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Posts Tagged ‘Sibelius’

Thumbnail : David Hoose to Conduct Three Programs with the Symphony Orchestra Boston University, beginning Tuesday, September 30 with Beethoven’s Eroica and Sibelius’ Fourth Symphony

David Hoose to Conduct Three Programs with the Symphony Orchestra Boston University, beginning Tuesday, September 30 with Beethoven’s Eroica and Sibelius’ Fourth Symphony

Symphony Orchestra Boston University  David Hoose, conductor     Beethoven: Symphony No. 3, Eroica Sibelius: Symphony No. 4 in A minor (1911)   Tuesday, September 30, 8:00 pm Tsai Performance Center admission free   The first of three programs responding to the conditions of war in the 20th century   October 28 Vaughan Williams: A Pastoral Symphony (1922)  Fussell: […]

Thumbnail : A Week of Music in Chapel Hill: Two Conductors, Two Concerts, One Young Composer, a fine Pianist and a Cat

A Week of Music in Chapel Hill: Two Conductors, Two Concerts, One Young Composer, a fine Pianist and a Cat

This is a piece about coming of age, so I suppose I should start with Tonu Kalam’s cat, always more vocal than musical, but who has approached gravitas since kittenhood two years ago with remarkably matured powers of persuasion! “Dolce” belongs to Kalam and his fiancée, Karyn Ostrom. And his progress towards getting what he wants with supreme efficiency seems to match the improvements I hear in the UNC Symphony Orchestra, which Kalam directs and manages, and where Karyn plays violin among the firsts. In his maturity, “Dolce” has nearly mastered the front doorknob to go outside and roll all over the concrete path and collect pollen, which he unaccountably enjoys. In the past, the expression of his wishes might have seemed less coherent. Today it is focused and not to be trifled with.

Thumbnail : Trifonov Triumphs at the San Francisco Symphony with Rachmaninoff’s Paganini Variations. Vänskä conducts Sibelius’s Night Ride and Sunrise, Stravinsky Symphonies of Wind Instruments, and Sibelius’ Symphony No. 6

Trifonov Triumphs at the San Francisco Symphony with Rachmaninoff’s Paganini Variations. Vänskä conducts Sibelius’s Night Ride and Sunrise, Stravinsky Symphonies of Wind Instruments, and Sibelius’ Symphony No. 6

Whenever you attend an orchestral concert, I’m sure you will have noticed that “Double D” on your ticket stub represents not the seating of the audience by bra size (an intriguing notion), but something more like a banishment to Siberia! “DD” is the last row of orchestra seats in Davies Hall, and at that distance music can become less visceral.

This time, though, I was happy to sit back in the hall, particularly for the music programmed on the second half.

Thumbnail : Susanna Mälkki conducts the San Francisco Symphony in Grisey, Prokofiev, and Sibelius, with Horacio Gutiérrez, piano

Susanna Mälkki conducts the San Francisco Symphony in Grisey, Prokofiev, and Sibelius, with Horacio Gutiérrez, piano

Music making, one supposes wryly, can sometimes be a battle of influences. In this instance, simply put, how does one reconcile late romantic Sibelius with the compositional methods of Pierre Boulez? The very thought might give one chills….

I was intrigued to hear IRCAM’s Susanna Mälkki recently, and not simply to touch base with the new generation of influential women at the podium. I wanted to experience how her musical approach would walk the line between cerebral pointillism of the Boulezian sort and the kind of broad Barbirollian phrasing favored by Leif Segerstam, with whom she studied. Mälkki was one of the principal cellists in the Gothenburg Symphony — for Sibelius lovers a considerable entry on the romantic side of the ledger — but I find myself disappointed to say that in this instance the French modernists appear to have won most of the battles of influence.

