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*+-The best part of a love affair, wrote Georges Clémenceau some hundred years ago, is the moment you are climbing the stairs. It was, one hopes, not a cynical remark but a commentary on the pleasures of anticipation. I thought of this last month as I negotiated stairs at London’s Barbican Centre. A visit by the Berlin Philharmonic is always, if not a love affair, then certainly a thrill. But the otherwise admirable and much used Barbican is a windowless maze, and climbing the various levels can make for the seeming triumph of cluelessness over romance.
*+-I don’t think I have heard the Boston Symphony sound this full and deep since Koussevitzky. This CD inaugurates Andris Nelsons’ era at the helm of the BSO and signals a reinforcement of the orchestra’s considerable strengths in the more brooding side of the continental repertory.
*+-I couldn’t have been more eager to hear Riccardo Chailly and the Leipzig Gewandhaus Orchestra on their return visit to Boston, part of an American tour celebrating the 25th anniversary of the “Peaceful Revolution” that began in Leipzig in October 1989 and a month later led to the fall of the Berlin wall. Chailly continues to be one of most significant and enriching conductors of our time, and it was profoundly frustrating that, in January of 2012, heart problems prevented him from making his long overdue BSO debut (conducting, among other things, Stravinsky’s Sacre du printemps). This cancellation also put him out of the running as a possible replacement for James Levine as BSO music director. There was no way the BSO would risk hiring another music director with health problems. And yet, apparently recovered, here he was in Boston.
*+-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.
*+-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.
*+-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.
*+-“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 […]
*+-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?