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Posts Tagged ‘Carnegie Hall’

Thumbnail : A Season of Baroque Instrumental Music in New York—Mostly Bach

A Season of Baroque Instrumental Music in New York—Mostly Bach

Words like “Lively,” “energetic,” and “idiosyncratic” are understatements when it comes to the fiery interpretations of Baroque ensemble music—above all Vivaldi’s—Fabio Biondi has achieved with his virtuoso string orchestra, Europa Galante. In this capacity he comfortably alternates, in true Baroque fashion, between his role as leader and, when called for, as soloist. Last February 20, he appeared as a soloist with Kenneth Weiss, great New York-based harpsichordist, for a program consisting mostly of Bach, with one work by an Italian native, the Bergamasque Pietro Antonio Locatelli. Once one heard a movement or two of Bach’s Violin Sonata in G Major, it became clear that the program was founded on an argument—that Bach’s Violin Sonatas, which he wrote around 1725-6 at Cöthen, are essentially Italianate in character—no surprise, in fact. Mr. Biondi’s brilliance and warm Sicilian temperament blazed out in every bar, with strongly inflected phrases and dramatic pauses between them. Not everyone appreciates Biondi’s intense musicianship. For my part, I admire it and very much enjoy his performances of Vivaldi and other Italians. In this concert, however, I found his playing mannered and distracting. Of course we all know that Bach looked to Italian models in his instrumental music, above all Vivaldi, of whom Förkel said that his music “taught him to think musically.”

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

“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?

Thumbnail : American Spring: Symphonic Landmarks from Albany and Detroit

American Spring: Symphonic Landmarks from Albany and Detroit

A portion of the rich but sometimes neglected trove of American symphonies was given a welcome exposure during the valuable Spring for Music Festival at Carnegie Hall in early May, thanks to the ongoing commitment to this repertory of music directors David Alan Miller and Leonard Slatkin. The beneficiary composers, Morton Gould and Charles Ives, both stand apart from the mid-century symphonic mainstream, also neglected, of Piston, Sessions, Schuman, Harris, Diamond, et al. It was a fascinating juxtaposition, particularly since Gould’s symphony has been largely absent since its premier in 1947, and most of Ives’s works had to wait lengthy intervals before receiving their first performances.

Thumbnail : The Thinking Virtuoso Pianists play in New York, Part I: Hamelin and Hough

The Thinking Virtuoso Pianists play in New York, Part I: Hamelin and Hough

Marc-André Hamelin, piano 92nd Street Y January 30, 2013 Johann Sebastian Bach (1685-1750) Organ Fantasia and Fugue in G minor, BWV 542 (arr. Theodor Szantó) Ferruccio Busoni (1866-1924) Sonatina seconda Claude Debussy (1862-1918) Images, Book I Reflets dans l’eau Hommage à Rameau Mouvement L’isle joyeuse Marc-André Hamelin (b. 1961) Variations on a Theme by Paganini […]

Thumbnail : The West-Eastern Divan Orchestra, Daniel Barenboim Conductor, bring Beethoven’s Symphonies to Carnegie Hall

The West-Eastern Divan Orchestra, Daniel Barenboim Conductor, bring Beethoven’s Symphonies to Carnegie Hall

My path to an enthusiastic appreciation of Daniel Barenboim’s music-making has, I confess, been a long one. In his early years, I found his willed seriousness, both as a pianist and as a conductor, off-putting. The effect was not only rather dour, but smacked of affectation as well. My conversion began with some of his more recent Liszt orchestral recordings and became definitive in the magnificent Tristan he conducted at the Met in autumn of 2008. This is not to say that I am any less aware of the wilfulness of his approach to music. When he performs he makes specific decisions about his overall interpretation as well as the execution of the smaller units, and the listener is always aware that she or he is hearing an interpretation. Even in seemingly spontaneous outbursts, there is an element of arbitrariness. The most totally convincing Barenboim performance I have heard in the past was that Tristan.

