit leading the first BSO performance of Szymanowski’s King Roger, with Polish baritone Marius Kwiecień repeating his Paris and Santa Fe triumphs in the title role.
The San Francisco Symphony is just about off and running for a three week European tour. If last night’s performance of the Berlioz Symphonie fantastique is any indication, it will succeed heartily. And those lucky enough to hear Julia Fischer perform the Prokofiev D major concerto (she joins the orchestra mid-tour for Dortmund, Prague and Vienna) will be doubly dazzled.
Here in San Francisco we are fortunate to experience in fairly rapid succession the world’s great violinists, especially the young ones rising. (And sometimes the older ones falling: Pinchas Zukerman’s recent rough and scrapie visit with the Royal Philharmonic was disappointing—a soaring career tumbling for the nets). But it has generally been a feast: James Ehnes, Simone Lamsma, and now Norwegian violinist Vilde Frang, just to name a few. Given the level of excellence these days, it is sometimes hard to pick a winner and know what winning means. All are remarkably good. But I’ll go out on a limb here.
The Major League of Composers may be the sterile, misshapen offspring of an uneasy union between critical approbation and public enthusiasm, but, like the mule, it is very obstinate and not entirely useless. If we first acknowledge that it is meaningless to anyone who is not in some way part of the “classical” music crowd, we can see that within that crowd it represents with fair accuracy a broad spectrum of responses. Performances of Bach’s St. Matthew Passion at Lincoln Center are usually sold out weeks ahead of time. Beethoven’s symphonies are still a greater draw than anyone else’s. People don’t go to these concerts because they have been told that the composers are “great” but because they find the music thrilling and uplifting.