Tag Archive: Beethoven

Three Concerts at Camphill Ghent, two Past, one to Come

Off-season musical life is not as thin in the Hudson Valley as it is in the Berkshires, but, whatever the general situation, the Concerts at Camphill Ghent, founded and directed by pianist Gili Melamed-Lev, stand out for their exceptional quality, one month after another. As I have mentioned elsewhere, these concerts, which usually sell out weeks before the concert date, take place in the intimate performing arts hall of Camphill Ghent, a residential community for elders in Chatham, New York. This particular article will offer a preview of the upcoming March concert, which is actually based on an abbreviated version of the program the Lev-Evans Duo played at a house concert in Stockbridge last month, and reviews of two previous concerts at Camphill Ghent.

The Concerts at Camphill Ghent 2016 – 2017: Season Opening Concert Coming Up, October 15, 3pm

A relatively new chamber music series in our area, The Concerts at Camphill Ghent, extending through the rather sparse autumn through spring months, has just recently come to my attention, and it looks well worth a season subscription. Every concert is compelling, and they all fit together as a whole. Clearly some strong consideration has gone into the selection of both the music and the musicians. The series was founded and is managed by a musician, the outstanding pianist, Gili Melamed-Lev, who oversees the programming and participates extensively herself. This is by no means exceptional in itself, but the particular stamp she has put on it stands out.

Alan Gilbert Conducts the New York Philharmonic at Davies Hall, San Francisco

Alan Gilbert conducts New York Philharmonic. Photo © Chris Lee.

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…
Read more

The San Francisco Symphony: Herbert Blomstedt, conductor; Maria João Pires, piano, in Beethoven and Bruckner

Pianist Maria João Pires

It was a surrealistic night. Every so often a trip to the symphony is like that. It had oddities—both nice and annoying.

First-off, I thought, ninety seems to be the new seventy. And seventy surely is the new fifty. As Herbert Blomstedt came onstage, he didn’t look eighty-nine, that’s for certain! Just slightly snowier than last time. Tall, eager, ambassadorial as ever—Blomstedt led the evening without baton and the symphony from memory—an incredible feat with this edition.

The Royal Philharmonic Orchestra with Pinchas Zukerman, conductor and violinist, at Davies Hall

Sir Edward conducts an acoustic recording session.

I missed hearing the Royal Philharmonic last February in London. But while there, I found myself often reminded of the problems British orchestras and audiences face. Festival Hall, which once sounded like a pretty good hi-fi system, disposed of its Helmholtz “resonators” in a recent renovation and in so doing lost half its reverberation time, however artificial. It now sounds like NBC’s late unlamented Studio 8H.

François-Xavier Roth with the BSO in January, with solo turns from Elizabeth Rowe (flute), Jessica Zhou (harp), and Renée Fleming (soprano)

Conductor François-Xavier Roth. Photo Marco Borggreve.

The Boston Symphony Orchestra started the new year well with two programs under the direction of guest conductor François-Xavier Roth, who hails now from Cologne and is very active in Europe, much sought after. Conducting without baton, vigorous and engaged, Roth holds the players’ attention and gets what he wants. Orchestra and audience alike feel caught up in an unusually tense and purposeful address to the music at hand.

Boston and Berlin at Carnegie in 2015

Carnegie Hall, 1906

The fall 2015 orchestral season at Carnegie Hall was dominated by the Boston Symphony Orchestra’s traditional three-concert visit, this time in October, and a five-concert traversal of Beethoven’s symphonies by the Berlin Philharmonic under their outgoing principle conductor/artistic director, Simon Rattle. Both had their joys and peculiarities, but only Berlin confronted us with any actual disappointments.

Krzysztof Urbański Debuts with Emanuel Ax and the San Francisco Symphony in Beethoven’s “Emperor” Concerto and Dvořák’s “New World” Symphony

Krzysztof Urbański conducts. Photo by Maria Maślanka

This was an old-fashioned program — the kind audiences like. Two grand and tuneful symphonic works. A venerated pianist. The debut of a young matinee idol conductor. And last but not least, total absence of any threatening nouvelle cuisine for the ear. So how did it go, this debut?

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.