Thumbnail : Minsoo Sohn in a Masterful Recital of Webern, Brahms, and Bach Variations at Carnegie Hall

Minsoo Sohn in a Masterful Recital of Webern, Brahms, and Bach Variations at Carnegie Hall

This simple, but finely crafted program of variations for keyboard instrument by the brilliant young pianist Minsoo Sohn, whose work I have followed for several years, was an important concert. It was not Mr. Sohn’s New York debut, but it showed New Yorkers the fully mature pianism of an exceptionally gifted musician who will surely […]

Thumbnail : American Mavericks at Carnegie Hall, Tuesday, March 27, 2012, Michael Tilson Thomas and the San Francisco Symphony Play Varèse, Cowell, Cage, and Adams

American Mavericks at Carnegie Hall, Tuesday, March 27, 2012, Michael Tilson Thomas and the San Francisco Symphony Play Varèse, Cowell, Cage, and Adams

The reviews of three concerts and a dance performance you will find on The Berkshire Review and New York Arts, one in San Francisco and three in New York, represent only a small part of the month-long festival, organized by Carnegie Hall under Michael Tilson Thomas’ direction, but including many other events scattered about the city at venues including the the Whitney, the Henry Street Settlement, the New York Public Library, and (le) Poisson Rouge. (Click here for a full listing. It should be noted that Michael Clark, reviewed here by Louise Levathes, is very much a maverick, although not an American.) I especially regret I couldn’t attend more of it, but I can take some consolation in referring you to WQXR’s expansive coverage of most aspects of the festival, with articles, interviews, and snippets of performances.)

Thumbnail : Not Maverick Enough? San Francisco Symphony conducted by Michael Tilson Thomas performing at Carnegie Hall on Wednesday, March 28, 2012, in the “American Mavericks” Festival

Not Maverick Enough? San Francisco Symphony conducted by Michael Tilson Thomas performing at Carnegie Hall on Wednesday, March 28, 2012, in the “American Mavericks” Festival

Michael Tilson Thomas’s “American Mavericks” concerts came to New York, centered on four programs at Carnegie Hall with the superb San Francisco Symphony, surrounded by a whirl of fringe events throughout the city. This was a bold and appropriate way to show not only the versatility and virtuosity of the orchestra but also the evolution of orchestral culture in the United States: the works were played as modern classics, with the ideal combination of polish and bite that they call for. The audience has clearly evolved along with the orchestras: Carnegie Hall was close to full with a healthy mixture of grey and not-so-grey heads intently focused on the music. So accomplished and appealing were the performances that even the Feldman work, probably the most novel work on the program, held audience attention effortlessly through its 26-plus minute duration.

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  • Murder Myth Married to Music—Lizzie Borden Wields her Axe at Tanglewood
    In Jack Beeson and Kenward Elmslie’s 1965 retelling, Lizzie Borden is unequivocally presented the murderer of her step-mother and father; in the opening moments, as the orchestra starts up with a scream of outrage, Lizzie runs onstage with an axe and plants it firmly in the middle of the family table. It remains there for most of the opera, sometimes reached
    Larry Wallach
  • A Singer’s Notes 92: The Cherry Orchard
    The Cherry Orchard At Historic Park-McCullough in North Bennington, VT July 31 – August 9 Most remarkable in Living Room Theatre’s The Cherry Orchard by Chekhov on Friday night was a natural sounding translation of the play – something I have rarely heard. This was accomplished by the young actress who also played Anya, along with Randolyn Zinn. […] The post
    Keith Kibler
  • A Singer’s Notes 91: TMC Forever, and A Little Bit of Marlboro
    The Tanglewood Center Music Orchestra took on an enormous challenge in their first outing this summer. The Bruckner 4th Symphony is a magnificent leviathan of a piece which requires everything of its players and its conductor. The young French horn section deserves multiple plaudits. This work is one of the supreme tests of orchestral horn […] The post A Sin
    Keith Kibler
  • Two Weekends in the Country: The BSO and the Festival of Contemporary Music at Tanglewood, Jacob’s Pillow, the new Clark, Mass MoCA, and Boston Midsummer Opera’s Bartered Bride
    As life in the city slows down, life in the country west of Boston ratchets up. I went out to the Berkshires to catch as much as I could of Tanglewood’s fiftieth Festival of Contemporary Music, this year curated by Boston composers and longtime Tanglewood faculty members John Harbison (a composition fellow in 1959) and Michael Gandolfi (a fellow in 1986). Th
    Lloyd Schwartz