Tag Archive: Beethoven

Richard Goode Plays Beethoven’s Last Three Sonatas and Bagatelles, Op. 119 at Jordan Hall, Boston

Richard Goode

This was a great recital—almost. Richard Goode played the last three Beethoven piano Sonatas and a set of late Bagatelles, and was quite convincing, even revelatory, with all the material except the final Sonata, the forbidding Opus 111. This last came off well, it felt meant—and all those difficult notes were well articulated—but the full emotional daring of the piece was not quite there.

The great Composers? Part V: Schickele Mixed Up

Reverence for the Great Composer

It has been observed that there are only two kinds of music, good and bad. Duke Ellington said that if it sounds good it probably is good. Peter Schickele, the well-known avatar of P. D. Q. Bach (1807-1742), dedicated his weekly radio programme, Schickele Mix, to the principle that all musics are created equal, so you might think that he doesn’t believe in the good and the bad. Each episode is a light-hearted, although somewhat heavy-humored, presentation of diverse musical excerpts loosely connected by a musical, historical or literary thread.

Charles Dutoit triumphs in Shostakovich’s Tenth Symphony with the San Francisco Symphony, with Kirill Gerstein in Beethoven

Charles Dutoit

There’s no question that the San Francisco Symphony is one of our great American orchestras. I go to as many of their Carnegie Hall concerts as I can, and if these are not a consistent joy, it has nothing to do with the musicians’ capabilities, rather with the vagaries of Michael Tilson Thomas’s talents and tastes—of which more later. The concert I am reporting on had little to do with MTT beyond his successful maintenance of Herbert Blomstedt’s discipline.

Stephen Porter played 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

Stephen Porter, pianist

We were 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.

The Great Composers? Part IV: Scherzo

Beethoven the perfectionist, selon Liebig

Since one of my aims is to try to find out why, for some people, “classical” music is so much more potent than other kinds of music, and as a connected question, why these people form only a small proportion of the population, I’ll give some examples of the pitfalls that await the unwary “classical” missionary who speaks to high school students or innocent adults. Most of what follows is drawn from real life. The speaker, Juan Torescramiento, is introducing a performance of one of Beethoven’s Rasumovsky Quartets by the Pro Classico String Quartet. Mr. Torescramiento is not Spanish, but the fake-Spanish name I have given him is more appropriate to the character of his discourse than anything printable in English. He is actually a conflation of several musical missionaries (all of white European extraction) whose effusions I was unlucky enough to have to sit through during the thirty-two years of my tenure as a high school teacher in New York City. Some were faculty members. After giving a few details of Beethoven’s birth and early life he gets to the real stuff. First we get some of the old horse-feathers… Oops! I meant to say “conventional wisdom.”

“Vienna, City of Dreams” in New York: Four Orchestral Concerts by the Vienna Philharmonic at Carnegie Hall

Diana Damrau closes the final concert of "Vienna, City of Dreams," while maestro Mehta looks on.

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?

Beethoven: a Premiere Anniversary on Saturday, March 1, at 7:30PM at the Church of the Epiphany

Grand Harmonie

For the last two years Grand Harmonie has presented concerts of early chamber music – and sometimes larger ensemble music – that feature historically accurate wind and brass instruments. Now this group of young musicians from New York and Boston is growing into a full period instrument orchestra focused on 19th-century repertoire.

BEMF at the Morgan: the London Haydn Quartet and Eric Hoeprich played Haydn, Beethoven, and Mozart

Joseph Haydn

A heavy snowfall, bitter winds, and icy sidewalks failed to deter an enthusiastic audience from nearly filling the Morgan Library’s Gilder Lehrman Hall on January 21, when the Boston Early Music Society continued their New York series with a concert by the London Haydn Quartet with Eric Hoeprich, the great historically informed clarinettist and instrument-maker, who were offering a program of Haydn, Beethoven, and Mozart. The bare white basement space that serves as the lobby of the hall is hardly the most attractive part of one of New York’s most elegant institutions, but its heating was welcome enough, and once one enters the auditorium, one can enjoy some warmth of design and acoustics as well.