I don’t know how many in the audience had ever heard anything like it, a symphony dragging itself to a conclusion like a wounded beast over shrieking strings, bass drum rolls gone mad, brass, cymbals and tam tam flashing like jaws and teeth. And then, there was that set of hall-flattening final chords, like crates dropped on the stage, followed by silence for five seconds, broken only by a quiet “Jesus!” under someone’s breath. Welcome to the Rachmaninoff First Symphony!
New York Arts in San Francisco
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.
Do Robert Schumann, a fabulous pianist, a conductor almost named “Fabulous” and the youthful Richard Strauss make for spring-evening concert perfection? Well yes, unless the evening is balmy.
must have been in a Fantasia mood for this program—funnybone at the ready. There was something cartoon-friendly about the array on stage Sunday afternoon—an orchestra half the usual size—an enormously tall conductor in black maitre d’ tails with a huge bald head, black goatee and a tiny baton—a remarkably small cellist by his side. Were we about to hear a concert in caricature by the Katzenjammer Kids? It would seem so. My bad!
Davies Hall, San Francisco October 19, 2016 The San Francisco Symphony Pablo Heras-Casado, conductor Alisa Weilerstein, cello Mozart — Symphony No. 29 in A major, K.201 (1774) Schumann — Cello Concerto in A minor, Opus 129 (1850) Dvořák — Symphony…
There are all sorts of motivations for going to a concert. As a former conductors’ agent, I was curious to learn what Juraj Valčuha would be like in person. (I missed his SFS debut here a few seasons ago.) Valčuha is a forty-year-old Slovakian rapidly climbing the guest-conducting and music directorship career ladder. He is currently in charge of the RAI Orchestra in Torino, but has appeared by now with most of the major European and American ensembles. So what would he sound like?
The San Francisco Symphony Youth Orchestra, Donato Cabrera, conductor, with Chen Zhao, violin, and Katie Kadarauch, viola in Mason Bates, Mozart, and Bartók
Mason Bates will surely forgive us–if I suggest the San Francisco Symphony Youth Orchestra out-deviled everyone at this concert!
For a Saturday afternoon in May, Davies Hall was well attended, with a more jovial parental buzz than usual. Lots of children were in the audience. Hope springs eternal they won’t fidget–utopian when dealing with three-year-olds inclined to crawl. One of the forward boxes resembled a puppy-pen throughout, with lots of motion, aleatoric burbling and various appendages attempting to escape the banister. But no matter.The music won.
Davies Hall , San Francisco The New York Philharmonic Alan Gilbert, conductor May 6, 2016 Beethoven—Egmont Overture, Opus 84 Beethoven—Symphony No. 7 in A major, Opus 92 ***** Sibelius——-Symphony No. 7 in C major, Opus 105 Sibelius——-Finlandia, Opus 26 “My…