Thumbnail : Sibelius III: Reflections on the 2011 Bard Music Festival

Sibelius III: Reflections on the 2011 Bard Music Festival

“I’d go anywhere to hear a Sibelius-palooza like this,” exclaimed Beth, a New York television producer and first-time Bard Festival visitor. Ernest, a veteran of many festivals and a geneticist in his 70s, credited Bard with inspiring him to revisit a childhood dream and take courses at Bard’s Conductor’s Institute. Lisa from Woodstock usually opts […]

Thumbnail : Sibelius II: Larry Wallach on the Bard Music Festival 2011 – Jean Sibelius and his World

Sibelius II: Larry Wallach on the Bard Music Festival 2011 – Jean Sibelius and his World

Originality is a hard concept to get a hold of — there is no yardstick for measuring it, by its very nature. This makes the evaluation of composers, the assessment of their influence and historical position, one of the most subjective areas of music history and criticism. Contemporary writers have become impatient with their predecessors’ habit of rating composers in terms of “importance” or “greatness” based, at least in part, on their originality. And then there is the issue of “unique voice” — is that the same as originality? Is their any good composer who lacks either one? Can “uniqueness” be evaluated?

Thumbnail : Sibelius I: Bard Music Festival 2011 – Jean Sibelius and his World

Sibelius I: Bard Music Festival 2011 – Jean Sibelius and his World

One shouldn’t let anything get in the way of a Bard Music Festival—and the surrounding Summerscape opera, play, and dance performances, etc., least of all one’s preconceptions about composers. In one case only, Prokofiev (Bard Festival 2008), I approached the Festival with thoughts of taking a mildly rebarbative medicine, but I soon learned how wrong I was, thanks to the Russophile enthusiasm of my friend, Robert Kurilla, who has written about Prokofiev in the Review, and, of course, the lectures and programs of the Festival itself. In Prokofiev’s case the problem was that his best known works give an extremely limited, really inaccurate, idea of him and that his best work is little-known and rather challenging.

Thumbnail : Bard Music Festival 2011, “Sibelius and His World” – Program Details (REVISED, with a Note on the Composer)

Bard Music Festival 2011, “Sibelius and His World” – Program Details (REVISED, with a Note on the Composer)

The announcement of the upcoming Bard Music Festival, “Sibelius and his World,” begins with a note of controversy. Not everyone, especially from the 1930’s on, agreed that he wrote good music. This may surprise some people, since the debate had died down by the 1950’s, when the composer was still alive but hadn’t written anything […]

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  • The Bard Music Festival at 25: Franz Schubert and his World
    My leading thought goes against much of what the Bard Music Festival and my own values, for that matter, stand for. And just read Keith Francis' provocative series, The Great Composers?, the latest installment of which has just been published. I've missed only one Bard Festival since 2006, and I've heard great music by Elgar, […]
    Michael Miller
  • A Singer’s Notes 98: No Amontillado, just Ale
    The much-maligned poetry of Edgar Allan Poe still bristles with excitement when one hears it. High and mighty Emerson called it a bunch of "jingles." The musical reference is appropriate. A poem like "Annabelle Lee" is basically a sound event. The sonic Poe I have in my imagination was revered by the French, Baudelaire in […]
    Keith Kibler
  • A Treasurable Account of Poe’s Last Hours from the Berkshire Theatre Group, with David Adkins and Kate Maguire, Closing 10/26
    You can't really blame the Berkshire Theatre Group for billing Eric Hill's splendid entertainment, POE, as a Hallowe'en show. As the holiday approaches, Poe's chilling stories and poems are rolled out in all the many forms they have assumed since their assimilation into two great cultural phenomena, American Literature and American Pop Culture, over the […]
    Michael Miller
  • A Singer’s Notes 97: It’s Hot Outside—Cat on a Hot Tin Roof Clicks at Oldcastle Theatre, Bennington
    Cat on a Hot Tin Roof is an obsessive work which makes wildly different demands on its actors. Renata Eastlick as Maggie starts us off which what amounts to a twenty-five to thirty-minute monologue. She did this superbly. It was just overbearing enough. Listening to her was the excellent Loren Dunn who played her husband […]
    Keith Kibler