Olivier Messiaen

Music

Thomas Nickell, Piano, and The Orchestra of the Swan, David Curtis, Conductor, in an Original Program of Mozart, Messiaen, Nickell, Cowell, Britten, David Matthews, and Wagner/Liszt

At 18, Thomas Nickell, even in a world populated by numerous prodigies who began to play in public at very young ages, still deserves to be considered a young, emerging artist, and this concert showed him to be a notably mature and tasteful one.  He is currently a student at the New School, Mannes College of Music, studying piano and composition, both with equal seriousness. He has already played programs in concert and with orchestra in the United Kingdom, Italy, Japan, and Chicago, and has been honored as a Steinway artist and is represented by Alexander & Buono International. The concert, a repeat of his London debut, gave the full house something else to be grateful for: a visit from an outstanding British chamber orchestra—in this instance all strings—The Orchestra of the Swan, based in Stratford-upon-Avon, under the direction of its founder and music director, David Curtis, who is as enterprising and personable as he is musical.
A London Summer with Huntley Dent

BBC Proms 67 and 69: The Leipzig Gewandhaus Orchestra and Riccardo Chailly

Rocky road.  Rebuilding an orchestra is one of the most complex tasks imaginable, requiring delicate negotiations as well as sometimes abrupt firings, a soothing hand with the musicians' pride but also a new broom to sweep out the old dust. Riccardo Chailly, who at 69 is an eminence on the podium, set out to renew the venerable Leipzig Gewandhaus, historically the orchestra of Mendelssohn. Languishing behind the Iron Curtain after World War II did them no good, however, and where the Dresden Staatskapelle managed miraculously to keep up world-class standards, the Leipzigers weren't so lucky. I didn't hear them during their long dark period, but the recordings that came West were nothing special, except in Mendelssohn.
A London Summer with Huntley Dent

The French Orchestra at the Proms: Myung-Whun Chung Conducts the Orchestre Philharmonique de Radio France

Whee! Paree. A general moaning arose from music reviewers, starting around forty years ago, about French orchestras. They no longer sounded French. No more pinched oboes being played through the nose. No more horns sounding as if they were warbling underwater or inbred with the saxophone clan. No more lean, on-the-dot precision in the strings. As they lamented this loss, the same bemoaners forgot that they once carped about the very sound that was fading away. Uncharacteristically, the French were listening.
WP2Social Auto Publish Powered By : XYZScripts.com