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Posts Tagged ‘Morton Feldman’

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.

Thumbnail : Axiom, Juilliard’s Contemporary Music Group, play Feldman and Kurtág at Tully Scope

Axiom, Juilliard’s Contemporary Music Group, play Feldman and Kurtág at Tully Scope

The second concert in Lincoln Center’s wonderful Tully Scope Festival, like the opening night, revolved around the music of Morton Feldman, and, although it was entitled “For Morton Feldman,” it was actually dedicated to quite a different composer, György Kurtág, who is still very much alive and celebrated his eighty-fifth birthday on February 19th, only a month younger than Feldman would have been if he had not died prematurely in 1987 at the age of sixty-one. The program consists entirely of some of their best-known works, played by Axiom, the contemporary music group of the Juilliard School, under the direction of Jeffrey Milarsky, and the Clarion Choir under music director Steven Fox. The instrumentalists and the soprano soloist were all students or recent graduates of Juilliard, who acquitted themselves most impressively.

Thumbnail : Tully Scope, a New Festival at Lincoln Center: Preview and Concert Schedule

Tully Scope, a New Festival at Lincoln Center: Preview and Concert Schedule

An exciting new festival at Lincoln Center will make an already busy period — February 22 to March 18 — even busier. It bears the slightly odd (and slightly clumsy, I think) name, Tully Scope Festival. But no matter, the offerings, which cover a vast range of the best in early music, traditional classical music, […]

Thumbnail : Tully Scope Festival Opening Night: International Contemporary Ensemble play Chance Encounters: For Morton Feldman, with Webern, Xenakis, and Cage…and a prelude by Nathan Davis

Tully Scope Festival Opening Night: International Contemporary Ensemble play Chance Encounters: For Morton Feldman, with Webern, Xenakis, and Cage…and a prelude by Nathan Davis

Tully Scope Festival Opening Night For Morton Feldman: Chance Encounters Tuesday, February 22 at 7:30 pm International Contemporary Ensemble Steven Schick, conductor and percussion Feldman: The King of Denmark, for solo percussion Webern: Concerto for nine instruments Xenakis: Jalons, for 15 instruments Cage: Imaginary Landscape No. 4, for 12 radios Feldman: For Samuel Beckett I’ve […]

  • A Singer’s Notes 95: The Henry Plays at Shakespeare and Company
    Jonathan Epstein undertook a courageous and largely successful project making an evening’s performance out of the Henry plays. I could have used a little more Doll Tearsheet and a little less Ancient Pistol, but I understand choices have to be made. The narrative was clear throughout, and there were some surprising and gently humorous touches […]
    Keith Kibler
  • A Singer’s Notes 94: Local Excellence… and a Rare Unamplified Performance of a Broadway Musical!
    Hubbard Hall Opera Theatre once again filled its house and earned rave applause for its production of Gianni Schicchi, by Giacomo Puccini. This opera which seems so straight out and comfortable is actually a very hard score, both vocally and orchestrally. It could fairly be called the most intricate of Puccini’s compositions. This is why it […]
    Keith Kibler
  • A Singer’s Notes 93: Denève, the TMC Orchestra, and Berlioz; McGegan and Handel; Bernstein’s Candide at Tanglewood
    The excellent Stephane Denève chose two works of Hector Berlioz for his TMCO concert. Wholly remarkable was a performance of Les Nuits d'Été. The maestro gave these songs a sound I've never heard before. It was ravishingly quiet to begin with, not unlike the nearly silent playing Simon Rattle can achieve in his Mahler performances. […]
    Keith Kibler
  • 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 […]
    Larry Wallach