Posts Tagged ‘Sibelius’
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.
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.
“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?
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.
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 […]
Bard SummerScape 2011 Explores the Life and Times of Jean Sibelius with a Seven-Week Arts Festival in New York’s Hudson Valley, July 7 – August 21, 2011
[UPDATE: read our review of the festival here.] Bard SummerScape 2011 Explores the Life and Times of Jean Sibelius with a Seven-Week Arts Festival in New York’s Hudson Valley, July 7 – August 21, 2011 Includes 22nd Bard Music Festival, “Sibelius and His World” and New York’s First Staged Production […]
Mariss Jansons leads the Concertgebouw Orchestra with Janine Jansen at Carnegie Hall in Sibelius, Rachmaninoff, and Mahler
Carnegie Hall, Stern Auditorium Tuesday, February 16, 2010 Royal Concertgebouw Orchestra Mariss Jansons, Chief Conductor Janine Jansen, Violin Sibelius, Violin Concerto Rachmaninoff, Symphony No. 2 in E Minor Wednesday, February 17, 2010 at 8 PM Royal Concertgebouw Orchestra Mariss Jansons, Chief Conductor Jill Grove, Mezzo-Soprano New York Choral Artists Joseph Flummerfelt, Chorus Director The American Boychoir […]