Tag Archive: Daniel Harding

Boston’s Fall 2013 Round-Up

Thomas Adès and the BSO chamber players. Photo by Robert Torres.

This year will, as everyone hopes, be the Boston Symphony Orchestra’s last season without a music director — at least for another five years. Andris Nelsons has been signed up, and although he’s conducting only two BSO subscription programs this entire year, he’ll be really and officially taking charge next fall. His photo is already on the cover of the BSO program book, with the title “Music Director Designate.”

New York Philharmonic, Alan Gilbert, Music Director: 2011–12 Season Preview and Concert Schedule

  Alan Gilbert is about to begin his third season as Music Director of the New York Philharmonic, and he appears to remain as popular as ever. His particular combination of rapport with the orchestra, solid, insightful, often brilliant musicianship,…
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Two at Davies Hall: San Francisco Symphony/Conlon; Staatskapelle Dresden/Harding

A tale of two orchestras, two conductors, two soloists, several accents, two continents… Indeed. Two recent musical evenings, performed back to back by our own San Francisco Symphony under James Conlon, and by the legendary Dresden Staatskapelle, on tour with Daniel Harding, were highly revealing of the differences which can still exist in the identity, tradition and manner of orchestras. By programming emotionally mainstream works, containing few neuroses or cataclysms, both conductors necessarily brought the focus of the audience’s attention to beauty of execution, national perceptions of orchestral warmth and tone painting, and to their own manner of leadership.

Daniel Harding, Renaud Capuçon, and the LSO play Bruch’s Violin Concerto No. 1 and Bruckner’s Seventh

Dandies and philosophers. I hate the use of the word “warhorse” to describe beloved music that is taxed by being overly familiar. But almost nobody refers to the Bruch violin concerto in any other way. It’s a frayed Victorian valentine, relying on luscious melody, the scent of heliotrope, and moonlight over the Tyrol as its claim to fame. The young French violinist Renaud Capuçon accepted this without a blush or smirk. He was determined to give a reading as gorgeously romantic as taste would allow. His success centered on a honeyed but never syrupy tone. More than that, he knew how to blend into the orchestral strings, which served not to drown him out but to amplify his sound. (Here I think Capuçon was taking advantage of the three years when he served as first among equals as concertmaster of the Gustav Mahler Youth Orchestra.)

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